Podcasts about lancie

SST: Death Flight, chock full of celebrities, is flying as fast as it can to hear Chris and Charlotte talk about Lorne Greene, John de Lancie, Billy Crystal, Misty Rowe, and, you guessed it, Donald Pleasence.

Q and Beyond: John de LancieIn this episode of The Travel Wins podcast, I interview the legendary John de Lancie, famed for his role as Q in the Star Trek franchise. We explore the vibrant 1980s sci-fi era, the evolution of movie props, and the enduring significance of memorabilia. De Lancie shares fascinating stories about his global fanbase, the emotional connections fans have with iconic items, and his experiences with auctioning memorabilia. Whether you're a business traveler, sci-fi enthusiast, or collector, this episode offers a captivating glimpse into the legacy of Star Trek.

“Cue the Bloodhound Gang!” - Chris, on this film's soundtrack  Recorded Live at City Winery in Atlanta, GA 4.25.24 For the first summer break episode of 2024, the guys were in Atlanta talking about the Gerard Butler video game action adventure, Gamer! Why couldn't they edit these action scenes a little more clearly so you can follow this stuff? How lame is it to set your film “a certain time from now”? Did we really need to hear that Marilyn Manson “Sweet Dreams” cover in a movie again? Is Michael C. Hall's character one of the worst villains in action cinema? And do these poor bastard avatar people get any days off from killing adventures? PLUS: Did Gerard Butler sign on to the film because he thought he was being asked to play Cable, the X-Men character?  Gamer stars Gerard Butler, Michael C. Hall, Amber Valletta, Kyra Sedgwick, Logan Herman, Ludacris, Aaron Yoo, Johnny Whitworth, John de Lancie, Milo Ventimiglia, Zoë Bell, John Leguizamo, Terry Crews, and Keith David as Agent Keith; directed by Neveldine & Taylor. All August, on top of releasing all-new, regularly scheduled episodes for our Patreon subscribers, we're also unlocking some older Patreon vault content on the free feed for the public to get a little taste of what's on the other side! So if you're interested in checking out what's behind the curtain, be sure to tune into the WHM free feed this Thursday as we unlock an episode of our Star Wars Gleep Glossary! For the uninitiated, the Gleep Glossary is a show where we go through the “Star Wars Essential Guide to Characters” and learn about a new SW character each month. On this unlocked episode, we're learning all about the evil Count Dooku! 

This week, we're bringing you our Q&A with Jonathan Frakes, Todd Stashwick, and John de Lancie from this month's Iron City Comic Con. Enjoy! Want to show your support for the podcast? Throw a couple of bucks into the online tip jar. --- Support this podcast: https://podcasters.spotify.com/pod/show/pgtcpodcast/support

Veteran theatre performer Max stops by to talk about his experience working with John de Lancie at a children's theatre summer camp! #podcast #trend #trending #trendingvideo #startrek #startrektng #startrekpicard #startrekdiscovery

This podcast is sponsored by the California Civil Liberties Public Education Program, a state-funded grant project of the California State Library.At the height of the Cold War, American democracy was challenged by the anti-Communist atmosphere of the McCarthy era. Peter Goodchild combines dramatic re-enactments based on original trial transcripts, archival material, and the commentaries of relatives and friends of the accused. Directed by Martin Jenkins and John TheocarisProducing Director: Susan Albert LoewenbergStarring:John de Lancie as OppenheimerWilliam Frankfather as the NarratorRichard Hoyt Miller as Gordon GrayAlan Wilder as Roger RobbArthur Hanket as Lloyd GarrisonTom Virtue as General GrovesRecorded at the KCRW Studios, Santa Monica in November 1997.A co-production with the BBC.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We're talking about the Star Trek Discovery Season 5 trailer, maman. Also there are some updates for Lower Decks, Strange New Worlds, Section 31 and Legacy plus a whole lot more...Saying Goodbye to Gary Graham and Kenneth MitchellDiscovery Season 5 Trailer | https://youtu.be/6Fi7ZePgh8kSonequa Martin-Green Teases “Big Thing” And Familiar FacesCast For ‘Star Trek: Section 31' TV Movie Announced As Production StartsMike McMahan And Tawny Newsome Tease Unexpected Cameos In ‘Lower Decks' Season 5'Lower Decks' Season 4 Arrives On DVD And Blu-ray In AprilPaul Wesley On Kirk Preparation and Evolution'Star Trek: Legacy' Updates From Michelle Hurd, John de Lancie and Dave BlassZoe Saldana Reiterates That Paramount Wants Kelvinverse Cast Back For One Last FilmCate Blanchett And Rami Malek Might Have Starred In Noah Hawley's Shelved Star Trek MovieTerry Matalas Nominated For Writers Guild Award For ‘Star Trek: Picard'‘Star Trek: Picard' Wins 4 Saturn Awards, ‘Strange New Worlds' Wins 1‘The Archive' Star Trek Spatial Experience Released For Apple Vision Pro | https://youtu.be/gggNizSkaDM | https://youtu.be/fhgNIaatDHI | https://youtu.be/wYD2pkDukfMHosts:David C. RobersonMatthew CarrollJoin Us:Site: http://startrekucast.comApple: http://bit.ly/StuCastSpotify: http://bit.ly/StarTrekUCastSpreaker: http://bit.ly/StuCastSpreaker

Anthony and Laurie go through the latest news: Byron Allen’s company is interested in buying Paramount, Michelle Yeoh’s Section 31 co-stars have finally been announced, Dave Blass says the Picard spin-off is still not in the works, the TNG cast is set to receive a lifetime achievement award at the Saturns, Patrick Stewart stars in a new Super Bowl ad for Paramount Plus, Zoe Saldana thinks the Kelvin crew might get one last film together, and William Shatner’s new biographical documentary has a trailer. [18:22] After that, they chat with actor John de Lancie about FanFair, the company he and his son have to get digitally signed unique artwork to fans who can’t make it to conventions. He also talks about some of his early choices as he played Q in the Next Gen series premiere and beyond, his conversations with Gene Roddenberry about how often Q would be on the show, his surprise at finding out Q would die in Picard season 2, and that post-credits finale scene in Picard season 3. [68:48] They wrap up with John Larroquette playing a Klingon again on Night Court, and a fun thread about “Threshold” salamander sex from The Vagina Museum.

Anthony and Laurie go through the latest news: Byron Allen’s company is interested in buying Paramount, Michelle Yeoh’s Section 31 co-stars have finally been announced, Dave Blass says the Picard spin-off is still not in the works, the TNG cast is set to receive a lifetime achievement award at the Saturns, Patrick Stewart stars in a new Super Bowl ad for Paramount Plus, Zoe Saldana thinks the Kelvin crew might get one last film together, and William Shatner’s new biographical documentary has a trailer. [18:22] After that, they chat with actor John de Lancie about FanFair, the company he and his son have to get digitally signed unique artwork to fans who can’t make it to conventions. He also talks about some of his early choices as he played Q in the Next Gen series premiere and beyond, his conversations with Gene Roddenberry about how often Q would be on the show, his surprise at finding out Q would die in Picard season 2, and that post-credits finale scene in Picard season 3. [68:48] They wrap up with John Larroquette playing a Klingon again on Night Court, and a fun thread about “Threshold” salamander sex from The Vagina Museum.

In this episode of Trekking Through Time and Space... Hoai-Tran and Jacob have a grand ol' time as Star Trek: The Next Generation goes full comedy with "Deja Q" and the return of John de Lancie. But they have less of a good time as classic Doctor Who flirts with "The Edge of Destruction," but also boredom. Star Trek: The Next Generation: Deja Q - 2:00 Doctor Who: The Edge of Destruction, Parts 1-2 - 39:36 Episode Rankings - 1:07:46 Logo by David Scaliatine. Send all questions, comments, concerns, suggestions, and complaints to trekkingtimepodcast@gmail.com Support us on Patreon for early access to new episodes, weekly bonus episodes, and more.

KILL ALL MEN? That's the tantalizing hook for the latest episode in our Trials of Season Two theme month and guest co-hosts Kat Spada of Feminist Frequency Radio and artist Ethan Harper can't help but think what might've been. Instead, we get an episode about a member of the Q Continuum who wants to die. The only thing stopping him is another member of the Q Continuum -- John de Lancie! Can he convince Captain Janeway to rule in his favor and sentence a wayward Q to an eternity trapped inside a comet or will she grant Death Wish Q asylum so that he can become mortal as a means of ending his own life. Oh -- and there's a surprise cameo by William T. Riker. The grades start at (25:33). Check out Kat's Voyager-themed manicure here. If you're enjoying the show, consider rating and reviewing us. Check out all the standings at TrekMarryKillPod.com

Anthony and Laurie start with the news about what to expect at New York Comic Con this year and the expansion of Paramount+ into Japan and Switzerland. They pivot to Jonathan Frakes’ comments about Star Trek: Discovery‘s final season having “new energy” and talk about how polarizing the show is for fans. Then it’s on to Ed Speleers’ description of filming that Picard closing scene with John de Lancie, the upcoming Strange New Worlds season 2 DVD sets, Roxann Dawson’s decision not to direct more Star Trek, and some new fine art posters coming from Vice Press. Review time! They start with the very Short Treks episode “Worst Contact,” discussing the short itself as well as the fan reaction, then happily dig into Star Trek: Lower Decks‘ “Something Borrowed Something Green” and the fun of Trek’s very first visit to the Orion homeworld. They wrap things up with a deep exploration of the Dauntless from author David Mack and new spider species named after the TOS crew.

Anthony and Laurie start with the news about what to expect at New York Comic Con this year and the expansion of Paramount+ into Japan and Switzerland. They pivot to Jonathan Frakes’ comments about Star Trek: Discovery‘s final season having “new energy” and talk about how polarizing the show is for fans. Then it’s on to Ed Speleers’ description of filming that Picard closing scene with John de Lancie, the upcoming Strange New Worlds season 2 DVD sets, Roxann Dawson’s decision not to direct more Star Trek, and some new fine art posters coming from Vice Press. Review time! They start with the very Short Treks episode “Worst Contact,” discussing the short itself as well as the fan reaction, then happily dig into Star Trek: Lower Decks‘ “Something Borrowed Something Green” and the fun of Trek’s very first visit to the Orion homeworld. They wrap things up with a deep exploration of the Dauntless from author David Mack and new spider species named after the TOS crew.

