Podcasts about Arthur Miller

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

'The View' co-hosts and guest co-host Sheryl Underwood weigh in as a preliminary inquiry reported by 'The New York Times' finds the United States at fault for the missile strike on a girls' school in Iran that killed 175 people, raising urgent questions nearly two weeks into the ongoing attacks. Nathan Lane returns to Broadway in a bold revival of 'Death of a Salesman' and joins the show to reflect on why Arthur Miller's themes feel more urgent than ever. He also shares his thoughts on Timothée Chalamet's controversial comment that “no one cares” about ballet or opera. Plus, Stephen Lang stops by to discuss honoring a powerful true story in 'The Optimist'. He shares what drew him to portraying Holocaust survivor Herbert Heller and reflects on why these stories must continue to be told. Learn more about your ad choices. Visit podcastchoices.com/adchoices

“Takes All Kinds”—An American Public Affairs Discussion and Demonstration of Journalistic Theatre Actor and playwright Dan Hoyle and his director, celebrated director/actor Aldo Billingslea, provide an inside look at the creation of their widely acclaimed new solo performance piece “Takes All Kinds.” Dan's blog reminds the viewer that  ”I'll be disappearing into these different characters and stories and you'll be glad to journey there with me. They've been traveling with me these last couple years. I think they'll stay with you too.” With “Takes All Kinds,” Hoyle and Billingslea use journalistic theater and embodied storytelling to portray powerful, funny and complex people caught in the social and political currents roiling our society. They create portraits of everyday Americans through moving and funny true stories of American democracy: school board showdowns in Florida, grassroots organizers in Atlanta, barber shops in Las Vegas, deprogrammers of violent extremists in Missouri and more. In this mostly offstage oriented “talk-back” presentation, listeners and observers will have an opportunity to explore with Hoyle and Billingslea how thousands of hours go into a little over an hour show. The artists' view reveals (somewhat) the amazing mystery of live transformative theatrical narrative that has everyone laughing and pin-drop listening with the next moment. And always has the audience talking as they depart. Yes—it's about politics, but could experiencing public affairs embodied theatre journalism bring people something they needed more than they realized?   “Stunning…something almost supernatural happens,” according to the  San Francisco Chronicle. Currently based at the Marsh Theatre, “Takes All Kinds” has toured elsewhere in California plus New York City, Charleston and Chicago, and will be heading to Idaho, Florida and more in 2026. About the Speakers Oakland-based Dan Hoyle is an actor and writer whose immersion research theater work has been hailed as "riveting, funny and poignant" (The New York Times) and "hilarious, moving and very necessary" (Salon). His solo shows, all originated at The Marsh in San Francisco, have played across the country at The Public Theater, Culture Project, Baltimore Center Stage, Berkeley Rep, Cleveland Playhouse, Mosaic Theater Company, Oregon Shakespeare Festival, Portland Center Stage, Playmakers Rep, Painted Bride, Pure Theater and abroad in India, Ireland, Wales, Mexico, Canada and Nigeria. Aldo Billingslea (director) is a professor of theater at Santa Clara University (SCU). SCU's associate provost for diversity and inclusion, and served as the vice president of the 100 Black Men of Silicon Valley; he's a board member of TheatreWorks Silicon Valley, theatre program director for The222.org in Healdsburg, California.As an academic, he is a professor of American theatre from the Black perspective, acting styles, Shakespeare, and seminars on August Wilson. Billingslea is a lifelong professional actor featured in more than two dozen Shakespeare plays, productions of August Wilson's Gem of the Ocean, Ma Rainey's Black Bottom, and Fences, Arthur Miller's Death of a Salesman, Tennessee Williams' A Streetcar Named Desire, and Lorraine Hansberry's The Sign in Sydney Bernstein's Window. He also worked at the American Conservatory Theater, the Aurora Theater, California Shakespeare Theater, Lorraine Hansberry Theater, and the Marin Shakespeare Theater. An Arts Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums.  Organizer: Anne W. Smith  Learn more about your ad choices. Visit megaphone.fm/adchoices

Arthur Miller’s Death of a Salesman premiered in 1949. It won the Pulitzer Prize for Drama and the Tony Award for Best Play. It’s been said that it’s “probably the most successful modern play ever published.” This hour, with a new Broadway revival in previews, and with Peter Jacobson playing the title role in a new production at Hartford Stage, a look at Arthur Miller’s masterpiece of American drama, Death of a Salesman. GUESTS: Melia Bensussen: Artistic director at Hartford Stage and the director of their current production of Death of a Salesman Peter Jacobson: An actor; he’s playing Willy Loman in Hartford Stage’s current production of Death of a Salesman Stephen Marino: Founding editor of The Arthur Miller Journal and the author, most recently, of Arthur Miller’s New York: Visions of the City The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe, Eugene Amatruda, and Robyn Doyon-Aitken contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Arthur Miller's The Price @ Pacific Resident Theater – 8.5 out of 10! Great Show! LA Theatre Bites Recommended! www.latheatrebites.com

KPFA Theatre Critic Richard Wolinsky reviews “All My Sons” by Arthur Miller, at Berkeley Rep Roda Theatre through March 22, 2026.               TEXT OF REVIEW Great plays stay relevant, no matter the time or setting, or even subject matter. It could be a castle in Denmark in medieval times, a diner in Pittsburgh's Hill District in the 1960s, a cramped Chicago apartment in the 1950s, a shabby dacha in Tsarist Russia, or even Central Park during the AIDS crisis. Or it could be 1947, Just after World War II, in the backyard of a house in an Ohio town, as is the case with “All My Sons” by Arthur Miller, the classic play that gave the playwright his first success in the theatre, and is now seen in a brilliant and unforgettable production at Berkeley Rep through March 22nd. Joe Keller is the successful owner of an appliance company, having made his money on government contracts during the war years, it's the American dream come true. Joe's wife Kate refuses to believe their son Larry died three years ago after being reporting missing in action. Their other son Chris came back from the war changed, along with a sense of ethics that is heartening and sometimes terrifying. Into their lives and the lives of their neighbors returns their former neighbor Annie Deever, who had been Larry's girlfriend but now has changed her focus to Chris, who wants to marry her. All My Sons touches on so many relevant issues today. The horror of war, the immorality of capitalism, government pressure on business, and the emptiness of the American dream. The play delves into father-son relationships, the nature of grief, the personal effect of war, of ambition, and most emphatically  the places where ethics and love run up against each other as if enemies. Though the plot's outlines are based on a real news story, the play's stance toward capitalism and corruption brought Miller to the attention of HUAC. Corruption and Republican politics have a long and sordid history. Leading the cast are Jimmy Smits and his real life partner Wanda de Jesus as Joe and Kate, their chemistry visible and dynamic in every scene they're together, two top performers at the peak of their powers. One can single out every other actor in the cast as well and It's a dream ensemble. Director David MendizAbal has styled this as the story of a Puerto Rican family, leading to a cast largely consisting of people of color. Puerto Ricans were a visible group in Ohio at the time, also seeking the American Dream. It adds a new wrinkle, and it works. This memorable production of All My Sons only runs through March 22nd.  It is must-see theatre. For more information you can go to berkeleyrep.org. I'm Richard Wolinsky on Bay Area theatre for KPFA.   The post Review: “All My Sons” at Berkeley Rep Roda Theatre appeared first on KPFA.

