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“Paranormal Couple” Cody and Satori Aim to Prove They Aren’t Fakes Amid Drama

Published

2 years ago

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YouTubers and ghost hunters Cody and Satori have been through the wringer in the last few months. The popular team was accused of being fake after some of their peers came out against them. After weeks of being silent, they decided to speak up about the controversy and how they are determined to prove their skeptics wrong.

The Start

The couple claim to have a special ability to communicate with the dead by locking hands with each other and in doing so, receive a series of knocking sounds that surround the room they are standing in. This technique is said to be their form of communication between real life and the hereafter, as each knock, like a form of paranormal Morse Code, spells out responses to questions. It’s this, said to only happen between them, that is the crux of the controversy.

Sam and Colby Reacts

It all started in late October when Cody and Satori were guest-hunters on another YouTube investigation channel Sam and Colby. That duo was investigating the real-life Conjuring House in a series and invited Cody and Satori to join them for one episode. In that episode, the couple performed their “Wonder Twin” technique. But some people weren’t convinced and called them hoaxsters, saying they were making the knocking sounds by forcing their ankles to “pop” voluntarily.

The Community Attacks

The Reddit and YouTube ghost-hunting community went on the offense claiming that this knocking method was an old-timey parlour trick and that the couple was scamming their fans.

The firestorm became so bad that Satori’s father, famed Ghost Hunter Jason Hawes, responded in his own video saying that people should never stop trying to debunk claims, but that they should also do it in a way that doesn’t include personal attacks.

Jason Hawes

Sam and Colby also fell under the bus in the controversy and quickly tried to asway any connection they may have had in the accusations. They took to social media to reassure fans they were looking into the charges.

The Response From Cody & Satori

Cody and Satori had remained virtually radio silent about the debacle until December 10 when they appeared on the second hour of Dead Air Full Spectrum Podcast. In that interview, the couple stood firm on their abilities and even conceded to do their special knock trick without shoes on; many naysayers have said their feet are the secret to their “abilities.”

You can hear their responses starting at about 1:01.

The paranormal reality TV series firestorm has jumped the river from cable into the YouTubiverse. While there has been recent dissension among the ranks of cable TV ghosthunters, the ones on YouTube have pretty much been left unscathed.

Whether it’s because those channels are already labeled as disreputable because their owners literally get paid on likes and views and are therefore more open to manipulated exaggeration, or the majority of watchers believe that these amateur investigators are legit, the high-profile drama with Cody and Satori is a platform first.

It remains to be seen whether they can successfully convince the community of their abilities. No word yet on when they plan to do this.

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Astrolatry Built a Ten-Foot Practical Penis Scorpion

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2 hours ago

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April 24, 2026

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A sentient severed penis grows into a ten-foot creature with spiky teeth. Genre cinema is doing fine.

Astrolatry follows Elliot, played by Ethan Daniel Corbett, who is every ingredient for quiet catastrophe assembled in one man. Socially isolated. Physically isolated. Craving dopamine and finding it in the wrong places. The romance guru pipeline, followed to its logical conclusion. Elliot does not just spiral. He loses a piece of himself, literally, and that piece does not cooperate.

Corbett described it as “a horror satire, a trippy mind-fuck roller coaster” and “a modern retelling of Maniac,” both of which are accurate and neither of which adequately prepares you. Director David Gordon is making his feature debut after shooting 14 films as a cinematographer and he is swinging for the fences.

The Creature

The effects company behind the creature has festival circuit work Corbett had already seen before signing on. He knew what they could do but he was not ready. “When I saw it in person it was kind of mind-blowing,” he said. “Everything that you see in this movie is practical. Very, very little else. It was genuinely terrifying to have a ten-foot creature coming at you with a big mouth and spiky teeth.”

A CG creature asks an actor to imagine something. A ten-foot physical creature on a set asks nothing. It just arrives. The fear on Corbett’s face in those scenes is not a performance. It is the normal reaction to a scorpion dick with sharp teeth.

Elliot

Corbett went into the character through the body. “I mainly focus on the physicality of it. Who this character is and who he is wholly. I strive in those kinds of moments as an actor.”

Gordon was explicit about the concept, the “nice guy” archetype and the overtly toxic one are the same problem, both aimed at the same object. That reading lands because Corbett does not play it as a reading. Elliot is not a symbol. He is a person.

Where It Is Going

Astrolatry is heading to the Frontières Buyers Showcase at Cannes on May 16-17. “To be able to get into that kind of room on David’s first feature is incredible,” Corbett said. “To be in front of buyers and to showcase the film and potentially get distribution through that.” Frontières is the correct room. It is full of people who understand that the most extreme premise, executed with precision, is not a punchline. It is an argument.