Season 2, episode 24 is here and THE TRIAL NEVER ENDS! We have a God in our midst! Connor, Erica, and Mark have an awesome conversation with Star Trek's Iconic, Godlike Judge & Jury - "Q" - John de Lancie.Dominic Keating is off this week - he is driving across this great country in a car. Something everyone should do - travel safe Dom! (We actually suspect Q snapped his fingers and BLAM! Dominic has to drive back to LA.)John de Lancie talks about life, career, Star Trek, and Days of our Lives. Gene Roddenberry. Sailing. Breaking Bad. Performing for art, performing for commerce. Overcoming learning disability. Theater. And more.We get some fan questions in, but for time, were unable to play a round of Star Trek Trivia, nor subject John to being "Stuck on a Deserted Island with Connor Trinneer.” Wah, wah. Both will be back.The full, complete, ad-free version of this conversation is available to our amazing Patreon Members.If you enjoy this show, please like and subscribe! It's so important and appreciated!We have merch! Check out our website. www.shuttlepodshow.comIf you'd like to contribute more to the sustainability of the show, please consider becoming a Patreon member. You will have access to significant exciting membership perks including extended unabridged episodes, live events priorities, behind the scenes access and much more. We are committed to building an engaging immersive community experience for our Patreon Members while remaining dedicated to our vision of making our interviews freely available to the public on YouTube. Your help makes that happen. Patreon: https://patreon.com/shuttlepodshowFollow us: Insta: @shuttlepodshow Twitter: @shuttlepodshow Facebook: @shuttlepodshow https://www.shuttlepodshow.com

After episodes on Star Trek II and Star Trek III, our five episode mission- which I'm calling #mysummerofstartrek- takes a change of course this week as we move to TV and to the crew of The Enterprise as captained by Jean-Luc Picard. Yep, that's right we're talking TNG as Paul, Kieran and I discuss the episode 'Q Who'. So that's Star Trek: The Next Generation, Season 2, Episode 16- an excellent episode of television where the crew of the ship encounter mega-villains the Borg. You can expect conversation about the Borg (from their debut here right up to their recent appearance in Picard series 3), talk of John de Lancie's Q, comparisons to Doctor Who, Battlestar Galactica and Firefly, the allure of William T. Riker, going for a wee in Star Trek uniform and much, much more. And where do we go from here? Well, next time around we discuss 'Star Trek IV: The Voyage Home'. But for now.... ENGAGE!

Jeff and Kev are heading into the wild west with Richard Dean Anderson and John de Lancie. The guys talk all things Legend, the short-lived UPN debut series. It's a mix of western and sci-fi; it's a fun time. Listen in, because we won't stop till screamin' starts!  Amazon Affiliate Link to Legend on DVD :  https://amzn.to/44TPnEi   For viewing the show online https://archive.org/details/legend-s-01-e-01-e-02-birth-of-a-legend-1-2   We have a giveaway in this episode, keep an ear out for the keyword and instructions.   You can find the podcast at SunsAndShadows.com or your podcast app of choice! Follow us on all platforms, we have frequent giveaways and always discussing something fun! Facebook: @sunsandshadows Twitter: @sunsandshadows Instagram: @sunsandshadowscast Letterbox'd: SunsAndShadows You can also support us at: Buy Me a Coffee - https://www.buymeacoffee.com/sunsandshao

We here at Cinema Degeneration thought it was time for another Appreciation Month topic!  We bring to you a celebration of the life and career of the late great filmmaker Mr. Albert Pyun.  Pyun was a maverick director with over 50 directing credits to his resume before he passed away unfortunately in late 2022. Often operating well outside the studio system Pyun delivered films the only way he knew how...his way.  We are continuing the adventures and our 6th episode with a true classic in Pyun's filmography with the 1993 science fiction horror video game thriller "ARCADE", starring Megan Ward, Peter Billingsley, Seth Green, John de Lancie, Don Stark, A.J. Langer, and Norbert Weisser. This Paramount Era thriller is a tale about a VR video game that has killer instincts against anyone who dare plays it.  Join our hosts Dustin Hubbard and Cameron Scott as they discuss this stellar chapter of Pyun's epic film history that is near and dear to their hearts.  Also, starting at the 2hr:11min:26sec mark begins a one on one interview conducteed by Scott with ARCADE editor, producer and jack of all trades Full Moon alumni Mr. Daniel Schweiger where we learn all about his career, details on his Full Moon days and even more about ARCADE and it's cult film legacy.  Join us for an intense celebration of the expansive Pyuniverse!   You can find Daniel Schweiger at his website here: ON THE SCORE - Film music magazine featuring composer interviews and soundtrack reviews.   "Kiss reality Goodbye!"

One of us is in The Shire while the rest talk about the final season of "Star Trek: Picard" and spending time at the Huntsville Comic and Pop Culture Expo with Brent Spiner, Gates McFadden, John de Lancie, and William Shatner! Join our Patreon for full video and bonus audio content for only $5: https://www.patreon.com/bamageeks Come sit a spell on the Bama Geeks Front Porch: https://www.facebook.com/groups/bamageeksfrontporch Follow @BamaGeeks on our social media channels! Facebook: https://www.facebook.com/bamageeks Instagram: https://www.instagram.com/bamageeks/ Twitter: https://twitter.com/bamageeks YouTube: https://www.youtube.com/@BamaGeeks TikTok: https://www.tiktok.com/@bamageeks Kevin's Twitch: https://www.twitch.tv/kegdev Bo's Twitch: https://www.twitch.tv/mbthegr81

This week watch a movie with the great Michael Keaton, the excellent Michael Keaton, the awesome Michael Keaton, and the mediocre Michael Keaton. We watched Multiplicity, how does he afford any of this? How does Multiplicity hold up? Host: Nic Panel: Matthew and Nur Directed by Harold Ramis Starring: Michael Keaton, Andie MacDowell, Harris Yulin, Richard Masur, Eugene Levy, Ann Cusack, John de Lancie, Brian Doyle-Murray

“Q-Less” 30th-anniversary reflections The arrival of Vash, whom Dax found in the Gamma Quadrant, brings incredible profit potential to Quark, but great danger to the station. Tagging along with her is none other than Q, seemingly there to deliver his usual brand of havoc. He doesn't hit it off well with Sisko, and that might be why he is blamed for the mysterious graviton pulses that threaten to tear the station apart. Only it turns out that the danger comes not from Q but rather a baby alien being auctioned off by new business partners Quark and Vash—a realization that comes just in time. In this episode of The Orb, hosts C Bryan Jones and Matthew Rushing continue our 30th-anniversary retrospective that will take you through all of Star Trek: Deep Space Nine, one episode at a time. In this installment, we discuss, “Q-Less,” the appearance of John de Lancie's fan favorite on DS9, the original premise compared with what we got, why it does (and doesn't) make sense, and how the story makes more sense if you shift how you look at it. Chapters Intro (00:00:00) The Original Premise (00:03:06) Vash and Quark: The Perfect Pairing? (00:08:31) She's Got Julian's Attention (00:10:07) A Deeper Purpose for Q? (00:12:42) Like Oil and Water (00:17:47) The Unethical Collector (00:24:52) A Logical Explanation (00:28:12) Welcome to Robert Hewitt Wolfe! (00:29:58) Final Thoughts and Ratings (00:33:26) Closing (00:36:54) Hosts C Bryan Jones and Matthew Rushing

“Q-Less” 30th-anniversary reflections The arrival of Vash, whom Dax found in the Gamma Quadrant, brings incredible profit potential to Quark, but great danger to the station. Tagging along with her is none other than Q, seemingly there to deliver his usual brand of havoc. He doesn't hit it off well with Sisko, and that might be why he is blamed for the mysterious graviton pulses that threaten to tear the station apart. Only it turns out that the danger comes not from Q but rather a baby alien being auctioned off by new business partners Quark and Vash—a realization that comes just in time. In this episode of The Orb, hosts C Bryan Jones and Matthew Rushing continue our 30th-anniversary retrospective that will take you through all of Star Trek: Deep Space Nine, one episode at a time. In this installment, we discuss, “Q-Less,” the appearance of John de Lancie's fan favorite on DS9, the original premise compared with what we got, why it does (and doesn't) make sense, and how the story makes more sense if you shift how you look at it. Chapters Intro (00:00:00) The Original Premise (00:03:06) Vash and Quark: The Perfect Pairing? (00:08:31) She's Got Julian's Attention (00:10:07) A Deeper Purpose for Q? (00:12:42) Like Oil and Water (00:17:47) The Unethical Collector (00:24:52) A Logical Explanation (00:28:12) Welcome to Robert Hewitt Wolfe! (00:29:58) Final Thoughts and Ratings (00:33:26) Closing (00:36:54) Hosts C Bryan Jones and Matthew Rushing

We're back with part one of Sean's pick: the 1995 sci-fi movie Evolver, starring Ethan Embry, John de Lancie, Paul Dooley, and William H. Macy. This movie may seem like a dumb, mediocre PG-13 horror movie at first glance, but in reality its a dumb, pretty good rated-R horror movie. We also discuss the history of Vidmark/Trimark Video, big salads, and how John de Lancie made the world's most evil Pokemon. Website: www.queenvenerator.com Instagram: https://www.instagram.com/queenvenerator/ Twitter: https://twitter.com/queenvenerator Facebook: https://www.facebook.com/queenvenerator/

Dial the Gate is privileged to welcome actor John de Lancie to our channel! Though many in our circle know him first and foremost as Q, he played a critical role in Stargate SG-1 Seasons Five and Six as Colonel Frank Simmons of the NID, a great foil for the SG-1 team. He joins us LIVE to discuss his experience on Stargate, the impact sci-fi has had on his career, and will take your questions!