Arthur Miller's classic play “All My Sons” tells the story of a father who attains the American Dream, but at a high cost to himself and everyone around him. Nearly 80 years after the original, Berkeley Rep's new production reimagines the play with a Puerto Rican family at the center.  The main characters, Joe and Kate Keller, are played by real life couple Jimmy Smits and Wanda De Jesús. We'll talk with the actors and director David Mendizábal about what the production has to say about the American Dream today. Guests: David Mendizábal, associate artistic director and director of "All My Sons," Berkeley Repertory Theatre Wanda De Jesús, actor starring as Kate Keller, Berkeley Repertory Theatre's production of "All My Sons" Jimmy Smits, actor starring as Joe Keller, Berkeley Repertory Theatre's production of "All My Sons" Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we celebrated the American Dream by watching a movie about how achievable and real it is! The 1985 made-for-TV-movie Death of a Salesman, starring Dustin Hoffman and John Malkovich. Tune in next week when our movie will be... The 'Burbs. ----- Follow Emily on Instagram and visit Emily's ETSY store FlemGems See Matt at the Punch Line in San Francisco March 3-7 with Beth Stelling.  THE JORDAN MORRIS WORLD TOUR!! (jk, it's just a couple of dates) 2/25 - Collectors Paradise North Hollywood, 5pm - 7pm 2/26 - Predator Double Feature @ The Frida Cinema in Orange County, 7pm https://thefridacinema.org/coming-soon/ 2/28 - Books With Pictures Eugene, OR 12pm - 3pm Also Jordan is doing some dates with the Doughboys. You can get your tickets at BirdFuck.com 2/28 - Portland 3/1 - Seattle

Most people meet Tituba through Arthur Miller. Nicole Brooks met her differently. The Canadian artist, producer, composer, and performer spent over a decade creating Obeah Opera, a fully sung a cappella theatrical work that centers Tituba and the other women of Salem as healers, wise women, and people who loved and were loved. In this conversation Nicole opens up about the research, the music, the controversy, and the story she believes America is ready to hear.What You Will LearnWho Tituba was beyond The CrucibleWhy Nicole positions every woman in the story as a healerHow the word Obeah appears in Puritan records and what that tells usThe love story at the heart of Obeah OperaHow the girls who made accusations were themselves silenced and powerlessWhat Tituba's name means in YorubaWhy an all-female cast changes how the story landsHow music makes the heaviest history bearableGuest Nicole Brooks, creator of Obeah OperaResources and Links Sign the Petition to Exonerate the Boston 8The History of Witch Trial Exonerations in MassachusettsAbout the MA Witch Hunt Justice ProjectPurchase a MA Witch Hunt Justice Project Memorial Pin

Nata a Los Angeles nel 1926 con il nome di Norma Jeane Baker, Marilyn Monroe è diventata uno dei volti più iconici del cinema americano. Attrice, modella e cantante, incantò Hollywood con la sua bellezza magnetica e un talento spesso sottovalutato. Ma dietro il sorriso perfetto e l'immagine costruita da studio e media, si celava una donna profondamente insicura, segnata da una vita di abbandoni, delusioni e fragilità emotiva. Dopo il successo di film come A qualcuno piace caldo e le sue celebri relazioni con personaggi come Joe DiMaggio, Arthur Miller e i fratelli Kennedy, la sua parabola si interruppe bruscamente il 5 agosto 1962, quando venne trovata senza vita nella sua casa di Brentwood. Ufficialmente, fu un suicidio. Ma nel corso dei decenni si sono moltiplicate le teorie: overdose accidentale, omicidio mafioso, insabbiamento politico, perfino coinvolgimenti dei servizi segreti. Ma cosa ha ucciso davvero Marilyn Monroe? E perchè a distanza di oltre sessant'anni, la sua morte rimane uno dei casi più enigmatici e controversi del secolo scorso? Proviamo a scoprirlo insieme a Carlotta Toschi: avvocato penalista, detentrice di un master in diritto di famiglia, ma soprattutto podcaster e autrice della serie "Dark Diaries". Iscriviti al gruppo Telegram per interagire con noi e per non perderti nessuna delle novità in anteprima e degli approfondimenti sulle puntate: https://t.me/LucePodcast Se vuoi ascoltarci senza filtri e sostenere il nostro lavoro, da oggi è possibile abbonarsi al nostro canale Patreon. Accedi gratuitamente alla puntata bonus di oggi e a tanti altri contenuti esclusivi esclusivi tramite questo link: https://www.patreon.com/posts/150510111?utm_campaign=postshare_creator

El Teatro Principal de Zaragoza acoge la obra Panorama desde el puente, el gran drama social de Arthur Miller sobre inmigración, deseo y traición. Hablamos con sus protagonistas, José Luis García-Pérez y María Adánez, sobre esta intensa versión escénica.

Conversamos con el actor José Luis García-Pérez, que interpretará a Eddie Carbone en "Panorama desde el puente", una versión actualizada de la obra teatral de Arthur Miller, dirigida por Javier Molina, co-director artístico de Actors Studio de Nueva York. Panorama desde el puente se representará en el Teatro Principal del 12 al 15 de febrero.

Star of 'Weekend at Bernie's' and 'Pretty in Pink', Andrew McCarthy talks to Brendan about his career as a Brat Pack star, and TV director. He also discusses the death of his parents, meeting his Irish wife, his long relationship with Ireland, and his first theatre role in 20 years, in Arthur Miller's 'The Crucible' at The Gaiety.

KPFA Theatre Critic Richard Wolinsky reviews the Streetcar Project's production of  “A Streetcar Named Desire” by Tennessee Williams at ACT Toni Rembe Theatre through February 1, 2026.           TEXT OF REVIEW (some changes were made during recording and cuts for timing were made for radio). ​​​​​The greatest of plays often allow for multiple interpretations. We see that all the time in Shakespeare. We see it in Arthur Miller, in the musicals of Rodgers and Hammerstein, even in August Wilson. And of course we see it in Tennessee Williams. Most interpretations of Williams' second play, A Streetcar Named Desire, are inhibited by the famous movie, which catapulted Marlon Brando to fame. It's hard to see Blanche Dubois beyond Vivien Leigh's faded Southern belle, and it's even harder to see the crude Stanley Kowalski past Brando's scream of “Stella!” But those interpretations, however close to Williams' wishes, obscure the play's lyricism and more to the point, his greatest creation, Blanche Dubois. This production by The Streetcar Project, now at ACT's Toni Rembe Theatre through February 1st, which has played in a variety of site-specific spaces, changes the paradigms, first by removing all props and sets, and second by discardmg the characters' accents, particularly that of Blanche Dubois, played by project co-creator, Lucy Owen. In addition, the full text has been restored. In this production, the stage area is fully open, bounded on three sides by two rows of audience members on folding chairs. Characters wander on and off stage, their voices carry but their bodies are sometimes hard to find.. it can feel like a reading, a radio play, but not always, and not in Act Two. What this shows now is that Streetcar is clearly Blanche's play. Whether with her sister, Stella, beautifully embodied by Heather Lind – their sisterhood is palpable, or with Mitch, Stanley's friend who falls for Blanche, played by James Russell as a product of his era, or with the brutal Stanley, performed by Brad Koed, who never quite escapes Brando. Without the accent, without the affectations, Lucy Owen's Blanche is revealed as brilliant, incisive, misunderstood and wronged. Her lies are no longer signs of weakness; they're not delusional; they're necessary for her survival, and the survival of her pride. It's a fascinating interpretation, which Williams' poetic dialogue om;y amplifies. She's caught in the trap of her times, and it's brought her down low. While much is gained here, something is also lost. Concessions to time and place come from the sound system and from costumes, but much of the action becomes incomprehensible without visible cues and with only the four actors. The giant stage, the cavernous theatre weaken the passion between Stella and Stanley. Chemistry vanishes when characters seem a football field apart. Would such a strong Blanche break so thoroughly at the end of the play? But whatever those issues, this is a Streetcar well worth visiting in its short run, through February 1st. For more information, you can go to act-sf.org. I'm Richard Wolinsky on Bay Area theatre for KPFA. The post Review: “A Streetcar Named Desire” at ACT Toni Rembe Theatre appeared first on KPFA.

