A hidden structure on the lunar surface. A chill that says you’re being watched. We dive into John Wyndham’s The Moon and use its eerie pull to explore how vintage radio drama survives—sometimes crystal clear in sound, sometimes blurred where the credits should be. We share why this story sits within Wyndham’s fix‑up novel The Outward Urge, how the original title Idiot’s Delight would have shaped expectations, and what gets lost and found when archives scatter across the internet.

From our side of the mic, we pull back the curtain on how we make these classics feel alive today. Fran films along the South Coast—woodland paths in Eastleigh, quiet coastal light in Hampshire—then we pair those images with clean archival audio to build a mood that honours the original production. We talk about the joy of discovery, the frustration of missing cast lists and dates, and the small victories when a listener says a long‑lost favourite finally found its way back to them. Along the way, we highlight Wyndham’s wider legacy, from The Day of the Triffids to The Midwich Cuckoos.

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A starship caught in slow time, a character who bridges generations, and the strange comfort of hearing a classic story with fresh eyes—that’s where our journey begins. We shine a light on The Time Stealer, the 1975 Star Trek radio drama that renders a temporal anomaly in audio, and we use that premise to ask what Star Trek does best: how do stories travel through time without losing their heart? From the captain’s log delivered at half‑speed to the hum of instruments that can’t quite keep up, the radio format makes you lean in and imagine the bridge for yourself.

Chekhov takes centre seat in our conversation. We trace the role from Walter Koenig’s spirited navigator—shaped in part by a family history rooted in Russian‑Jewish immigration—to Anton Yelchin’s 2009 reboot performance as a gifted, earnest prodigy. We speak candidly about Yelchin’s tragic passing and JJ Abrams’ decision not to recast, a choice that turned a production detail into a memorial. That legacy changes how we watch the reboot films and how we listen back to older recordings; performances become keepsakes, timelines become personal, and fandom becomes a living archive.

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A contagious case of laughter on the Enterprise opens a surprising door to legacy, language, and the power of audio storytelling. We unpack a little‑known Star Trek radio adventure from 1975—“To Starve a Flever”—and trace how a playful premise with Kirk and Spock can lead to a bigger conversation about performance, sound design, and the intimacy of radio drama. Along the way, we shine a bright light on Uhura’s role and Nichelle Nichols’ far-reaching influence, from groundbreaking representation on American television to her real-world work with NASA inspiring women and people of colour to pursue STEM careers.

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