Actor John de Lancie, the incomparable "Q" from "Star Trek," joins us to talk about who "Q" is, how he got the role, his love for science, his experiences on the show, and so much more... wee even asked him to comment on the human condition as an omnipotent alien uber-presence! Join us for this very special edition of "This Week in Space"... it's the most fun you can have on this or any other planet! Hosts: Rod Pyle and Tariq Malik Guest: John de Lancie Sponsor: expressvpn.com/twis

Actor John de Lancie, the incomparable "Q" from "Star Trek," joins us to talk about who "Q" is, how he got the role, his love for science, his experiences on the show, and so much more... wee even asked him to comment on the human condition as an omnipotent alien uber-presence! Join us for this very special edition of "This Week in Space"... it's the most fun you can have on this or any other planet! Hosts: Rod Pyle and Tariq Malik Guest: John de Lancie Sponsor: expressvpn.com/twis

The Scopes Trial, over the right to teach evolution in public schools, reaffirmed the importance of intellectual freedom as codified in the Bill of Rights. The trial, in a small-town Tennessee courtroom in 1925, set the stage for ongoing debates over the separation of Church and State in a democratic society—debates that continue to this day. Peter Goodchild used transcripts from the trial to create this intense docudrama. Recorded in Cambridge, Massachusetts before a live audience at the Institute of Politics at the John F. Kennedy School of Government, Harvard University in April of 2007.The Great Tennessee Monkey Trial is part of L.A. Theatre Works' Relativity Series featuring science-themed plays. Lead funding for the Relativity Series is provided by the Alfred P. Sloan Foundation, bridging science and the arts in the modern world.Directed by Brendon FoxProducing Director: Susan Albert LoewenbergEdward Asner as William Jennings BryanBill Brochtrup as EnsembleKyle Colerider-Krugh as EnsembleMatthew Patrick Davis as John Thomas ScopesJohn de Lancie as Clarence DarrowJames Gleason as H.L. MenckenHarry Groener as Dudley Field MaloneJerry Hardin as John RaulstonGeoffrey Lower as Attorney General StewartMarnie Mosiman as NarratorKenneth Alan Williams as Arthur Garfield HaysSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Scopes Trial, over the right to teach evolution in public schools, reaffirmed the importance of intellectual freedom as codified in the Bill of Rights. The trial, in a small-town Tennessee courtroom in 1925, set the stage for ongoing debates over the separation of Church and State in a democratic society—debates that continue to this day. Peter Goodchild used transcripts from the trial to create this intense docudrama. Recorded in Cambridge, Massachusetts before a live audience at the Institute of Politics at the John F. Kennedy School of Government, Harvard University in April of 2007.The Great Tennessee Monkey Trial is part of L.A. Theatre Works' Relativity Series featuring science-themed plays. Lead funding for the Relativity Series is provided by the Alfred P. Sloan Foundation, bridging science and the arts in the modern world.Directed by Brendon FoxProducing Director: Susan Albert LoewenbergEdward Asner as William Jennings BryanBill Brochtrup as EnsembleKyle Colerider-Krugh as EnsembleMatthew Patrick Davis as John Thomas ScopesJohn de Lancie as Clarence DarrowJames Gleason as H.L. MenckenHarry Groener as Dudley Field MaloneJerry Hardin as John RaulstonGeoffrey Lower as Attorney General StewartMarnie Mosiman as NarratorKenneth Alan Williams as Arthur Garfield HaysSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Scopes Trial, over the right to teach evolution in public schools, reaffirmed the importance of intellectual freedom as codified in the Bill of Rights. The trial, in a small-town Tennessee courtroom in 1925, set the stage for ongoing debates over the separation of Church and State in a democratic society—debates that continue to this day. Peter Goodchild used transcripts from the trial to create this intense docudrama. Recorded in Cambridge, Massachusetts before a live audience at the Institute of Politics at the John F. Kennedy School of Government, Harvard University in April of 2007.The Great Tennessee Monkey Trial is part of L.A. Theatre Works' Relativity Series featuring science-themed plays. Lead funding for the Relativity Series is provided by the Alfred P. Sloan Foundation, bridging science and the arts in the modern world.Directed by Brendon FoxProducing Director: Susan Albert LoewenbergEdward Asner as William Jennings BryanBill Brochtrup as EnsembleKyle Colerider-Krugh as EnsembleMatthew Patrick Davis as John Thomas ScopesJohn de Lancie as Clarence DarrowJames Gleason as H.L. MenckenHarry Groener as Dudley Field MaloneJerry Hardin as John RaulstonGeoffrey Lower as Attorney General StewartMarnie Mosiman as NarratorKenneth Alan Williams as Arthur Garfield HaysSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Scopes Trial, over the right to teach evolution in public schools, reaffirmed the importance of intellectual freedom as codified in the Bill of Rights. The trial, in a small-town Tennessee courtroom in 1925, set the stage for ongoing debates over the separation of Church and State in a democratic society—debates that continue to this day. Peter Goodchild used transcripts from the trial to create this intense docudrama. Recorded in Cambridge, Massachusetts before a live audience at the Institute of Politics at the John F. Kennedy School of Government, Harvard University in April of 2007.The Great Tennessee Monkey Trial is part of L.A. Theatre Works' Relativity Series featuring science-themed plays. Lead funding for the Relativity Series is provided by the Alfred P. Sloan Foundation, bridging science and the arts in the modern world.Directed by Brendon FoxProducing Director: Susan Albert LoewenbergEdward Asner as William Jennings BryanBill Brochtrup as EnsembleKyle Colerider-Krugh as EnsembleMatthew Patrick Davis as John Thomas ScopesJohn de Lancie as Clarence DarrowJames Gleason as H.L. MenckenHarry Groener as Dudley Field MaloneJerry Hardin as John RaulstonGeoffrey Lower as Attorney General StewartMarnie Mosiman as NarratorKenneth Alan Williams as Arthur Garfield HaysSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

National Post-Apocalyptic Radio – dark sci-fi comedy straight into your earholes. Join host Bryan Garcia-McMillan-Keithley and his deranged cadre of newspeople as they run roughshod over post-apocalyptic Lost Angeles, tearing deep into every story they can get their journalistic jaws around. It's weird, it's sci-fi, it's horror, it's comedy, and it always seems to come with a body count. But hey, who's counting? Featuring a fantastic cast of voice actors; Fred Willard, John de Lancie, Jello Biafra, Harlan Ellison, Barbara Goodson, Betsy Baker, Erika Ishii, Tay Zonday, Andrew Bowser, Hart D. Fisher, Kelsey Gunn, Michael Rousselet, and more. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we interview Lancie and Shelley Greenlee...a cornhole playing couple that is impossible not to love! Coming to us from Jacksonville, FL...they discuss the dynamic this sport plays in their marriage and what it was like to come into this sport as a female couple. Don't miss this awesome interview.Support the show

In this Episode: Our Heroes discuss the cultish classic Multiplicity. It's all Michael Keaton, all the time with this little gem of a film! Plus Andie MacDowell and a legendary ensemble cast including: Eugene Levy, Brian Doyle-Murray, John de Lancie, Richard Masur, and a bunch of other peeps that you totally forgot were in this! Tune in... Follow Us: Our Website Twitter Instagram Facebook Items discussed (links to more info): Note - if the below links don't work in your podcast player please visit the show page at: https://ebd.fm/episodes/165 Otho Ghostbusters 2 Ozark Clear & Present Dagger Q Knight Rider Magnum PI Chips Blind Date Mrs. Doubtfire Waiting Groundhog Day Night Shift Johnny Dangerously Toy Story 3 Gung Ho Beetlejuice Birdman Vulture Batgirl Pattinson Levy stache Addams Family Expanse baby arm Shalhoub MIB Sam Elliott Dr Strange cape Tick mustache Jamie Lee Curtis True Lies Superman stache Maibatsu Thunder Frampton Gunny Highway Martha Stewart Snoop Dre Warren G Old Yeller Weapon of Choice The continental More cowbell Colonel Angus Lovahs Click Dead zone Solo Game Society Pimps Dune Hader puppet Mr Rogers Picture Picture The Fly Grundle Warcraft Kobolds Alien Isolation

Happy Memorial Day The boys are back and talking all things wrestling…..well sort of. We are joined by “The Outlaw” of Wildkat Sports Matt Lancie. We talk a ton of topics, from what Wildkat means to him, to if it's appropriate to wish someone a Happy Birthday on Twitter, being a trainer at the school, Johnny Walker Black, and the HUGE X Rated Show taking place on June 25th. Matt...

Happy Memorial Day The boys are back and talking all things wrestling.....well sort of. We are joined by "The Outlaw" of Wildkat Sports Matt Lancie. We talk a ton of topics, from what Wildkat means to him, to if it's appropriate to wish someone a Happy Birthday on Twitter, being a trainer at the school, Johnny Walker Black, and the HUGE X Rated Show taking place on June 25th. Matt also announces who his opponent will be, and its a big deal. After Matt's excellent interview we find out that Kevin takes a 30 minute shows, and that's a whole conversation before we take a quick break. We come back with some coverage of our AEW Double or Nothing Picks, the MJF situation, and do a quick gloss over the Double or Nothing PPV. For your in depth look at AEW, check out the Mark Order Podcast every Wednesday Night. Then it's Down The Aisle. The untimely passing of Tarzan Goto sends us back to the ECW Arena, Heatwave 96. We eventually figure out who the Samoan Gangstas Party is, talk about the ECW/FMW joint show's that Goto was a part of, and talk some Doc and Gordy, there ECW runs & more. If you enjoy the show, please remember to rate, review and subscribe so you never miss an episode --- Support this podcast: https://anchor.fm/the-shining-wizards/support

Happy Memorial Day  The boys are back and talking all things wrestling.....well sort of.  We are joined by "The Outlaw" of Wildkat Sports Matt Lancie. We talk a ton of topics, from what Wildkat means to him, to if it's appropriate to wish someone a Happy Birthday on Twitter, being a trainer at the school, Johnny Walker Black, and the HUGE X Rated Show taking place on June 25th. Matt also announces who his opponent will be, and its a big deal.  After Matt's excellent interview we find out that Kevin takes a 30 minute shows, and that's a whole conversation before we take a quick break. We come back with some coverage of our AEW Double or Nothing Picks, the MJF situation, and do a quick gloss over the Double or Nothing PPV. For your in depth look at AEW, check out the Mark Order Podcast every Wednesday Night. Then it's Down The Aisle. The untimely passing of Tarzan Goto sends us back to the ECW Arena, Heatwave 96. We eventually figure out who the Samoan Gangstas Party is, talk about the ECW/FMW joint show's that Goto was a part of, and talk some Doc and Gordy, there ECW runs & more.  If you enjoy the show, please remember to rate, review and subscribe so you never miss an episode  --- Support this podcast: https://anchor.fm/the-shining-wizards/support   Be sure to check us out on http://www.RantEMRadio.com Chat with us on Discord on our server - https://discord.com/invite/pYWbRdt Follow us on Social Media: Twitter - @RantEMRadio - http://www.twitter.com/RantEMRadio Facebook - http://www.facebook.com/RantEMRadio Facebook Group - http://www.facebook.com/groups/RantEM Instagram - @RantEMRadio - http://www.instagram.com/RantEMRadio

Monday May 16th at 7:30pm Uncle Jim and his Treksperts discuss Star Trek Voyager - Death Wish.  The 18th episode of the second season, originally aired on February 19, 1996. The episode features a new member of the Q Continuum named Quinn, and appearances by Star Trek: The Next Generation alumni William Riker (Jonathan Frakes) and Q (John de Lancie). Quinn is a member of the Q Continuum, he wishes to commit suicide, and asks Janeway for asylum. Let's See What's Out There. Call (646)668-2433 to join the conversation. 