In this conversation, Professor Arthur I. Miller discusses artificial intelligence and creativity, including his book The Artist in the Machine. We discuss the essence of creativity, exploring its interdisciplinary nature and the connections between art and science. Dr. Miller emphasizes the importance of visual imagery in both science and art, and he identifies the key characteristics of highly creative individuals. We talk about the role of AI in creativity, the future of human-machine collaboration, and we end with practical advice for enhancing your own creativity. Takeaways Breakthrough creativity comes from interdisciplinary connections. Visual imagery underlies creativity in both art and science. The future of creativity will be in the collaboration between humans and machines. Creativity can be cultivated through practice and new experiences. For further information: Arthur I. Miller's web site Professor Miller's book The Artist in the Machine: The World of AI-Powered Creativity Music by license from SoundStripe: "Uptown Lovers Instrumental" by AFTERNOONZ "Miss Missy" by AFTERNOONZ "What's the Big Deal" by Ryan Saranich   Copyright (c) 2026 Keith Sawyer

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   John Varley (1947-2025): Hugo & Nebula Award Winning Science Fiction Author John Varley (1947-2025), Hugo and Nebula Award winning science fiction novelist, who died on December 10, 2025 at the age of 78, in conversation with Richard Wolinsky, recorded in the KPFA studios July 17, 1992 while on tour for the novel “Steel Beach.” John Varley hit the ground running with his first short story, “Picnic on Nearside,” published in 1974 in the Magazine of Fantasy and Science Fiction. He was already considered the logical heir to Robert Heinlein by the time his novel, The Ophiuchi Hotline was published in 1977 and his short story collection, The Persistence of Vision a year later. He followed those books with a trilogy that included Titan, Wizard and Demon, then went to Hollywood for seven years. This Probabilities interview was recorded on July 17, 1992 when he returned to the field with his novel, Steel Dreams, first of two novels set in the Eight Worlds universe of his earlier work; the sequel, The Golden Globe, was published in 1998.. By the time of this interview, John Varley's history with Hollywood would be over. You can find a PBS version of Overdrawn at the Memory Bank on Pluto TV, and two episodes from the TV show Paradox on You Tube. The film Millennium is not streaming. After The Golden Globe, John Varley wrote seven novels, most in a new series titled Thunder and Lightning. He returned to the Eight Worlds for his final novel, Irontown Blues, published in 2018. There would also be The John Varley Reader in 2004 and another collection in 2013. This interview has not aired in over thirty years.   Alan Furst: Best-selling Spy Novelist, 2002 Alan Furst, historical spy novelist, in conversation with Richard Wolinsky, recorded in the KPFA studios during the book tour for “Blood of Victory, September 26, 2002. This interview has not aired in over two decades. In this interview, he discusses his early career, resistance during World War II, and creating the unique atmosphere and characters in his books.His latest novel, Under Occupation, was published in 2019. Alan Furst's career took off with his novel Kingdom of Shadows in 2000, the sixth book in his series of stand-alone novels about heros and villains in Europe in the years leading up to, and including World War II.  Suffused with atmosphere, his books feel as if you're living with the characters in those haunted times. Of course, there is added resonance as we live through what might be similar times today. This is the second of five Bookwaves interviews with Alan Furst.   James Lapine discusses his collaborations with Stephen Sondheim.     Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. Some venues operate Tuesday – Sunday; others for shorter periods each week. All times Pacific Time. Closing dates are sometimes extended. Book Stores Bay Area Book Festival  See website for highlights from the 110th Annual Bay Area Book Festival, May 31 – June 1, 2025. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.  Monthly Event Calendar. BookShop West Portal. Monthly Event Calendar. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Green Apple Books. Events calendar. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actors Ensemble of Berkeley.  See website for readings and events. Actor's Reading Collective (ARC).  See website for upcoming productions. African American Art & Culture Complex. See website for calendar. American Conservatory Theatre  Paranormal Activity, Feb. 19 – March 15, Toni Rembe. Awesome Theatre Company. See website for information. Berkeley Playhouse. Once, February 20 – March 22.  Berkeley Rep. How Shakespeare Saved My Life written and performed by Jacob Ming-Trent .January 23 – March 1, Peets Theatre. All My Sons by Arthur Miller, Feb. 20 – March 29, Roda Theatre. Berkeley Shakespeare Company See website for upcoming productions. Brava Theatre Center: See calendar for events listings. BroadwaySF: The Notebook, February 10 – March 1, Orpheum. See website for complete listings for the Orpheum, Golden Gate and Curran Theaters. note: BroadwaySF is now ATG Tickets. Broadway San Jose:  The Book of Mormon, March 6-8. Beetlejuice, March 31 – April 5. Les Miserables, April 29 – May 3. Back to the Future, June 2 – 7. The Sound of Music, July 21-26, Center REP: Lost in Yonkers by Neil Simon, March 29 – April 19. Central Stage. See website for upcoming productions, 5221 Central Avenue, Richmond Central Works After Happy by Patricia Milton, Feb. 28 – March 29. Cinnabar Theatre. My Fair Lady, January 23 – February 8, 2026. The Christians by Lucas Hnath, April 10-26, The Secret Garden, June 12 – 28. Club Fugazi. Dear San Francisco, ongoing. Closed Monday and Tuesday. Contra Costa Civic Theatre A Chorus Line, June 6 – 21, 2026. See website for other events and concerts. Golden Thread  See website for upcoming events and productions. Hillbarn Theatre: What the Constitution Means to Me by Heidi Schreck, January 22 – February 8. Songs for a New World, music and lyrics by Jason Robert Brown, March 5 -22. Lorraine Hansberry Theatre. Sistah Friend by by Phaedra Tillery-Boughton, directed by Margo Hall. February 7, 2 pm, Museum of the African Diaspora. Los Altos Stage Company. Yoga Play by Dipika Guha. January 22 – February 15.. Lower Bottom Playaz  See website for upcoming productions. Magic Theatre. Macbeth, a new version by Migdalia Cruz. March 18 – April 5. Marin Shakespeare Company: Let The Wind Sweep Through: A Conference of Birds, Feb. 6-15. See website for schedule. Marin Theatre: The Cherry Orchard by Anton Chekhov Jan . 29 – Feb. 22, 2026. Masquers Playhouse, Point Richmond. Improbable Fiction by Alan Aykbourn, Feb. 6 – March 1. Mission Cultural Center for Latino Arts Closed. SF Chronicle gift article. New Conservatory Theatre Center (NCTC)  Pride Cabaret, Feb. 5-7. Gods and Monsters based on the novel by Christopher Bram, written and adapted by Tom Mullen, March 6 – April 5. New Performance Traditions.  See website for upcoming schedule Oakland Theater Project. The Mountaintop by Katori Hall, Thurs-Sun, Feb. 5 – 15. Odd Salon: Upcoming events in San Francisco & New York, and streaming. Palace of Fine Arts Theater.  See website for event listings. Pear Theater. My Fair Lady, Feb 20 – March 8. See website for staged readings and other events. Playful People Productions. The One-Act Play That Goes Wrong, March 6 – 22. Presidio Theatre. See website for complete schedule of events and performances. The Children's Theatre Association of San Francisco (CTA) presents Once Upon a Mattress, January 24 – February 28. Ray of Light: Mean Girls. May 2026. Ross Valley Players: See website for New Works Sunday night readings and other events. San Francisco Playhouse. M. Butterfly by David Henry Hwang. February 6 – March 14.. SFBATCO.  See website for upcoming streaming and in- theater shows. San Jose Stage Company: See website for events and upcoming season Shotgun Players.  Sunday in the Park with George, extended to February 15, 2026. South Bay Musical Theatre:  Little Women, The Broadway Musical, January 24 – February 14, 2026. SPARC: See website for upcoming events. Stagebridge: See website for events and productions. Storytime every 4th Saturday. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Lunatico  See website for upcoming productions.. Theatre Rhino  Left Field, written and directed by John Fisher, February 19 – March 15. Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. TheatreWorks Silicon Valley Hershey Felder: The Piano and Me, January 17 – February 8, Mountain View Center for the Performing Arts. Primary Trust by Eboni Booth, March 4 – 29, Lucie Stern Theatre, Palo Alto. Word for Word.  See website for upcoming productions. Misc. Listings: BAMPFA: On View calendar for Berkeley Art Museum and Pacific Film Archive. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2025 Season. Dance Mission Theatre. On stage events calendar. Fort Mason Center. Events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Gay Men's Chorus. See schedule for upcoming SFGMC performances. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org   . The post Bookwaves/Artwaves – January 8, 2026: John Varley – Alan Furst appeared first on KPFA.