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ShoStak Opens the Door for Filmmakers to Build and Own Their Stories

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23 hours ago

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April 23, 2026

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A new player is stepping into the space, but ShoStak is making one thing clear right away.

It is not trying to be the next Netflix. It is not chasing TikTok.

“Cinema does not need another platform. It needs a new model.”

That idea sits at the core of what ShoStak is building. Not just a place to watch content, but a system where creators and audiences connect in a way that feels very different from what we are used to.

The First 150 Competition Is Already Underway

ShoStak is kicking things off with its First 150 Competition, giving filmmakers a chance to present their story worlds and compete for the opportunity to move into production.

Projects are introduced as series concepts or pilots, then advance through multiple stages. Audience voting plays a role, but it is only part of the process.

Selections are ultimately shaped by a mix of audience engagement, creative execution, and overall project readiness. It is not just about popularity. It is about building something that can actually move forward.

For creators, it is a rare chance to get in front of both an audience and a structured development path at the same time.

One Platform, Built Around a New Model

Everything now lives under ShoStak.tv, where both creators and audiences come together.

Creators can sign up, develop their projects, and begin building their audience. Viewers can discover new series, follow story worlds, and engage with projects as they evolve.

ShoStak describes this as a cinematic ecosystem. Stories are not treated as disposable content designed to spike and disappear. They are built to grow over time.

And that growth happens in public.

Ownership Without Losing Structure

One of ShoStak’s core ideas is giving creators more control over what they build.

Filmmakers are positioned to:

  • Retain ownership of their intellectual property
  • Build direct relationships with their audience
  • Grow projects based on real engagement

At the same time, this is not a free-for-all.

There is still structure. Projects are evaluated, developed, and refined through a process that blends audience input with creative and strategic decision-making.

Instead of removing the system entirely, ShoStak is reshaping how creators move through it.

Development Happens in Public

This is where things start to separate from the traditional model.

Instead of developing behind closed doors, ShoStak allows projects to evolve in front of an audience.

Creators introduce their ideas, build a following, and expand their worlds over time. As engagement grows, so does the project.

It is less about waiting for approval and more about proving momentum.

Over time, that turns the platform into something larger than a development program. It becomes an open ecosystem where creators and audiences push stories forward together.

More Than Just Testing Ideas

Micro-series are a big part of ShoStak’s approach, but they are not just a testing ground.

They can be the final product.

The format allows creators to:

  • Tell complete stories in shorter form
  • Build long-term story worlds
  • Expand into larger projects when it makes sense

It is not about proving an idea and moving on. It is about giving that idea room to grow in whatever direction fits.

Why This Matters for Horror

Horror has always thrived outside the system.

Some of the most memorable films in the genre came from creators taking risks, working with limited resources, and finding their audience without waiting for permission.

ShoStak’s model fits naturally into that mindset.

It gives horror creators a space to:

  • Build original story worlds
  • Connect directly with fans
  • Grow projects without losing control

And with early content like Civilian and Liminal already rolling out, it is clear the platform is aiming for more than just quick-hit content.

A Different Path Forward

ShoStak is not trying to compete by doing the same thing better.

It is trying to change how stories are created, developed, and sustained.

By combining creator ownership, audience engagement, and a structured development path, it offers something that feels closer to a creative ecosystem than a traditional platform.

Whether it works long-term is still unknown.

But for filmmakers looking for a new way in, it is opening a door that has been closed for a long time.

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The Clayface Teaser Just Made October Feel Very Far Away

Published

1 day ago

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April 23, 2026

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Clayface is a character whose face changes. Or rather, he is a man whose body can transform into whatever is required in the moment. He primarily uses this skill to land acting jobs and murder people. Fun Guy.

Tom Rhys Harries plays Matt Hagen, an actor whose face gets destroyed in a gangster attack. Naomi Ackie is the scientist who hands him something that fixes the problem by making it considerably worse. Bandages. Blood. Then a face that begins to melt. You know where this ends.

Who Made This

Clayface Still

The director is James Watkins, who made Speak No Evil in 2024 and before that Eden Lake, which is one of the more quietly devastating horror films of the last twenty years. Watkins does not make comfortable films. He makes films that stay in the room with you after you leave the theater and this one is about a DC villain whose body does not hold its shape anymore.

The script is from Mike Flanagan and Hossein Amini. Flanagan built the language of prestige horror television with The Haunting of Hill House and Midnight Mass before moving back into features with The Life of Chuck. He writes characters who are being destroyed from the inside and the outside simultaneously.

The October Play

Clayface Poster

Clayface opens October 23, which puts it squarely in Halloween season and makes it the first DC film that actually belongs there. The project is likely rated R. The trailer confirms why.

There is a face melting off.

Watch the teaser. Then clear your calendar for October 23.

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