Brunão e Baconzitos falam sobre o décimo e último episódio da segunda temporada de Star Trek: Picard – Farewell Star Trek: Picard é uma série no universo de Star Trek de Gene Roddenberry, produzida pela CBS Studios. Produzida por Akiva Goldsman e Terry Matalas. Estrelando Patrick Stewart, Alison Pill, Jeri Ryan, Michelle Hurd, Evan Evagora, Orla Brady, Isa Briones, Santiago Cabrera e John de Lancie

STAR TREK: PICARD SEASON 2 REVIEW Patrick Stewart returns as Jean-Luc Picard in this second season of the Paramount Plus television series. This time, Q (John de Lancie) has shown up to wreak his special brand of mischief and it's thrust Picard, Jurati (Alison Pill), Seven of Nine (Jeri Ryan), Raffi (Michelle Hurd), Elnor (Evan… Read More »Screener Squad: Star Trek: Picard Season 2

STAR TREK: PICARD SEASON 2 REVIEW Patrick Stewart returns as Jean-Luc Picard in this second season of the Paramount Plus television series. This time, Q (John de Lancie) has shown up to wreak his special brand of mischief and it's thrust Picard, Jurati (Alison Pill), Seven of Nine (Jeri Ryan), Raffi (Michelle Hurd), Elnor (Evan… Read More »Screener Squad: Star Trek: Picard Season 2

Brunão e Baconzitos falam sobre o nono episódio da segunda temporada de Star Trek: Picard – Hide and Seek. Star Trek: Picard é uma série no universo de Star Trek de Gene Roddenberry, produzida pela CBS Studios. Produzida por Akiva Goldsman e Terry Matalas. Estrelando Patrick Stewart, Alison Pill, Jeri Ryan, Michelle Hurd, Evan Evagora, Orla Brady, Isa Briones, Santiago Cabrera e John de Lancie

Brunão e Baconzitos falam sobre o oitavo episódio da segunda temporada de Star Trek: Picard – Mercy. Star Trek: Picard é uma série no universo de Star Trek de Gene Roddenberry, produzida pela CBS Studios. Produzida por Akiva Goldsman e Terry Matalas. Estrelando Patrick Stewart, Alison Pill, Jeri Ryan, Michelle Hurd, Evan Evagora, Orla Brady, Isa Briones, Santiago Cabrera e John de Lancie

Brunão e Baconzitos falam sobre o sétimo episódio da segunda temporada de Star Trek: Picard – Monsters. Star Trek: Picard é uma série no universo de Star Trek de Gene Roddenberry, produzida pela CBS Studios. Produzida por Akiva Goldsman e Terry Matalas. Estrelando Patrick Stewart, Alison Pill, Jeri Ryan, Michelle Hurd, Evan Evagora, Orla Brady, Isa Briones, Santiago Cabrera e John de Lancie

John de Lancie, best known as Q from Star Trek, gives fantastic advice on how to find inspiration. It's not something to seek; it's a habit to build. (John was recorded at ciLive! in Des Moines.)

John de Lancie, best known as Q from Star Trek, gives fantastic advice on how to find inspiration. It's not something to seek; it's a habit to build. (John was recorded at ciLive! in Des Moines.)

Catching up on last week's news from Star Trek: Mission Chicago, including a new Prodigy video game, a Lower Decks season 3 teaser and details on next year's con; I'm checking in on what Nicholas Meyer has to say about his Khan miniseries; and what if there had been an animated version of Star Trek: The Next Generation? TODAY'S STORIES:

Catching up on last week's news from Star Trek: Mission Chicago, including a new Prodigy video game, a Lower Decks season 3 teaser and details on next year's con; I'm checking in on what Nicholas Meyer has to say about his Khan miniseries; and what if there had been an animated version of Star Trek: The Next Generation? TODAY'S STORIES:

This week on The World’s Greatest Comic Book Podcast™: We remember June Brown. Warner Brothers “pauses” Ezra Miller’s DCEU future and then denies it. John de Lancie launches Playmates new Star Trek toys. Star Trek: Lower Decks has been nominated for a Hugo! In Moving Pictures: Star Trek: Picard announces its season 3 cast. Star […]

Synopsis We tend to think of the Czech composer Antonin Dvorak as a 19th century composer – but he lived a few years into the 20th and one of his major works, his opera “Rusalka,” had its premiere in Prague on today's date in 1901. We also think of Dvorak as primarily a composer of symphonies and chamber works, but forget that in his final years, Dvorak devoted himself chiefly to opera – and for reasons that might surprise us today. In a 1904 interview, given just two months before his death, Dvorak said:  “Over the past five years I have written nothing but operas. I wanted to devote all my powers, as long as the dear Lord gives me health, to the creation of opera … because I consider opera to be the most suitable medium for the Czech nation and the widest audience, whereas if I compose a symphony I might have to wait years before it is performed.” Dvorak was gratified that his opera “Rusalka” was a big success at its 1901 premiere and would subsequently become one of his most popular works with Czech audiences, but ironically, outside Czech-speaking lands, most of his other operas, unlike his symphonies, are rarely performed. Music Played in Today's Program Antonin Dvořák (1841–1904) — O Silver Moon, fr Rusalka (Renée Fleming, soprano; London Symphony; Sir Georg Solti, cond.) London 455 760 On This Day Births 1732 - Austrian composer Franz Joseph Haydn, in Rohrau; 1872 - Russian ballet impresario Sergei Diaghilev, in Gruzino, Novgorod district (Julian date: Mar. 19); Deaths 1880 - Polish composer and violinist Henryk Wieniawski, age 44, in Moscow; 1901 - British composer Sir John Stainer, age 60, in Verona, Italy; Premieres 1723 - Handel: Concerto in F (HWV 331) (Julian date: March 20); 1739 - Handel: Organ Concerto in A (HWV 296a) (Julian date: March 20); 1745 - Rameau: opera-ballet, "Platée," at Versailles; 1784 - Mozart: Piano Concerto No. 16 in D, K. 451, in Vienna, with composer as soloist; 1794 - Haydn: Symphony No. 100 ("Military"), conducted by the composer on his 62nd birthday, at the Hanover-Square Concert Rooms in London; 1841 - R. Schumann: Symphony No. 1 ("Spring"), by Leipzig Gewandhaus Orchestra, Felix Mendelssohn conducting; 1901 - Dvorák: opera "Rusalka," in Prague at the National Theater; 1913 - Webern: "Six Pieces" for orchestra, in Vienna; 1932 - Chávez: ballet "Horsepower," in Philadelphia; 1947 - Ulysses Kay: "Short Overture," in New York City; 1949 - William Grant Still: opera "Troubled Island," in New York City; 1951 - R. Strauss: "Munich Waltz," posthumously in Vienna; This music was originally written for the 1939 film; 1961 - Françaix: "L'Horloge de Flore," by oboist John de Lancie, and the Philadelphia Orchestra, Eugene Ormandy conducting; 2001 - Peter Lieberson: Piano Quintet, at Carnegie Hall, by pianist Peter Serkin with the Orion String Quartet; Others 1837 - Franz Liszt and Sigismond Thalberg, the two reigning virtuosi of their day, perform a sort of pianistic "duel" at a benefit concert in aid of Italian refuguees at the Parisian salon of Princess Cristina Belgiojso-Trivulzio. Links and Resources On Antonin Dvořák Video of Renee Fleming singing "Song to the Moon," from "Rusalka"