Egy jó regényről órákig lehet beszélgetni, ahogyan egy remek színházi előadásról is. Ezért kalandozom időnként ebben a műsorban/podcastban a színházi világban. Miért ne közelítenék úgy egy darab legfontosabb kérdéseihez, ahogyan egy könyv történetéhez szoktam? Meddig hajszoljuk a sikert, mielőtt elveszítjük önmagunkat? Mi történik, ha az álom, amit egész életünkben kergetünk, végül nem válik valóra? Hogyan mérjük a sikert? Meddig kapaszkodunk illúziókba, mielőtt szembenézünk az igazsággal? A Székesfehérvári Vörösmarty Színház nagy sikerű előadásáról, Az ügynök haláláról szól ezúttal a Könyvben utazom, a téma pedig az a sok párhuzam, mai helyzet, amivel szembesíti a nézőt Arthur Miller drámája. A műsor vendége a - januárban még két alkalommal látható - darab címszereplője, a Willy Lomant alakító Gáspár Sándor.

Actor/comedian Jeremy Piven is back for part two of his interview and talks about the ten years it took to get his movie made. "The Performance" is based on an Arthur Miller story in which a Jewish tap dancer is recruited to prance before Hitler. | Jeremy has made the jump from acting to stand-up comedy and still gets ridiculed by other comedians. | He grew up acting with John Cusack in his family theatre company in Chicago at age eight. *To hear the full show to go www.siriusxm.com/bonfire to learn more! FOLLOW THE CREW ON SOCIAL MEDIA: @thebonfiresxm @louisjohnson @christinemevans @bigjayoakerson @robertkellylive @louwitzkee @jjbwolf Subscribe to SiriusXM Podcasts+ to listen to new episodes of The Bonfire ad-free and a whole week early.  Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

The heirs of deceased playwrights can be finicky about new productions—Samuel Beckett, Arthur Miller—but the head of the Mint Theater has a different experience. "What I tend to run into from estates is, 'Really? You're interested in that old play? Great!'" How to revive neglected plays. Music: Sean Hagerty

From award-winning playwright Kimberly Bellflower comes a modern reimagining of Arthur Miller's The Crucible. Set in rural Georgia in 2018; what does high school feminism, mixed with the #MeToo movement, and studying the Salem Witch Trials look like? Join Sarah and Jeffrey, your favorite Salem tour guides, as they read through and reflect on this modern, feminist response to Arthur Miller's interpretation. We found it to be a masterful piece of art that shows just how important and relevant these stories are, especially in today's world. TW: This episode, and the play, do contain discussions of sexual assault of minors. If you or anyone you know has experienced sexual assault please know you are not alone.  Call: 1-656-4673 Text: Hope to 64673 https://rainn.org/help-and-healing/hotline/   “Help & Healing.” RAINN. Accessed November 11, 2025. LINK RAINN “John Proctor Is the Villain: Official Site.” Accessed November 11, 2025. LINK John Proctor Is the Villain – Official Trailer. YouTube video, (no date). Accessed November 11, 2025. LINK “John Proctor Is the Villain,” YouTube. Accessed November 11, 2025. LINK “Kimberly Belflower Playwright on John Proctor Is the Villain.” Los Angeles Times, May 21, 2025. LINK Los Angeles Times John Proctor Is the Villain, play script. Scribd. Accessed November 11, 2025. LINK “Track from John Proctor Is the Villain (Spotify).” Spotify. Accessed November 11, 2025. LINK   Interested in Salem The Podcast Merch!?  CLICK HERE! Interested in supporting the Podcast? Looking for more Salem content? CLICK HERE! www.salemthepodcast.com NEW INSTAGRAM - @salemthepod Email - hello@salemthepodcast.com   Book a tour with Jeffrey at Salem Uncovered Tours  www.salemuncoveredtours.com  Book a tour with Sarah at Bewitched Historical Tours   www.bewitchedtours.com   Intro/Outro Music from Uppbeat: https://uppbeat.io/t/all-good-folks/unfamiliar-faces License code: NGSBY7LA1HTVAUJE

From award-winning playwright Kimberly Bellflower comes a modern reimagining of Arthur Miller's The Crucible. Set in rural Georgia in 2018; what does high school feminism, mixed with the #MeToo movement, and studying the Salem Witch Trials look like? Join Sarah and Jeffrey, your favorite Salem tour guides, as they read through and reflect on this modern, feminist response to Arthur Miller's interpretation. We found it to be a masterful piece of art that shows just how important and relevant these stories are, especially in today's world. TW: This episode, and the play, do contain discussions of sexual assault of minors. If you or anyone you know has experienced sexual assault please know you are not alone.  Call: 1-656-4673 Text: Hope to 64673 https://rainn.org/help-and-healing/hotline/   “Help & Healing.” RAINN. Accessed November 11, 2025. LINK RAINN “John Proctor Is the Villain: Official Site.” Accessed November 11, 2025. LINK John Proctor Is the Villain – Official Trailer. YouTube video, (no date). Accessed November 11, 2025. LINK “John Proctor Is the Villain,” YouTube. Accessed November 11, 2025. LINK “Kimberly Belflower Playwright on John Proctor Is the Villain.” Los Angeles Times, May 21, 2025. LINK Los Angeles Times John Proctor Is the Villain, play script. Scribd. Accessed November 11, 2025. LINK “Track from John Proctor Is the Villain (Spotify).” Spotify. Accessed November 11, 2025. LINK   Interested in Salem The Podcast Merch!?  CLICK HERE! Interested in supporting the Podcast? Looking for more Salem content? CLICK HERE! www.salemthepodcast.com NEW INSTAGRAM - @salemthepod Email - hello@salemthepodcast.com   Book a tour with Jeffrey at Salem Uncovered Tours  www.salemuncoveredtours.com  Book a tour with Sarah at Bewitched Historical Tours   www.bewitchedtours.com   Intro/Outro Music from Uppbeat: https://uppbeat.io/t/all-good-folks/unfamiliar-faces License code: NGSBY7LA1HTVAUJE

Curated clips of live broadcasts from popular radio shows of the day. Radio highlights originally broadcast live October 15 through October 22, 1939. A tapestry of History through the eyes of people as they lived it, reported by radio. In today's SoundScape: Fibber McGee and Giidersleeve Argue! Henry Aldritch combs his hair! Arthur Miller's first … Continue reading When Radio Ruled #149 – SoundScape 1939 part 21 October 15-22, 1939

Send us a textThis week on Mummy Dearest Podcast we're unwrapping 1996's Puritanical liar girl rom-com "The Crucible"! We discuss everything from getting water sign revenge on those who have wronged us to getting drunk at a Chinese family reunion! We also discuss the film, but like, you know, briefly. The AI component of our podcast that we cannot turn off recommended we name this episode "Uncle Zach's Tickle Tales" and just wait til you find out why! Zach also calls Daniel Day-Lewis one to watch, a true star on the rise. We can't wait to see what he does next in his career! All that and so much more on this week's episode of Mummy Dearest Podcast! Support the showVisit MummyDearestPodcast.com for merch and more!Follow the podcast on Instagram!Follow Sloane on Instagram!Follow Zach on Instagram!And most importantly, become a Patron and unlock hundreds of bonus episodes!

-My daughter, Darah, brought by some of her castmates today to tell us all about their remarkable version of Arthur Miller's "The Crucible". I even coaxed them into doing some of their dialogue from the play! Get tickets for the final three shows at....xaviertheatre.ludus.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode of Prayer On the Air, Angela dives deep into the spiritual journey of humility, unconditional love, and self-acceptance. She explores how fear, comparison, and judgment block us from experiencing inner peace and true divine presence. Inspired by Arthur Miller's After the Fall, Angela offers profound insights into embracing the parts of ourselves we've labeled unlovable, revealing how unconditional acceptance becomes a path to spiritual healing.This episode features a powerful healing prayer session with Teri Jo. She shares the success of her Becoming Your Own Bestie workshop and requests prayer for knee healing, clarity in her calling, and ease in facilitating future workshops. Angela guides her into surrender, trust, and letting go of limiting beliefs about abundance and worthiness.Listeners also join in prayer for Diane's daughter Lucy, who is currently undergoing an ADHD assessment, affirming perfect unfolding, divine love, and emotional support for the entire family.This heartfelt conversation invites you to release the “shoulds,” embrace what is, and step into radical acceptance, spiritual awakening, and the miracle of your own existence.

Merriam-Webster's Word of the Day for November 17, 2025 is: crucible • KROO-suh-bul • noun A crucible, in the word's literal use, is a pot in which metals or other substances are heated to a very high temperature or melted. But crucible is more often encountered in figurative use referring to a difficult test or challenge, or to a place or situation that forces people to change or make difficult decisions. // The bronze was heated to 2,100 degrees in the crucible and then poured into molds designed by the artist. // Her latest novel follows two best friends in a fantastical, battle-ravaged kingdom who emerge from the crucible of war with opposing views and values on what should come next. See the entry > Examples: “... the original film follows four married couples—close friends who reunite once a year for a weeklong vacation together. On the surface, the retreat is meant to help them relax and reconnect, but it quickly becomes a crucible for examining the cracks in their relationships.” — Matt Grobar, Deadline, 1 Oct. 2025 Did you know? Unless you're studying Arthur Miller's The Crucible in school, it may not be crucial to learn the story behind crucible, but it can't hurt! Crucible looks like it should be closely related to the Latin combining form cruc- (“cross”); however, unlike crucial, it isn't. It was forged instead from the Medieval Latin crucibulum, a noun for an earthen pot used to melt metals, and in English it first referred to a vessel made of a very heat-resistant material (such as porcelain) used for melting a substance that requires a high degree of heat. It's possible that the resemblance between cruc- and crucible encouraged people to start using crucible to mean “a severe trial,” as that sense is synonymous with one meaning of cross, but the idea of simmering in a literal crucible also sounds plenty severe. The newest sense of crucible (“a situation in which great changes take place,” as in “forged in the crucible of war”) recalls the fire and heat required to transform some solids into liquids.

Actors Bryan Cranston and Marianne Jean-Baptiste discuss their production of Arthur Miller's All My Sons. Director Jon M Chu reveals the influence of watching The Wizard of Oz , as a boy growing up. And how he cast his very own Wicked: For Good. Samira is joined by food writers Diana Henry and Nikkitha Bakshani - who also happens to be an award winning novelist - to talk about the art of great food writing. And dynamic pricing in theatre - is it more (or less) fair for market forces to decide how high ticket prices can rise.Presenter: Samira Ahmed

Jackson and Jacob kick off Adaptation Month by discussing Kimberly Belflower's recent Broadway hit "John Proctor is the Villian." Based on Arthur Miller's famous play "The Crucible," this contemporary play ignites a fire in a close-knit school community. Listen in! ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Thanks so much for listening! We'll see you next week.

Susan and Barbara sit down for a cosy chat about everything from becoming a crone, living with the cycle of nature, ghosts, cats, ghost cats, apports, ancestors, and Arthur Miller's The Crucible.

Luke Norris, Tilda Swinton, Gary Oldman, Ryan Calais Cameron, Robert Aramayo, John Proctor is the Villain and so much more – the Royal Court season is celebrating its 70th birthday in style. We hop into artistic director David Byrne's office to get the lowdown on his programming choices – how he's both honouring and winking at the history of this home for new writing. Plus – his experiences watching Andrew Lloyd Webber watching John Proctor is the Villain – and the moment Arthur Miller had beef with the Court... Hosted on Acast. See acast.com/privacy for more information.

The legendary composer, arranger, musician and penny whistle player, David Amram, will be in conversation with Academy Award documentary filmmaker Barbara Kopple at the Woodstock Film Festival on Sunday, 10/19 12 noon. The venue is the Kleinert/James Art Center, 34 Tinker St, Woodstock. David Amram started his professional life in music as a French Hornist in the National Symphony Orchestra (Washington, D.C.) in 1951. After serving in the US Army from 1952-54, he moved to New York City in 1955 and played French horn in the legendary jazz bands of Charles Mingus, Dizzy Gillespie, Lionel Hampton and Oscar Pettiford. In 1957, he created and performed in the first ever Jazz/Poetry readings in New York City with novelist Jack Kerouac, a close friend with whom Amram collaborated artistically for over 12 years. Since the early 1950s, he has traveled the world extensively, working as a musician and a conductor in over thirty-five countries including Cuba, Kenya, Egypt, Pakistan, Israel, Latvia and China. He also regularly crisscrosses the United States and Canada.He composed the scores for many films including Pull My Daisy (1959), Splendor In The Grass (1960) and The Manchurian Candidate (1962). He composed the scores for Joseph Papp's Shakespeare In The Park from 1956-1967 and premiered his comic opera 12th Night with Papp's libretto in 1968. He also wrote a second opera, The Final Ingredient, An Opera of the Holocaust, for ABC Television in 1965. From 1964-66, Amram was the Composer and Music Director for the Lincoln Center Theatre and wrote the scores for Arthur Miller´s plays After The Fall (1964) and Incident at Vichy (1966). Appointed by Leonard Bernstein as the first Composer In Residence for the New York Philharmonic in 1966, he is now one of the most performed and influential composers of our time. For tickets & details: https://woodstockfilmfestival.org/2025-all-events?eventId=68c4216f81b8e06c5bb8c1fc

There is a line in Arthur Miller's 1953 play The Crucible, that reads, “What victory would the Devil have to win a soul already bad? It is the best the Devil wants, and who is better than the minister?” When we think of demonic possession, we think of random, wrong-place-wrong-time, bad luck of the draw happenstance. We don't think of the religiously devout, but maybe Arthur Miller was right - what better trophy for a demon than one of God's favorites. Which leads us to our first episode to kick off our Halloween season, the case that inspired the 2005 film The Exorcism of Emily Rose, the Possession of Annaliese Michel.

Shakespeare & Company's Artistic Director Allyn Burrows and the co-chair of the upcoming Celebrating Jewish Plays program Greg Lipper sat down with "The Shmooze" to talk about the weekend-long event. Celebrating Jewish Plays runs October 10–12, 2025, and will feature four staged readings—"The Price," by Arthur Miller; "The Sisters Rosensweig," by Wendy Wasserstein; "Here There Are Blueberries," by Moisés Kaufman and Amanda Gronich; and "Roz and Ray," by Karen Hartman, featuring Tony-nominated actor John Douglas Thompson ("The Gilded Age"). Established in the 1970s, Shakespeare & Company, in Lenox, Massachusetts, develops and performs Shakespeare's works as well as other classic, contemporary, and socially and politically significant works. The company embraces the core values of Shakespearean ethos: collaboration, commitment to language, visceral experience, and classical ideals expressed with physical prowess and an embodied contemporary voice. Episode 397 September 21, 2025 Amherst, MA "

In part 2 of this special series “Showing up as you are”, recorded during 2024, with Jay Humphries and leadership expert Gary Anello; Jay delves into themes of authenticity, diversity, equality, and inclusion, emphasizing the importance of telling the truth and leading with integrity. They discuss the personal impacts of not living one's truth, referencing plays such as Eugene O'Neill's 'Long Day's Journey Into Night' and Arthur Miller's 'Death of a Salesman' to illustrate the consequences of inauthenticity. Through candid and unfiltered conversations, Jay and Gary explore the challenges and importance of showing up as one's true self both personally and professionally.Read more: Lorena Wüthrich, writes The Poisonous Impact of Avoiding the Truth - Reflections on the special series "Showing up as you are"Follow us on Instagram: @hocosoconversation and Linkedin: HoCoSo Conversation

Send us a textThe remarkable story of Detroit's 1935 "City of Champions" status stands as perhaps the greatest untold achievement in American sports history. When the Lions captured the NFL championship, the Tigers claimed the World Series, and the Red Wings hoisted Lord Stanley's Cup all in the same year – while Joe Louis began his meteoric rise to boxing dominance – Detroit experienced a perfect storm of athletic excellence that has never been matched.In this episode, co-host Charles Avison shares his passionate 15-year quest to bring this forgotten legacy back into public consciousness. What began as research for a book became a mission that faced unexpected resistance from mainstream media and publishers. Rather than accepting defeat, Charles pivoted to grassroots efforts – selling books at art fairs and eventually creating Inspire Marketplace, a Made in Michigan gift shop that now supports over 110 local artists while serving as a platform for the City of Champions story.The conversation takes fascinating detours through Detroit's latest ventures, including the new Ice Cube 3-on-3 basketball team, while also exploring university archives that reveal connections between Detroit's sporting triumphs and broader historical figures. We discover Arthur Miller's student journalism about Black athlete Willis Ward and the complex decisions faced by athletes regarding the 1936 Berlin Olympics – threading Detroit's championships into the fabric of American cultural history.Beyond sports statistics, this episode illuminates the perseverance required to preserve history that might otherwise slip away. Charles' journey parallels the championship teams he chronicles – facing setbacks, adjusting strategies, and refusing to concede defeat. As Inspire Marketplace expands to new locations including Detroit's airport and potentially downtown near the stadiums, the mission to celebrate Detroit's unprecedented championship year gains momentum.Join us as we reconnect with Detroit's sporting legacy and the determination required to keep remarkable stories alive for future generations. Whether you're a sports enthusiast, history buff, or appreciate tales of persistence against the odds, this episode offers a compelling glimpse into a magical moment when Detroit truly became the City of Champions.https://linktr.ee/DetroitCityofChampionswww.DJJamieDetroit.comwww.WearingFunny.com