Intro: teenage hackersLet Me Run This By You: setting limits with KanyeInterview: We talk to Josh Sobel about Cal Arts, Travis Preston, Yale School of Drama, Robert Brustein, Fig and the Wasp, Oberlin College, The O'Neill Theater Center, Michael Cadman, Royal Shakespeare Company, Chicago ensemble theatre, Strawdog Theatre Company, Ianesco's Rhinoceros, Rochester NY, Brighton High School, A Chorus Line, Cabaret, horizontal hierarchies, The Wooster Group, change talk vs. change action, Chris Ackerlind, Light in the Piazza, Paula Vogel's Indecent, Samantha Behr, Haven Chicago, The Den Theater, Rochester Philharmonic, Lorenzo Palomo, Ian Martin, Hal Prince, Dr. Seuss' The Sneetches, John de Lancie, Rochester Academy of Medicine, radiation oncology, The Xylophone West by Alex Lubischer, Isaac Gomez's The Displaced, Center Theatre Group, Jeremy O'Harris' Slave Play, Rashaad Hall, Chris Jones' review of Ms. Blakk for President.FULL TRANSCRIPT (unedited):3 (10s):And I'm Gina Pulice.1 (11s):We went to theater school together. We survived it, but we didn't quite understand it.3 (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (21s):We survived theater school and you will too. Are we famous yet?2 (32s):I think, I think my son has fig he's gotten into sort of like the hacking side of things and he always wants to get around all of the restrictions we put on him. Like we have content restrictions, we have time limits. And I think he's just made it his mission. I mean, this is like the theme of his life. He has made it his mission to subvert the paradigm as my husband would say. And it's exhausting because all I can do is try to be like 10 steps behind them and learn like what's a VPN. That's what I, I think what he did. I think he installed a VPN to bypass the internet control that I have.2 (1m 20s):Oh1 (1m 20s):My God.2 (1m 22s):And it somehow how that relates to, I can watch, I couldn't tell you. I can tell you that if I turn off the wifi, I can watch it on my cellular data.4 (1m 33s):It's insane.2 (1m 35s):Yeah. It's, it's beyond insane. I, and you know, I like, I'm always on this thing where I'm vacillating between letting it go and just trying harder to, you know, impose the limit. I mean, you, I wouldn't, before I had kids, I would not have imagined it was this hard to impose limits on people, you know, because you don't want them to not have what they want. Right.4 (2m 6s):Right.2 (2m 7s):And, and it's a real battle to like, make myself, give myself and my children limits. It's really hard.4 (2m 17s):My God. Yeah. Yeah. And the other thing I'm stuck on, it's like maybe there was okay. I think I'm like trying to figure out the thing, which is like, I know what I think I know what happened. So you have restrictions on content. Like, and I think a genius, the Kanye trilogy, like completely has all those triggers in it. Like all the things are in it. There's sex, suicide. There's, there's, it's all the things you, I wouldn't want a susceptible teenager to watch. Right. Like just for various reasons, not, not for anything other than triggers. Right. So like my nieces and nephew, the same thing, so, okay.4 (2m 57s):So then you set that right? And you're like, no, no, but then the kid or anyone can get a VPN, which then resets, I think the con, but I think you're still on the, you're still, you're still on the content warning site, which is blocking genius. You from watching genius. That is fucking, I mean, it's kind of genius in a way, but it's also so infuriating. It's like, come on, dude. I'm just trying to watch my fucking Kanye west bullshit.2 (3m 26s):It's literally just this race of like today I'm on top. And then the next day it's like, oh my God, they, they, they run the show. I'll never forget. There was a scene in the first season of the Sopranos where Tony and Carmel are having a problem with Anthony, or maybe it was with the daughter, a meadow and they're in their bedroom. And he goes, if she finds out, we have no power. We're screwed. And I laughed. It was the time I had watched it after I had teenagers. Yeah. Like that's what it is. We actually have no power. And yet the, the, the con that we're forced to do is pretend like we have all the power.2 (4m 12s):It's4 (4m 13s):Like2 (4m 13s):Covering4 (4m 14s):A metaphor also for life about like my mom's friend sent me something that said, you know, I forget it was like her friend had passed away and it's not fair and it's not fair. And I, and it isn't, and that's the thing. Like it, the truth is not fair. Like it sucks. But like, and, and we pretend that things are fair because if we don't, it's absolute chaos. Like if we didn't pretend really that red means stop and green means go, we'd have a real fucking problem. If we all rebelled and said, you know what, fuck you, green means go. And red means stop. And we all sent a mass media thing around.4 (4m 56s):There would be chaos. It would be2 (5m 13s):The bus. And I guess that's just the headline right there. That's like the headline in the story. Like you took the bus from LA to San Fran, Fran, because gas is so expensive.4 (5m 22s):Well, many things. Okay. So driving, it's really a grind on the five coming home, especially it's like, so rough, like, it can be a nine hour instead of five, six hours situation. It's crazy. Cause the five sucks. So, so that was the first like, and then gas. So I wasn't gonna drive cause I did the drive Thanksgiving and it was like, oh God. And then, so I was like, okay, well I'll, I'll just, I I'll fly. But then I'm afraid to fly. Even though the flight is literally 45 minutes. And then I was like, okay, but then because of gas, I said, okay, I'm going to just get my balls into it. I'm going to build up my balls and I'm going to fly. But then because of gas, you know, does jets use gas fuel though?4 (6m 6s):The flights really went up six San Francisco. You shouldn't even get a flight for a hundred bucks on Southwest round trip, like 120. No, no, two 20. So I'm like, oh no. So then I say, okay, well I'll take my Amtrak. Of course, which is actually what I, what I looked at first. But the track of it, it's a beautiful ride. It takes forever, but it goes up the coast and it's gorgeous. And you can like bid to get a fancy room,2 (6m 28s):Right? Yeah.4 (6m 29s):Well, okay. Well the tracks being repaired, so then you'd have to take a Greyhound. I'm not taking a Greyhound. So then I was like, okay, what would it take a fancy bus? And it's a flick2 (6m 38s):Of a fancy4 (6m 39s):Flex bus flicks. And Flix is big in Europe and they're charter buses and they have bathrooms and it's like assigned seating. And I bought two seats because I was like, fuck you. And it's so inexpensive, but still listen. I just, you know, and I worked, my dad was an addict. I have food addict issues. I get addicts. So don't come. People don't come at me for saying this. But the bus is a place where heroin, heroin, addicts thrive. Like that2 (7m 9s):Is the heroin addict doing on the4 (7m 11s):Bus nodding out. So there's two, there was a couple and I was like, oh, these are heroin addicts. They just looked so like, their luggage was all fucked up. They couldn't barely get on the bus. They were fighting young people, LA style tattoos. Fine. I am tattoos. It's not that they, but it was like this very specific look thin bedraggled, but not, not, not a curated look like more like, I'm just fucked up inappropriate clothing for the weather. Like big. Although in San Francisco is cold. Maybe they need something. I didn't know. They had like heavy coats on it's like 90 degree, all their shit. Right? Like they're, you know, I've got one little carrier. They've got like bags, like big things.4 (7m 52s):Okay. And that you can check, but you have to pay more for it. And their suitcases are falling apart. Okay. Fine. But they have cell phones, which is so, but a lot of people have cell phones. I mean, I I'm always shocked when people have cell phones that look like they shouldn't, I'm like, what? How do you maintain that? But anyway, so they get on an immediate, they sit in the, they got the seats in the way back, which is like a little bigger, but also your brother bathroom's gross, but they just not out immediately. They get on and like midfoot, mid fighting. They just like pass out and I'm like, oh my God. Like not out like out. And then don't wake up until we get there. Like literally it's an eight hour ride.4 (8m 32s):They don't get up at all.2 (8m 35s):Wow. They'd probably been awake. Yeah. Or I guess maybe not4 (8m 41s):How2 (8m 42s):It works with the4 (8m 42s):Heroin. Well, it depends like, I mean,2 (8m 44s):Not the heroin.4 (8m 46s):That's my new band name. That's our new band name. The heroin's got mics on two levels.2 (8m 51s):Yeah,4 (8m 53s):That was good. Gina. Okay. So no for me and my, my, my clients were a lot of them on heroin. And what would happen is like, you can't always get heroin. Right. Because it's expensive. And because I mean, it's cheaper than whatever, but it's expensive. And then, so you go without it and you start to detox and then you're up, you can't sleep. You're a mess. And then when you finally score again or whatever, get your heroin, then you just feel great for about half an hour. Then you pass out. It's just so it's such a waste, but okay. It's a process.2 (9m 25s):You know, although I would never want to be a heroin addict. I will say something like what's occurring to me. As you're talking about this couple is like, you know how with addicts, their life is very focused around just scoring or whatever. So to be able to have your life goals in these little chunks is really appealing to me.4 (9m 47s):Yeah. Well, it's a very, very, very specified job2 (9m 52s):World. Right? You make, I think when you're a heroin addict, you must have a really small world and your objectives are like, get score. That's at a place to4 (10m 1s):Sleep and don't get arrested and don't2 (10m 3s):Get, don't get arrested. Like there's something and I, I'm sorry to be cheeky about it. Cause people have really suffered with heroin addiction. I, I'm not suggesting that people, anybody should be an addict. I'm just saying like the idea4 (10m 14s):Yeah. To you. It's like, yeah, me too.2 (10m 17s):Actually even just the other day I was thinking I was watching somebody who had, what I imagined was probably a minimum wage job. And I don't remember what the job was now, but I just, I was looking at the person doing their tasks and I was thinking, yeah, maybe I should get a job like that. You know? And then 30 seconds in, I'm really trying to imagine myself. And I'm like, what am I talking about? Oh, people don't love working at McDonald's. Don't love, you know, whatever the4 (10m 47s):Jobs. And I will in, in adulthood in 30 dumb, in 40 dumb, like the last one I had at that fucking donut shop, I was like, oh, this seemed quaint. The chef was a jerk. I got in like a fight with the chef was so rude. Like here I am 42, right. Or 43 or something. And I was working at this place in Rogers park for like cash only under the table owned by these two young SIRS. They, whatever their business was working. But like the fucking chef was like talking shit about me. Like,2 (11m 23s):Is that a doughnut chef? No,4 (11m 28s):I should have said that. No, they also serve sandwiches. That's brilliant. That's brilliant. I was2 (11m 33s):Just thinking to myself, like, do you have to be a chef?4 (11m 36s):No, that's hilarious. But she was like, or they were, they were talking shit about me. And I was like, oh no, no, no. And I was basically volunteering there. I was so outraged. I was like This person that2 (11m 51s):To read an essay about that, you've got, write an essay about your donut shop stint.4 (11m 55s):Oh, I will. And I want to name names. They were fucking assholes. And also they, like, when I went to confront the PR, like I was like, I like when you walk behind someone you're supposed to stay behind. Right. But if you've never worked in the restaurant industry that does not come naturally. And also I'm really fast moving. So like I just met, she goes, you have to stay behind. And I was like, oh my God, I'm gonna fucking kill you. And then she would under her breath talk shit to me about to the other people. And so, and so I finally, you get them, you get them every time, this way. So I pulled the owner aside and I was really upset, like crying because she was treating me like shit. And I said, listen, what the fuck is this? And then the next, the person wanted to then that the owner was like, look, this lady is doing as a favor by working here basically because we have no one and she's working on under the table.4 (12m 42s):So then the, the, the person wanted to talk to me, the chef and I talked to her, I'm like what? She goes, I'm sorry. If I come off a little, I go, oh no, no, you don't come off. You are. And I said, I don't know what's happening here. I'm like, just try to do my job and go the fuck home and make my money to pay my cell phone bill, bitch. Like I wrote that and then I just quit. I was like, fuck all. Y'all. So, no, it sounds really quaint, which is why I fucking get those jobs. And then you get in there and you're like, oh, this is how on earth.2 (13m 11s):Oh God, I am sure it was, I4 (13m 15s):Don't do2 (13m 15s):It. Yeah, no, no, I won't. I will not do it. It just, it just periodically, it just occurred to me4 (13m 20s):Because there's a set skill set set of tasks that no one eat you ma I imagine that no one is like on their high horse. No, no. People are still on their fucking high horse in minimum wage jobs. There's a hierarchy of fucking assholes anywhere you've.2 (13m 37s):But then I did get to watch the third episode of the Kanye documentary and then, okay, well, I didn't finish it though. I'm only like 20 minutes into it. It's so sad. Right? It's going to go on. It's going to turn4 (13m 50s):It. It does. But in also in an unexpected way, what I will say, I think we should talk about the third episode next time. Okay.2 (13m 58s):But4 (13m 59s):The first two, for me, fucking amazing in the