Today, I'm thrilled to announce my interview with Tony nominee Stephen Lang. Tune in to hear some of the stories of his legendary career, including his memorable audition for DEATH OF A SALESMAN, a harrowing experience onstage during THE SPEED OF DARKNESS, improvising during rehearsals for A FEW GOOD MEN, how he became the youngest honorary member of the D'Oyly Carte Theater Company, why Lynn Redgrave was perfect for SAINT JOAN, working with Arthur Miller on his final play FINISHING THE PICTURE, the challenges of performing with Quentin Tarantino in WAIT UNTIL DARK, why Len Cariou was a perfect co-star for him, how he chose to play the title role in HAMLET on Broadway, what Gerald Schoenfeld taught him about the Tonys, the genesis of his solo show BEYOND GLORY, how that play led to his role in AVATAR, and so much more. Don't miss this candid conversation with a star of stage and screen.

Send us a textMorris Katz, ad-maker at the Fight media firm, is the lead media strategist for Zohran Mamdani's insurgent campaign that secured the Democratic nomination for mayor of New York City in a decisive upset over the long-favored Andrew Cuomo. In this conversation, Morris talks his NYC roots, coming from an artistic family, his accidental path into politics, and a deep dive into the Mamdani campaign's monumental win. We discuss the candidates, the overarching strategy, important tactical decisions, inside the memorable viral and paid media content, the role of outside groups, what is misunderstood about the race, what is replicable for others and much more with a lead operative on one of the most impressive and innovative campaigns in recent memory.IN THIS EPISODEMorris grows up in downtown Manhattan in an artistic household...What diverted Morris from focusing on screenwriting to a career in politics...How a stint in North Carolina politics shaped Morris' trajectory...What is unique about Morris' firm, Fight...How Morris entered the world of Zohran Mamdani & his first impressions of the candidate...Morris breaks down the 3-phase strategy of the Mamdani mayoral campaign...The role the DSA-NY and Working Families Party played in the rise of Zohran Mamdani...How the Mamdani field operation fundamentally changed the race...Was the Free Palestine movement integral to the Mamdani ascent...Inside the Mamdani digital program and why it caught fire...A communication strategy the Mamdani campaign "unlocked"...Technical aspects that made Mamdani video and ad content stand out...What makes Zohran Mamdani an effective political communicator?The paid-media strategy undergirding the campaign's rise...How the Knicks playoff run impacted Mamdani media decisions...Why the campaign invested in :15 second ads...Parallels between Zohran Mamdani and Barack Obama...How Morris views the attacks on Mamdani of anti-semitism and defunding the police...The influential role played by mayoral candidate Brad Lander...Unpacking the winning Mamdani coalition...Morris' most surreal post-election moment...What is most replicable for other campaigns from the Mamdani success?AND AOC, Elle Bisgaard-Church, Eric Bogosian, Jamaal Bowman, Adam Carlson, Josh Charles, Andrew Cuomo, Bill de Blasio, Bob Dylan, Andrew Epstein, eyebrows, halal-flation, Hiroshima Mon Amour, Phillip Seymour Hoffman, Rebecca Katz, Brett Leonard, Willy Loman, manic energy, Tommy McDonald, Matt McLaughlin, Melted Solids, Arthur Miller, Julian Mulvey, the new brunch, Trey Nix, the politics of sighs, Antonio Reynoso, Katie Riley, Sam Rockwell, John Shanley, Erica Smith, Nydia Velazquez, Yul Vasquez, villains...& more!

Positivity is at the heart of any kind of success. A desire to succeed, paired with a positive mindset, good friends, and hard work, can create momentum and growth in any direction you choose. On this episode of The Unfinished Print, a Mokuhanga Podcast, I speak with Michael Verne, a gallerist specializing in Japanese prints and paintings. Michael shares his approach to success, the power of positivity in business, and how he navigates the ups and downs of running a small, focused gallery. Through rich stories, both his own and those of the artists he represents, Michael offers insight into how storytelling shapes his business, sustains its growth, and supports educating people about mokuhanga and Japanese art. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Michael Verne and The Verne Collection - website The Metropolitan Museum of Art - is the largest art museum in North and South America. It began to be assembled by John Jay (1817-1894) in the late 19th century. Incorporated in 1870, the museum has collected many essential pieces, such as the works of Henri Matisse (1869-1954) and Pierre-Auguste Renoir (1841-1919). For more information about the MET, you can find it here. Daniel Kelly - is a visual artist and printmaker based in Kyoto, Japan. Daniel Kelly has shown all over the world, and is many museum collections as well. More information can be found, here.   Morning Calm (1983) 14.5" x 20.5" Tomikichirō Tokuriki (1902-2000) - was a Kyoto based mokuhanga printmaker and teacher. His work touched on many themes and styles. From “creative prints” or sōsaku hanga in Japanese, and his publisher/printer prints, or shin hanga prints of traditional Japanese landscapes.  Dance of Shimazu (1950's)  Sanford Smith and Works On Paper Exhibit - Sanford Smith (1939-2024) was one of the more important New York City art promoters of his time. Founding Sanford L. Smith + Associates, Sanford Smith created many art fairs such as the Works On Paper show, now known as Art On Paper which focused on works on paper such as prints, watercolours and photographs. More information can be found, here.   Willy Loman - is a fictional character in the novel Death of as Salesman by Arthur Miller, first published in 1949. Sadao Watanabe (1913-1996) - was a stencil and dyeing printmaker (katazome 型染め) from Japan. His works were specifically Biblical in nature. His work was also in stained glass which can be found in Nagoya, Aichi, Japan.  Eve (1965)  John Carroll University - is a private Jesuit University located in the suburbs of Cleveland, Ohio, USA and founded in 1886.  New Heights Podcast - is a podcast hosted by American football players Jason and Travis Kelce. It is produced by Michael Verne's son Brian Verne who is the CEO of Wave Sports and Entertainment. The Armoury Show - is an annual international art fair held in New York City, primarily focusing on contemporary art by living artists, but also featuring works by 20th-century masters. Pace Gallery -  is a gallery located in New York City and founded in 1960. Today the gallery is a leader in exhibiting some of the top artists in their media. There are galleries in London, Los Angeles, Hong Kong, Seoul, Geneva and East Hampton. More information can be found, here. Joel Stewart - is an American visual artist based in Kyoto, Japan.  Joel works in ceramics, installation, printmaking and mixed media. More information about Joel can be found, here.  Karatsu (2016) watercolour on paper 30" x 22" Quiet Elegance - is a book published by the Charles E. Tuttle Company in 1997 written by Betsy Franco and Michael Verne. The Charles E. Tuttle Company is now called simply Tuttle.  Dan Rather - is an American journalist who was the head anchor of the CBC Evening News from 1981 - 2005.  Joshua Rome -  is an American mokuhanga printmaker based Vermont after spending many years in Japan. His themes are of landscapes and the human condition. More information can be found, here.  Mixing Hours (1998) shibui (渋い) - is a Japanese concept that refers to a subtle, simple, and refined beauty. Yuko Kimura - is a contemporary printmaker based in California who used etching, aquatint, monotype, indigo dye, and cyanotype on pleated, stitched or twisted paper for her works. Yuko creates process videos on her website so you can see her process of her complex works. More information can be found, here.   Fusion no. 22 2010 etching and enamel on copper in abaca handmade paper 8" x 6"  wabi sabi - is a traditional Japanese aesthetic concept that embraces the beauty of imperfection, impermanence, and simplicity. Rooted in Zen Buddhism, it values natural materials, asymmetry. Takauchi Seihō (1864 - 1942)-  was a painter of Nihonga. His paintings were famous because of his travels to the West and the influences gathered from that. More information can be found, here.  Spring and Autumn (left screen) c 1889 Allen Memorial Art Museum - is an art museum located in Oberlin, Ohio and was founded in 1917.  Katustori Hamanishi -  is a mezzotint artist known for his diptychs , triptychs and quadtychs. More information can be found, here.  Cosmos Field (2022) 23.75" x 17.75" mezzotint Shigeki Kuroda - is a visual artist who works in aquatint, mezzotint, drypoint, and etching. For more information about his work can be found, here.  Mild Breeze (1953) 25.1" x 18.1" etching and aquatint Clifton Karhu (1927-2007) -  was a mokuhanga printmaker based in Japan. Karhu lived in Japan for most of his life after studying with Tetsuo Yamada and Stanton Macdonald-Wright. HIs themes were of his home city of Kyoto, Japan. More information can be found, here.  Katsura Moonlight (1982) 15.75" x 11./81" Tollman Collection  - is a well known Japanese art gallery located in Daimon, Tokyo, Japan. More information can be found, here.  Toko Shinoda (1913-2021) - was a Japanese visual artist who was made famous for her works in Sumi ink paintings and prints. More information can be found, here.  Winter Green (1990) ink on paper Hideo Takeda -  is a Tokyo based graphic illustrator, mokuhanga printmaker, and all around artist who challenges what it means to be an artist in this modern world. More information can be found, here.   Green (2009) Painting 13" x 9.5" Sarah Brayer - is a visual artist who is based in Kyoto, Japan. Her works are predominantly poured Japanese paper (washi). Sarah was the first Western artist to work at the Taki paper mill in Echizen. This is where she currently make her paperworks. Sarah have worked continuously in Echizen since 1986 as the only Western artist to do so. Sarah Brayer has also produced mokuhanga in her career. More information can be found, here.  ' Sea Meets Sky (Japan Blue Series) woodblock monotype, chine colle, 16" x 14" Cameron Bailey - is a mokuhanga printmaker based in Queens, New York. His mokuhanga technique is in reduction where Cameron creates beautiful and powerful landscapes. More information can be found, here.  Tempest (2025) 16" x 24"  Shirō Kasamatsu (1898–1991) was a mokuhanga print designer during the shin-hanga movement of the early 20th century, and later focused on his own mokuhanga printmaking during the sōsaku-hanga period of the 1950's. More information can be found, here.  Co Corridor (1960's/1970's) oban 10"x 15" Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  The Acropolis At Night (1925) 10.13" x 16.5" Kawase Hasui (1883-1957), a designer of more than six hundred woodblock prints, is one of the most famous artists of the shin-hanga movement of the early twentieth century. Hasui began his career under the guidance of Kaburaki Kiyokata (1878-1971), joining several artistic societies early on. However, it wasn't until he joined the Watanabe atelier in 1918 that he began to gain significant recognition. Watanabe Shōzaburō (1885-1962) commissioned Hasui to design landscapes of the Japanese countryside, small towns, and scenes of everyday life. Hasui also worked closely with the carvers and printers to achieve the precise quality he envisioned for his prints. Mishima River, Mutsu (1919) 14" 9"  Shibata Zeshin (1807 - 1891) - was a laquer ware painter and print designer during the 19th Century.  Album of Lacquer Pictures by the Venerable Zeshin (1887) 6.5" x 7"  Kiyoshi Saitō (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. My interview with Professor Paget can be found, here.  Otaru, Hokkaido (1948) 18" x 24" Munakata Shikō (1903-1975) - arguably one of the most famous modern printmakers; Shikō is renowned for his prints of women, animals, the supernatural and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work.  Princess Showing Upper Arm (1958) 9" x 7.5" Sekino Jun'ichirō (1914-1988) - was a mokuhanga printmaker who helped establish the sōsaku hanga, creative print movement in Japan. His themes were of landscapes, animals and the abstract. Sekino exhibited and became a member with Nihon Hanga Kyōkai and studied with Ōnchi Kōshirō (1891-1955) and Maekawa Senpan (1888-1960).  Cats and There Kittens (1960) 18" x 13" Katsuyuki Nishijima - is a contemporary mokuhanga printmaker based in Japan who carves and prints his own work. His prints are colourful and focused on the Japanese landscape. More information can be found, here.  Moon Over Lake 10.25" x 14.75" Mayumi Oda - is a Buddhist teacher and artist based in Hawai'i. Her artwork has gained international recognition, having traveled worldwide. In addition to her artistic pursuits, Mayumi is an environmental activist and resides and works at Ginger Hill Farm, an eco-retreat on the Big Island of Hawai'i. Explore more about Mayumi Oda's work, here. Bell Telephone (1976)  21" x 15" colour screen print  Nicholas Cladis - is an artist and paper historian who teaches and lives in Iowa. He lived in Echizen from 2014-2020 where he studied how to make washi, taught at the Fukui Prefectural University, as well as being the International liaison for the paper making union. More info can be found on his website, here. You can find Nicholas' episode with The Unfinished Print, here.  Craig Anczelowtiz - is a mixed media collage artist who splits his time between New York and Japan. Craig's works focus on Japenese themes and nostalgia. More information can be found, here.  Meiji Beauty #8 (2025) vintage Japanese papers, gouache, plexi, gold leaf, and ink on thick washi 20" x 28"  © Popular Wheat Productions Opening and closing musical credit -Next Journey by Robomoque (2023) on Gunn-R-Rotation Records  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)  Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***    

Why does a 72-year-old play about 333-year-old witch trials still feel urgently relevant today? Arthur Miller's The Crucible has become theater's ultimate evergreen story, because it captures something timeless and terrifying about human nature—our willingness to destroy each other when fear takes hold.When Miller's play premiered on January 10, 1953, audiences immediately understood it wasn't really about Salem. This was Miller's bold response to McCarthyism, a thinly veiled critique of Senator Joseph McCarthy's communist witch hunts that were tearing through American society. Miller had taken the Salem witch trials and transformed them into a mirror, forcing 1950s America to confront its own capacity for panic and persecution.But here's what makes The Crucible truly remarkable: it didn't stop being relevant when McCarthyism ended. In our current era, when we're so quick to label people as enemies and deny their humanity, Miller's allegory feels more essential than ever. The play's central question—what happens when a community turns against itself in search of hidden enemies—remains one of the most important questions we can ask.Whether you know the play from school, the stage, or the screen, whether you have family who lived through the Red Scare or ancestors who witnessed Salem's trials, The Crucible speaks to something universal about the human condition. It reminds us that in times of crisis, we all face the same choice: Will we stand with the mob, or will we find the courage to stand for justice?Buy the book: The Red Scare by Clay RisenBuy the Play: The Crucible by Arthur MillerBuy the book: The Enemy Within by John DemosHelp Us Build Our Patreon Community⁠⁠The Thing About Witch Hunts WebsiteThe Thing About Salem WebsiteCheck out our new podcast: The Thing About Salem on YouTube!⁠⁠Sign up for our Newsletter⁠⁠Donate to The Thing About Witch Hunts Fieldwork Fund

Jason Fraley gets ready for tonight's Tony Awards by interviewing playwright Kimberly Bellflower about her play “John Proctor is the Villain,” reimagining Arthur Miller's "The Crucible" to earn 7 Tony nominations, including Best Play. They spoke when the show made its pre-Broadway premiere at Studio Theatre in Washington D.C. in 2022. (Theme Music: Scott Buckley's "Clarion")