storytelling, whether, regardless of how I feel about Kanye west, which I don't feel any kind of way other than, I mean, I just, I I'm talking about the, since we're about to make a documentary, right? Like I'm looking at, I love the first two. I love cooties filmmaking. And the first two episodes, it then takes a turn on the third, but like the first two are so packed with information and visuals and, and storytelling.4 (14m 39s):Like, I loved it. You and you also get a S he such a great job of like showing a slice of time, you know, and, and, and all the characters in it and real life people we know and get glimpses of. And I just thought, and for me, the most moving part of it, I mean, I have real lot of feelings about Donda and Connie's relationship and Donda herself. I have a lot of diagnoses for both of them, but I'm not, you know, like, I feel like she's got bipolar. Like, I think there's a whole thing going on there, but what I found, I have never, I have never been so moved for, for the hustle and the perseverance of a human being and the just sort of neutral and unwavering.4 (15m 32s):We know it's not really true, but like they're like, but the unwavered, what I saw was an unwavering unshakable, almost naive belief in oneself.2 (15m 42s):This is what I wanted to talk to you about. This is what I wanted to run by you. Cause the, the connection between talking about that, me working on the documentary and, and this a, I agree with you, Cody is an amazing documentarian. And we could totally learn a lot from the way that he weaved his own personal story into that, his relationship with this, you know, mega personality. But yeah, you know, the scene where he's talking to a bunch of kids and he's, he's talking about self-compassion, I mean, he, he has a point, you know, what, what should you, you created an amazing piece of art and somebody compliments you on it and you you're supposed to pretend like you're dumb.2 (16m 29s):You all, you don't agree that it's, that it's amazing. You know, like there's something to be said for that. And there's something to be said for what you're just describing the unshakable confidence, but I want to hear what your thoughts are about their relationship.4 (16m 45s):It was interesting to watch the process of what I would call a simultaneous process of infantilizing him as well as idolizing him as well as parental defying him, as well as believing in him. It's a combo platter. And I believe from watching her and watching what I noticed in her mannerisms and his that I think they both had a mania thing going on, like in her eyeballs. So I have become really good at looking at people's eyeballs.4 (17m 26s):And I notice in the documentary, as it goes along when Kanye is manic, his voice goes up in pitch and his eyeballs looked different and she had this eyeball situation, which is this sort of darty, Desperate eyeballs. And I noticed it in my clients all the time and I'd be like, oh, they're manic, they're manic. It's not an, and it's like, hypomania, it's not for her. But like, I saw that in her. And I was like, oh, like, what's happening? Where am I going? What's happening? Who can I okay. And, and covered with a bit of like, you know, self-help, you can do it this and perseverance, but it's, it's all a combo platter, but that was my take.4 (18m 15s):What was on their relationship was like a, I need you, you need me, what's happening. I'm worried about you, but I'm going to then hope that by, by really pumping you up, that I'm going to pump up the mental illness away.2 (18m 31s):. Yeah. Well, I, I agree with what you say about the, their relationship, their dynamic, and it makes sense that yeah, maybe she had a touch of the bipolar too. What I was thinking about it is, and like I say, I haven't gotten through the third episode, but what I was thinking is it's so evident how meaningful their relationship was to both of them, but in this case for, for him and that he could just maybe spend the rest of his life, chasing that relationship, chasing a woman who will fall over him, the way that she did.2 (19m 14s):I mean, really what it seems like, what he needs is a person who kind of use it as their sole purpose in life to, to, to support his genius, which is why he probably makes a terrible partner, But that the, she gave him like this, like she was mainlining love to.4 (19m 35s):Yeah.2 (19m 37s):And you know, he's unlikely to find that any place else. Right,4 (19m 41s):Right.2 (19m 41s):But he's still looking, I think, Well,4 (19m 46s):And then it's really interesting. So like Cody gave up his whole life to, to follow him and it wasn't enough. Like it, it becomes not enough. And then when the person literally is removed by death, then what do you do is what we're seeing in the documentary. But like the it's, it's a it's, it's so fucked up because I, I feel like from watching from the outside, she must've felt like she was his only hope. Right. Which is which, okay. Which I'm sure is it's2 (20m 18s):Hard to me was her only hope.4 (20m 19s):No, she was, she's like, I'm my son's only advocate. Right? My old, his only hope for love and happiness comes from me ultimately. And whatever went down in his childhood, I have to make up for what other, all of them, with the other, all the mothers stuff happens. Right. I can imagine. And then it's like, yeah, it sets him up to be, like you said, chasing that the rest of his entire life. And she's not going to be around forever. And she did the best she could. And she did so much compared to what a lot of people do. And he's, it's just, it, you throw in mega stardom in there and it is a recipe for absolute meltdown.2 (21m 6s):It actually, it really relates to the thing we were talking about when we started talking today, which is about limits and limit setting. And I think I mentioned to you that I'm also reading this book about Sandy hook conspiracy and the straight line between Sandy hook conspiracy and the January 6th instruction. But in the part of the book where they're talking about Adam Lanza and his mother, I hadn't heard this before that, you know, he, he he'd been flagged in the psychiatric system, you know, going back since he was a young boy and I don't know why she opted out of treatment for him. But what I do know from this book is that what she strove to do was keep meeting his needs wherever they were.2 (21m 53s):But because he was so mentally ill, his needs were things like w w when he had his, the intake at Yale, the clinician noted that he said to his mother, you need to stand with no part of your body touching the wall and that she just did it. And that at home, it had gotten too, there were things he couldn't have cooking odors, curtains, door knobs.4 (22m 23s):Yeah.2 (22m 24s):And she just kept meeting the need. And this was something that I really relate to. Hopefully I have not going off the rails like that, but when your child is suffering and what they're telling you is I want this thing, the decision to say, I know better than you. You think you want this thing, but that is not the right thing for you and for that child to be screaming in your face or not. But, you know, with all of their energy, all of their conviction, they're coming to you saying no, this with my kids, it's the screens.2 (23m 4s):No, I need my screen time. And I'm going. Yeah. But you, you can't know what I know, which is that you, it's not good for you. It's simply not good. And it's just so hard to tolerate when your child is enraged or hurt by you4 (23m 22s):Suffering the suffering.2 (23m 24s):So nobody said any limits for Kanye, and he's now floating like a balloon in the ether, right?4 (23m 32s):Yeah. It's, it's really bad. He's now he's now has restraining orders. And now he's got the Grammy said he can't perform there. So now the limits are being imposed that are huge. And I don't know what's going to, and I also, from working in Hollywood, what I noticed was it is so easy when you have money and power yeah. To, to develop a team that will, will do what you're saying. That, that Adam Lanza's Mrs. Or miss Lanza did. It's so easy to have that bought and built in.2 (24m 15s):And I will tell you this, my, one of my very most successful treatments that I did when I was at private practice therapist is I treated somebody with very, very severe borderline personality disorder. And it was a kind of situation where the client would quit all of the time, you know, quit, quit therapy. And then, and then you would do this dance of like, they, you know, they don't really mean it. So you don't, you don't give up their appointment time because they're going to show up. Sometimes they're going to show up and act like nothing happened. Like they never said they were going to quit. So with this one person that I've been working with for a really long time, and we had a good relationship, which, which is to say yes, she was very, very sick.2 (25m 4s):And she was very, very difficult, but also she had so many great qualities that it kept me. Like, it kept me really invested in her, but the 50th time or whatever it was that she quit after I, she was also in this group that I was running and she like got violent Sharna in the group and left and whatever. Anyway, this time around, when she quit treatment, I said, okay, we're done now. And then she showed up for her next appointment. And I said, no, we're, we're done now. And that precipitated a year long hospitalization for her, but this person is now doing amazing, honestly.2 (25m 49s):And I knew in her family dynamic, her parents were afraid to set limits with that because she was a very, very strong personality, but it was only through the limit setting anything. It had to go all the way to the end, right. For her and, and to, to reject and decry and be victimized and blah, blah, blah, for then her to like follow her dream College. She, she, I can't say what it is obviously, but she has a job that was the job of her dreams and that she learned, she only discovered was the job of her dreams in treatment and that she could have only gotten to do after having really had to contend with actually living with the limit.0 (26m 42s):Well,3 (26m 55s):Today on the podcast, we are talking to Josh . Josh is graduating this year with his MFA in directing from Cal arts. And he formerly had a whole career in Chicago as artistic director of the Haven in Chicago. And he has a lot of interesting insights about his experience of being in school again, after having well launched into his career. So please enjoy our conversation with Josh Sobel.2 (27m 36s):So Josh was just explaining the Cal arts is, I was saying, is it a conservatory? And he was saying, it's an art school in the truest sense. So go ahead and repeat what you're saying.6 (27m 44s):Yeah. So like Travis, who's an alum of like Yale back from the Robert Brustein days of Yale. He he's like, look, Yale school of drama is always considered like, Ooh, Yale school of drama, but he's like, if you think about it within the larger Yale structure, you've also got like the business school and like, you've got the journal, you've got the medical school, you've got all these things. So like within the theater universe, it's huge, but within the structure of the university, it Yale, you know, and so the beauty of Cal arts in a way is that it exists outside of that larger sort of academic structure. It isn't part of a university. It is an art school with a theater department.6 (28m 27s):And there's something that, that is really freeing honestly about that. And the Cal arts in particular sort of leaned into in terms of its sort of generative and, and experimental sort of Ben it's, it's been an interesting experience. Yeah, please.2 (28m 45s):Gina Bridget went there. Yes. Yeah. That's what I'm saying. I think she's the another co Cal arts alum we have.6 (28m 51s):Well, and it's funny, cause you mentioned they were an acting alum and the acting program I have to say is in particular fascinating and unique. And I love it because unlike a lot of programs I've encountered and I've like taught in academia a little bit before I went in, before I started as a student in it, it's like very few programs encouraged teach and want their actors to be generative artists in their own. Right. And bring that to the table in the room. And honestly, as a director, I'm like, it's a gift. It is such a goddamn gift in terms of the collaborative process. Like I, I can sometimes when I'm hitting my own moment, like really feel comfortable being like, I need like a physical gesture representing a panic attack in slow motion that moves across the stage this way, take third, take 30 minutes.6 (29m 44s):Here's some music and an object.4 (29m 46s):Oh God, that sounds like the greatest thing I've ever heard.6 (29m 51s):I did something similar with a particular actor in my thesis show thesis show, quote unquote. And like she killed it. Oh my God. Avalon Greenberg call. She's about to graduate from the BFA program and she's, or a couple of years. And she's incredible. But like she ran with it and these actors are sort of prepared to take that and like, just make shit and be like, is this what it is? What does it need? And then I can sit there and like sculpt, we can then like work together to be like, Ooh, let's expand that moment out. Let's tighten that bit. And we're then working collaboratively on this other thing.4 (30m 25s):So amazing Josh, like, like I, I, I do this every time we talked to someone that I really like, and I like their vibe and I like how they're talking about their education. I'm like, oh, I'm going to apply there. And then I remember that I did apply to Cal arts for undergrad and I got a call back, which was like the greatest thing, because I was a terrible actor. And I like in the truest sense, like what you're talking about, I would have been like, so, so I am, so I am so glad to talk to you because I, when you say things like that, about how you direct as well, and I'm not a director, Gina directs, I don't direct, but like I want to work with someone who says shit like that.6 (31m 7s):Well, I, I