Julie Tucker is a highly acclaimed casting director with a remarkable career spanning over two decades. Recognized for her outstanding contributions to the industry, she boasts an impressive tally of nine Emmy nominations and two Emmy Awards. Additionally, Julie has been honored with five Artois awards from her peers for her excellence in casting. Her journey began in the theater at The Public, and her introduction to Television started with the casting of the first three seasons of Law and Order: SVU, after which she founded her own casting company. Julie's current projects include Queen Latifah's The Equalizer, the upcoming Limited Series for Netflix “The Beast in Me,” starring Claire Danes, Mathew Rhys and Brittany Snow and the hits series "Doc," for Fox. Her extensive portfolio includes a diverse range of projects with her former partner Ross Meyerson, such as The Oscar nominated short “Red White & Blue, "The Expanse," "The Americans." “The Affair,” "Nurse Jackie," “Fallout,” the Jennifer Lopez feature film, "Marry Me." Notable past projects include: "Damages" (Emmy and Artios Award), "Six Feet Under" (Emmy and Artios Award for NY Casting), "Rescue Me" (Artios Award), and “Homeland” (Artios Award). She has cast 100's of hours of television, several dozen pilots and a few movies. In addition to her work in television and film, she had been on staff and cast for The Roundabout Theatre, Manhattan Theater Club, and The Williamstown Theater Festival. Her involvement in the 1997 Broadway production of A View From the Bridge, where she had the privilege of being in the room with Arthur Miller, remains a highlight of her career. Before transitioning to casting, Julie directed Off-Broadway and assisted directors Terrence Malick and Martin Charnin. She currently is serving on the Board of Directors for The Casting Society. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The death of Marilyn Monroe.The boys begins with a look into her early years. Born Norma Jean Mortenson in 1926, Marilyn's childhood was far from easy, with her mother suffering a mental breakdown when she was just eight years old, leaving her to spend much of her youth in foster care. The boys joke about how “Norma Jean” doesn't quite have the same star power as “Marilyn Monroe,” but they quickly move on to discuss her rise to fame.At just 20 years old, Marilyn was signed by 20th Century Fox, where she was transformed from a model into the iconic actress we know today. By 1950, she was already gaining fame, and by 1954, her infamous affair with JFK began, sparking rumors that would last for decades. The boys touch on her marriages to baseball legend Joe DiMaggio and playwright Arthur Miller, with a bit of humor thrown in, especially when Eric and Sean wonder about Miller's appeal compared to Marilyn's stunning beauty.From her platinum blonde hair to her famous red lips and white dress, Marilyn became the embodiment of stardom in the ‘50s and ‘60s. But beneath the fame and glamour, the boys point out, Marilyn's life was far from perfect, with her struggles in her personal relationships, her mental health issues, and an alleged affair with Bobby Kennedy.As the episode moves into the discussion of her tragic end, the boys delve into the conspiracy theories surrounding her death. Was it suicide? Or was she silenced for knowing too much? The episode ends on a cliffhanger, with the boys teasing more mysterious details to come in Part 2.The boys continue to explore the strange and unsettling details surrounding Marilyn Monroe's death. They start by recounting the events of August 1962, leading up to her final hours. The boys paint a picture of a woman at the mercy of the people around her—her psychiatrist, her housekeeper, and the people she loved, all seemingly playing their parts in a tragic, tangled web. Marilyn's strange behavior in the days leading up to her death, including mysterious phone calls and an unsettling phone call to Bobby Kennedy, adds more fuel to the fire.The boys examine the conflicting reports surrounding her condition that evening, as well as the discrepancies in the timeline of her death. Why did Marilyn's psychiatrist wait so long to call for help? Why did Peter Lawford and the Kennedys seem to vanish when she needed them the most? These questions lead to even more conspiracy theories—was Marilyn's death really a suicide, or did the Kennedys and the mob have a hand in it?The boys touch on the questionable actions of those closest to Marilyn, from her housekeeper, Eunice, to her psychiatrist, Dr. Greens, who was heavily involved in her life. The boys point out the eerie timing of events, from the strange phone calls she received the night before her death to the conflicting statements made by her associates afterward.By the end of Part 2, the boys discuss the most popular conspiracy theories, including the possibility that Marilyn was intentionally silenced by the Kennedys or the mob after she threatened to expose secrets that could have damaged the political establishment. With her death still shrouded in mystery, the boys agree that there's more to Marilyn Monroe's story than meets the eye.www.patreon.com/theconspiracypodcast

The great Gene Meyer (@genemeyelol on the socials) of Bandit fame returns to the pod to discuss Vernon the Company Man. We get literary with some associations to Kerouac, Ginsberg, Arthur Miller, but we even it out with jokes about PRimus shirts being more effective than chastity belts. This tune is certainly a unique departure in terms of this record, but also for Claypool in general, thanks to excellent tabla and sitar provided by Mike Dillon and Gabby La La, respectively. Dig?Get involvedInstagramFacebookEmailBurn your money 

This episode was originally released on March 21, 2017. Listen to help prep for the next episode of our new season, The Old Man is Still Alive. How did a star whose persona seemed to be all about childlike joy and eternally vibrant sexuality die, single and childless, at the age of 36? In fact, the circumstances of Marilyn Monroe's death are confusing and disputed. In this episode we will explore the last five years of her life, including the demise of her relationship with Arthur Miller, the troubled making of The Misfits, and Marilyn's aborted final film, and try to sort out the various facts and conspiracy theories surrounding her death. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Marilyn Monroe is one of the greatest Hollywood stars of all time. She rose from orphan to icon by creating an on screen character America could not peel their eyes away from. And she did it all while battling anxiety, depression and addiction. Along the way she bedded, married, and otherwise conquered America's most impressive men — Joe DiMaggio, Arthur Miller, Frank Sinatra and President John F. Kennedy to name a few. And her relationship with JFK and his younger brother, Attorney General Robert F. Kennedy, would prove disastrous and result in long-running rumors and conspiracy theories about her death that are as hard to debunk as they are to dismiss. This episode contains themes that may be disturbing to some listeners, including sexual assault and suicide. If you're thinking about suicide, or are worried about a friend or loved one, call the Suicide Prevention Lifeline at 800-273-8255. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Marilyn Monroe is one if not the greatest Hollywood stars of all time. She rose from orphan to icon by creating an on screen character America could not peel their eyes away from. And she did it all while battling anxiety, depression and addiction. Along the way she bedded, married and otherwise conquered America's most impressive men; Joe DiMaggio, Arthur Miller, Frank Sinatra and President John F. Kennedy to name a few and her relationship with JFK and his younger brother Attorney General, Robert F. Kennedy would prove disastrous and result in long running rumors and conspiracy theories about her death that are as hard to debunk as they are to dismiss. This episode contains themes that may be disturbing to some listeners, including sexual assault and suicide. If you're thinking about suicide, or are worried about a friend or loved one, call the Suicide Prevention Lifeline at 800-273-8255. This episode was originally published on May 14, 2024. To see the full list of contributors, see the show notes at www.disgracelandpod.com. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTER Follow Jake and DISGRACELAND: Instagram YouTube X (formerly Twitter)  Facebook Fan Group TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

8/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Power"

3/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Ferdinaand the Bull."

5/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Panics of 1938"

Back in the 1950s, America was very afraid of Soviet spies and communist sympathizers infiltrating the government and destroying the United States from within. And there were actual spies sharing secrets with the Soviets. But concern soon gave way to paranoia, and a political witch-hunt began, with a self-serving senator from Wisconsin leading a very misguided and ultimately anti-American and embarrassing Red Scare that destroyed the lives of many. If you are able to give extra support this holiday season, please consider supporting the annual Bad Magic Giving Tree by purchasing a digital amazon gift card and sending it to givingtree2024@badmagicproductions.comWe are accepting gift cards starting now through November 21st!Merch and more: www.badmagicproductions.com Timesuck Discord! https://discord.gg/tqzH89vWant to join the Cult of the Curious PrivateFacebook Group? Go directly to Facebook and search for "Cult of the Curious" to locate whatever happens to be our most current page :)For all merch-related questions/problems: store@badmagicproductions.com (copy and paste)Please rate and subscribe on Apple Podcasts and elsewhere and follow the suck on social media!! @timesuckpodcast on IG and http://www.facebook.com/timesuckpodcastWanna become a Space Lizard? Click here: https://www.patreon.com/timesuckpodcast.Sign up through Patreon, and for $5 a month, you get access to the entire Secret Suck catalog (295 episodes) PLUS the entire catalog of Timesuck, AD FREE. You'll also get 20% off of all regular Timesuck merch PLUS access to exclusive Space Lizard merch.