really, I don't know. It's funny. I, you know, outside of like grad school, when I was in undergrad, I went to undergrad at Oberlin college, which is really sort of a diamond in the rough school for theater. It's like, and it's a lot of OBS do well out there. And it's weird because it's like, it's not known, but it's really good. But while I was there, I also did a semester at the O'Neill and I don't know if you're familiar, the national theater Institute. Yeah. So I, I did fall 2007 and like, I really lucked out my partner and I were a year apart actually, before we ever met weird small world, but we both walked out because we've got there right at the time as this particular artistic director was there, Michael Cadman, who was a, an alum himself of the Royal Shakespeare company.6 (31m 52s):And like he understood ensemble. It's funny. Cause I always like, what am I, I love Chicago and I miss Chicago so much, but one of my like little gripes with Chicago is that the word ensemble gets thrown out a4 (32m 6s):Lot.6 (32m 7s):And I, I have a very particular opinion about that because it's like, I think ensemble sometimes it's just meant to mean or thought to mean like a collection of actors, you know, or the company members, you know, the, the Steppenwolf ensemble or the straw dog or whatever. And I'm like ensemble is a value. I think ensemble is, is some it's about how one sits in the middle of a collaborative process. It's about how the threads are drawn. Not even just in the actors, it's about the threads are drawn outside to stage management, to producing, to designers, to everything. Like, and we're all coming together to sort of generate something together, right?6 (32m 49s):Like that's ensemble and Michael understood more than anyone I've ever met in my life. Like how to nurture, how to build, how to find the ensemble impulse in people. And he would just build semesters of the young students and sort of demonstrate that for for four months. And yeah, that's sort of been a foundational thing from that point forward. So I'm, I'm always ready to like chill for the O'Neil. Like, I love the, I love being,2 (33m 16s):Yeah. I actually live kind of near there. I live in Connecticut. Yeah. Oh, that's6 (33m 21s):Brilliant.2 (33m 21s):So you just made me think about something. Has any group of theater artists ever called the ensemble? Also the, the whole entire staff, like everybody on crew, because it is such a group effort. And we as act, this is one of the big things about, you know, going through an acting program, you just, and maybe it was just me, but you just think like, it's all about this. It's all about the actors and you just think everybody else is there supporting what you're doing.4 (33m 55s):Well,6 (33m 56s):It treats it like a technical term, right? It's like, it's a category. And rather than like, no, it's actually about an energy. It's about a trust. It's about something else. And I will say to answer your question like that w when I was a strong dog ensemble member, that that was one of the things I loved most about being on the straw dog ensemble was you had designers, you had managers, you had people like from every aspect of the creative process, sort of understood as part of the ensemble. It was all framed that way.4 (34m 24s):It's interesting. Like, I feel like what happens maybe is like, so take Steppenwolf because everyone talks about Steppenwolf as the original ensemble, which really you're right. A side note tends to mean in Chicago. And I can say this because I'm from there means that nobody is prettier or more famous than, than other actors. Like, that's what they mean by ensemble. Like that's how people talk about that. They're like, no, this is an ensemble piece. Meaning that even though you're really pretty, you're not going to be the star, like to someone, they never say that to me. You know what I mean? Okay. But anyway, side note, but ensembles. So when it's interesting, because it's like when a theater gets bigger, meaning a broader audience, more money, I feel like there becomes a really strong, clear delineation between technical staff and the actors.4 (35m 15s):And it comes, becomes compartmentalized probably because they have to run a freaking business with a multimillion dollar budget as we're like straw, dog. Like you can kind of stay it's like that storefront. It kind of, you can really get in there, which is how stepping will start it. So I think what we're talking about is the capitalization of the,6 (35m 33s):Oh, always, I mean, honestly, always all the time,4 (35m 37s):But yeah, but I'm, I'm curious about she and Gina, did you say2 (35m 42s):I did and I'm so sorry. I forgot to say Josh Sobell congratulations. Your surviving theater school. You're almost done4 (35m 49s):Art school theater school, you know, it's all the thing, but yeah. So I wanted to ask, I guess, take it back before I get on the runaway train of like, did you start out as a direct, like where you would act what's what was your path to the school of Cal arts? I guess6 (36m 7s):I've, I've been a director most of the time. I of course did a little bit of actually got rather late. Like I'm not one of those people who was like really involved in a lot of things when I was really, really little, but I had sort of a formative experience in high school as an audience member. My school was really remarkable. I, I unfortunately should catch up with them and see what they're doing in their theater department. But at the time, like we were a high school that was doing like Ian ESCO and Tom Stoppard and shit. Like, it was pretty cool. I assistant directed rhinoceros my senior year of high school, like Steve Rochester, New York, right in high school, shout out to Steve angle, Mr. Angle.6 (36m 47s):He was incredible. He also was the AP lit teacher and ran an incredible AP lit class. Like, oh my God, we, we read and watched just incredible stuff. And so actually his show, but he was one of the other directors there did chorus line and they did like an unedited chorus line in high school, which I also very much admired. And Paul's monologue hit me like eight when I don't know how familiar you are with, with the show. But like, you know, it's a classic Broadway, 1970s. It was sort of groundbreaking at the time because it was all real interviews of people who were all fighting chorus.6 (37m 27s):Of course, Paul Paul's monologue when he sort of finally breaks down and tells the story about his, his parents meeting him at the drag show in the back of, I lost it. Like I was a weeping mess. I don't know. And I had not had that particular experience before. And I walked out, I remember going home nerdy, like misfit fucking high school student hadn't found themselves yet and was like, I feel different. I don't know how I don't, I can't quantify it, but I feel like I am moving through the world differently than I was before I had that experience.6 (38m 8s):Wow. I want to do that. And that was, that was the moment. And so I started auditioning a little bit, but I always got interested in directing because I, it was the idea of like creating that holistic experience for an audience member, the way it was created for me. And so we also had, I think it was like an official partnership, like you could license with the 24 hour plays in New York. So my high did the 24 hour plays every year. And so I would stay overnight at the fucking school and, and do and direct. And that was sort of my first directing configuration. I was terrible. God. And my first few shows like first few shows at Oberlin were terrible.6 (38m 55s):Why, why? Oh my God, too, in my own head, I'm still too in my own head. It's the main thing I'm working on. I'm a very cerebral artist and that's not necessarily a bad thing. I just am seeking balance. That's part of the reason I went to Cal arts and Kellogg's was actually really the right choice for that in a lot of reasons to sort of break down some of my more cerebral and rigid habits. But I just didn't like, I, I was in my own way. It was that classic. Like it, my insecurity, I was second guessing. I was, it was actually Michael Cadman. It was the O'Neil. That was the turning point of that as well. So like I, anyways, I went through high school, got into it, went to Oberlin, was sort of jumping between theater and film got focused in theater because I liked the linearity of the process.6 (39m 40s):It just fit my brain better. You can really build the Dominos in order and watch them fall. And I love that from a process standpoint, joy. And so I went to the O'Neill and I was still like, I was overthinking and I was over like complicating and convoluting and Michael Cadman who I'm the final day of the program. I was like, you asshole, you couldn't have said this to me like weeks ago. I'm the final day of the program was like, you're very, very smart stop trying so hard to prove it.7 (40m 19s):Ah,6 (40m 20s):And that was, that was another game changing moment for me. And I, I started sort of stepping back and letting myself have more fun with it and just found myself sort of like what were my passion projects? What were the things that made me feel the way I did it, chorus line in a way. And my first show back in undergrad was a cabaret. And that was, that was a really huge, huge show for me. And I was very proud of that show and still have, like, I watched the video sometimes I was like, oh God, those transitions fucking suck. But, but yeah, directing, directing has always been sort of my thing because of that idea of like, I get to sort of, I don't know.6 (41m 4s):I, I, it's funny because so many people think about directing in this very hierarchical standpoint, right? Like they like the sort of like top-down, they get to sit at the head of the thing and create their vision. I challenged that constantly. And it's funny because people think by challenging that you give up the sort of directorial authority I call bullshit. I I'm interested in what I like to refer to as horizontal hierarchy. I say, I refer to it. I didn't invent the phrase, but like I've sort of taken it and I really love applying it to collaboration. I like the idea that as the director, I'm sort of sitting in the middle, I'm the same plane as everyone else surrounded by all of these brilliant fucking artists.6 (41m 48s):And I get to be like, Ooh, yes, it's a bit of that. It's not quite that. Can we bring it over there? I, yes, let's bring that in and pulling all of it towards the middle. And I still get to, by virtue of being in the center of a doll, just make decisions I get to make, be the arbiter of the quote, unquote vision or whatever you want to call it. But it's not that it breaks down the hierarchy in a way I'm not above anyone else that doesn't have to be my idea. It has to be the coolest idea. And so by sitting in the middle of it, I just get to sort of help tie the threads together in a way that feels like the audience experience we're going for. Like, that's my job to God.4 (42m 30s):Interesting. So it's so, oh yes. And I'm so curious as to why more directors don't do a horror. Is that, is it just an ego thing? A horizontal.6 (42m 47s):Yeah. Yeah. I think there's a lot of fear. There's a lot of like, I'm not even going to call it insecurity. Cause I actually think that doesn't do it justice and I think it's too easily dismissible. I think it's fear. I think there's a lot of fear. I mean, if I'm really Frank, I'm confronting it in certain areas of my program right now.4 (43m 25s):Okay. Wait, so you're saying that I just want to reiterate for my own brain because this happens all the time in all organizations across the board. So I'm really, and we're like, we were talking about it yesterday sort of. So, so you, you, you, there is an atmosphere of like, we want to make change, right.6 (43m 43s):Faded a stated goal,4 (43m 46s):Right? Not an atmosphere. Okay. So a stated goal, which a lot of theaters that I am familiar with and institutions are making these statements right now that the statement on paper or on the web or wherever it is saying, we want to take your feedback and make change. And it usually revolves around the word change. Like we're open to change. And if we're always, if we're honest, nobody's fucking open to change. We fucking,6 (44m 14s):And that's what we're talking about. It's the same fear to me. It's the same fear that you find in directing. It's a fear of some, some kind of loss of authority. It's a fear of some kind of loss of control. It's the fear of, I don't know. And it's so funny, like all of the ways you encounter it, because then yeah, you go and you actually say, here's the thing. And like I did this recently and I got yelled at, I got, and again, I've been, I've been working in Chicago theater for a decade before this. I don't give a shit. I was an artistic director, right. Like I was artistic director of Haven, Chicago. I don't like, this is, I don't need your ego. So I think it was actually kind of fun.6 (44m 56s):I think whether it's directing, whether it's artistic directors and institutional leadership, whether it's corporate leadership, whether it's, it's all of this, it's, it's, it's a full each year that, that somehow you're going to lose your Control.4 (45m 10s):This is so classic in, in terms of, so Gina and I were both therapists for years and look, and obviously we were children of parents. So I would go to my mom and say, this is the exact same thing. I would go to her and say, Hey mom, you're pretty abusive verbally. And she would say, but I'm the best mom. I know how to be. And at least you're not being beaten. Like I was beaten. And I'm like, okay. Yes, true. That all that is true. I, and you're still abusive to me. You're hurting me and sh and whether or not you want to make changes. That's the thing.4 (45m 50s):So we, we are literally reenacting parent child relationships in every walk of life. Like this sounds like a conversation a kid might have with their father where the father is like, well, I provide, we we're great.6 (46m 8s):And it's not about perfection. Like, it's not about like everyone and just like, we're all human beings. Right? Like I, I never wanted to feel like, and that's sometimes my problem with like, like I'm, I'm as left to center as you can get in a lot of ways, but it's like my one problem with sometimes a lot of left wing stuff is w where it's like, I think there is a purism that sometimes get, gets into it. And it's like, no, like we're all fucking human beings, right? If we believe in the ability to change and restorative justice and all of these things, then we have to actually believe that people can improve and get better. But it's like, there needs to be that honest interest in improving and getting better. There needs to be that genuine interest in it. And it's like, it's one of the things I was really proud of that we built it at Haven in Chicago with4 (46m 47s):Such a great theater. Gina Pavan is amazing. We're going to be there in the summer. So maybe we'll check it.6 (46m 53s):Ian Martin, like it's so funny. Cause it was such a, it was also a gift to really be able to do a transition process with Ian, you know, cause we really tried to be in, I've been part of some really unintentional transition processes. So like there were a lot of reasons where I really felt like Ian was exactly like, not, it wasn't even about sustaining what Haven had been doing. It was about how do we build and evolve on what Haven had been doing. And so Ian was sort of perfect. And we built the structure that you don't see very often where I, he was, yeah, he was my art, my associate artistic director for half the final season. And then we switched and he became artistic director and I was his associate artistic director for the other half of the season.6 (47m 36s):So he could have the responsibility and be in the decision-making position, but have the institutional memory sort of right at hand. And then it's like, and then I step away. So like I bring that up because there was an intentionality that we tried to bring to, like, we're going to be a theater company, let's be a theater company. Like you mentioned the business. Like let's, let's try to be a business, but let's try to be a next generation business.2 (48m 2s):And by the way, statements statements are to change as you know, sex is to relationships. Like it's a good start, but like you have to do more6 (48m 12s):Exact than just exactly.4 (48m 13s):So I guess the question is, what is it for me for me anyway? What is it in you, Josh? That is the kind of person because what is it? And there's a reckoning, obviously that I talk about a lot in, in terms of American theater and theater in general and the movie industry, the reckoning that's coming or in is, is that part of your drive right now to do this? Or it sounds like you've always been this sort of way, but why the fight? What, what, what about the fight?6 (48m 43s):Yeah, I think, I think, I think it's got it. That's such an interesting question because it's making me think in a chicken egg way, like is my ethics and my politics, like in here, like I don't know, the weirdest thing just came to mind and I'm going to follow that impulse.4 (48m 58s):Great.6 (48m 59s):Do it. And forgive me if I get a little bit emotional right now, it's it's my dad. If I'm really being honest, my dad is actually, he's not in the arts, but he's very artistic. He's a cellist. He's a musician. His odd actually, if you go to the Dem theater in Chicago, where Haven is the space that Haven exists in is the Bookspan theater specifically, the Janet Bookspan theater. Janet Bookspan is my aunt, his sister who was a major opera director, vocal coach, teacher, performer, actor assisted how prince back in the day, like holy4 (49m 40s):Shit.6 (49m 41s):Yeah. So like, and I have it on my mom's side as well, but my mom actually is an artist. She's a painter, but my dad, my dad is a radiation oncologist. He's a cancer physician, but music and art has always been a very big part of his life. His family, my life, he actually sidebar. Cause this is just a fun thing. And I hope this gets included. Cause I love bragging about this. My dad talk about politics and, and art colliding and art ed creative ethics. My dad has always been a big fan of Dr. Seuss's the snitches, this exists. You can go online. It's amazing. I'm so inspired by this. He was part of the Rochester academy of medicine and they have this amazing old building that has a roof.6 (50m 23s):That was basically, it's like a mansion that was donated and it's got this that was built for chamber music. And he developed relationships with the Rochester Philharmonic re developed friendships with musicians and created basically a chamber trio to play at the Rochester academy of medicine. And through this met a composer as Spanish composer, living in Berlin, named the Lorenzo. Palomo, who's pretty bright. His music is pretty outstanding and ended up commissioning a piece of music for this trio. And one thing led to another. And we found out that since my dad was young, he had believed that Dr.6 (51m 6s):Seuss is the snitches one. It was one of the most impactful, universal and effective lessons about acceptance and like anti-racism that you could find. And it was always his dream to have a piece of music, Allah, Peter, and the Wolf that was composed to be performed in tandem with a narration of Dr. Seuss's the snitches. So you can license this now on music theater international, because he did it. He commissioned Lorenzo to compose a piece of music for Dr. Seuss's the snitches. And we also by hooker by crooked premiered at my Alma mater at Oberlin and has since played around the country actually.6 (51m 52s):And I believe internationally. And, and it was all because he wanted to spread the message. It was because he wanted to use art to create an anti-racist piece of art. And the other cool thing is through a connection with his niece who ran the department of cultural affairs in Miami Dade county. She had a connection to John Delancey, who you might know as Q from star Trek, the next generation who did the original narration, the premiere. And so actually it's all on YouTube. You can hear John Delancey doing the speeches. And so like that's an aspect of my dad right there.6 (52m 33s):Another aspect was that I'll never forget this story. He actually built, he in Clifton Springs, New York built the cancer center, finger lakes, radiation oncology, because there, you know, there was a large elderly in particular community out there if I recall. And so, you know, as people are getting later in life, you know, biology happens and access to cancer treatment was non-existent except like 45 minutes or more at least minimum drive out of the way, if not hours out of the way. And especially as you're getting older, that becomes less and less sustainable for radiation treatments, for chemo treatments for all of these things.6 (53m 15s):So he found funding and worked his ass off as I, in some of my youngest days and built this cancer center from the ground up. And there was a day that I remember very distinctly hearing this story where as we've all been in any doctor's office, they were just running like, you know, three, four hours behind and sorry, I get emotional tug this story. It's so funny because it's like, that's, that's my true north in a way. You know, he, he sent his technicians out. This was back in the day when like Rent-A-Center was still a thing and blockbuster and shit, and like went out to get like sent them out to get like a television, sent them out to get a bunch of movies, sent them out to get like a sandwich platter and just showed up and basically were like, Hey, we're sorry.6 (54m 11s):We're we know we're running behind. We just want you to know, we haven't forgotten that you're here. You know? And like when does that happen at a doctor's office? Like when has that ever actually happened? Right. That's my,2 (54m 27s):Not for nothing, but my dad sold x-ray equipment. I've met a lot of radiation oncologists, and it's very unusual. Like there tends to be kind of a personality type with people who go into radar and it, it's not that what you're describing. So your dad must be a really remarkable person,6 (54m 45s):But yeah, no. And so I think it was a values thing. If we really want to talk about it, it's a values thing. It's, it's, it's a sense of how can we make this better? Like how can we be people first? How can we like again, we talk about Haven, right? One of the things I used to say, and I, and I would try, I tried to work hard to embody was like, oh, sorry, this does plug into our original conversations to bring it back perfectly on topic. One of my first shows I did in Chicago, I did a production of a play called xylophone west by Alex who's becoming a leg. Yeah. Alex is great. He's he's rising really well.6 (55m 26s):And like, we, he was actually, when I was the associate director of the summer Oneal program, he was a playwriting student when I was associate director. And that was our first. So it's cool. Just like, as we've sort of grown together, it's been amazing. And we did a reading of it and I, we have very strong opinions, especially because of the O'Neil being sort of a hub of new play development about what new play development is. There's a lot of bad, new play development. There's a lot of bad talk-backs, there's, there's a lot. And really it comes down to the difference between responsive feedback versus prescriptive feedback and how to cultivate that and understanding the difference.6 (56m 6s):And these, this artistic director did not understand this. And well, similar to what we're talking about, we were like, Hey, can we structure the talk back this way? Can we, this would really help Alex, Alex would say, this would really help me, like understand my play better. And artistic director's response was, I'll never forget this. Just remember who's the employer and who's the employee.4 (56m 34s):Right, right,6 (56m 35s):Right,4 (56m 35s):Right.6 (56m 36s):Case in point to everything we're talking about. And so like, I, it's sort of, when I think about like the sort of challenge to, sorry, I completely lost my train of thought.4 (56m 49s):No, no. What we're talking about is no, no, it's fine. It's when we're talking about a lot of things.6 (56m 53s):So4 (56m 54s):That's okay. What we're talking about is like this whole idea of like that your mentor wasn't your mentor anymore and why people don't want to change and the message versus what is actually happening in.6 (57m 6s):Yeah. Yeah. I'm trying to remember why I specifically brought up xylophone west, but it was like this idea of, I don't know. I think about this, this, I owe my, my dad my values. Yeah. Value system. That's right. Thank you. I just needed to hear about, yeah. Yeah. It's a value system thing. It's like, that tells me what that person's value system is. Right. That tells me sort of the culture that they built. And for me as at Haven, sort of taking a note from my dad, right? Hey guys, that you're here. We see that you're here. The way I would phrase that as an artistic director was like, yes, you are our employees. Let's be like, it's not that, that isn't real. Like we are, you were signing a contract to work for us.6 (57m 49s):We have expectations based on their contract. You are also a guest in our home. And that is our responsibility. Like as leadership as a company, as an institution, as a director, like you are, you are a guest in our home. This is our home. We are responsible. Especially if we want to talk about mentorship in academia, some of us are paying $50,000 a year,4 (58m 14s):Right.6 (58m 15s):Be in your home. Like you have all of the control of this space. You can, you can make this, whatever you want it to be, and we're paying you to exist inside of it. And, and it becomes a question for me of how do you take that responsibility? Like what if, whether it's an academic responsibility of like, we are literally paying for the privilege of this, or in a professional standpoint where it's like, it's, it's a little bit in the reverse either way. It's like you are in the position of power. You are in the position where you can like build culture that I use, that I find that word comes up a lot. When I rant about this, which I rant about4 (58m 53s):Culture, building culture,6 (58m 54s):Building culture, whether it's academic, whether it's professional, like that's the responsibility. And if you don't take that as the responsibility it's so,4 (59m 3s):Okay. The, the, the other thing that I was going to say is you had a moment where, so I have these moments where I say to myself, usually not out loud, but you kind of almost said it out loud, but you didn't either. Which is I say, my mama did not come to this country as an and work her ass off for this shit. And your moment was, my dad did not build a fucking radiology oncology center and then get Rent-A-Center furniture and sandwiches for me to be doing this shit like that is that moment. Well, I think, well, that's what I heard there. Everyone has a line and a true north of like, wait, wait, my legacy is not going to be, this is not going to be not saying anything to you.6 (59m 47s):And legacy is, is something I think about sometimes, but it's like, it's not even about that per se. It's like, I see what it means to people. Right? And like, if, if we believe in our own bullshit, like, especially as artists, you know, because artists are, are at the forefront of talking a lot of shit about like empathy, right. About community, about humanity, about seeing each other about uplifting each other about making the world a better place. And it's like, well, that's all well and good. But like, are you like how? And it's not even just like, again, like there's so many ways to do it, but I think sometimes we take for granted the small ways of doing it.6 (1h 0m 29s):I think sometimes we take for granted the like, what if we just buy everyone dinner? What if we like make a concerted effort to pay people a little bit better? Like, what if we, what if we show our work in that? Like, what if we actually believe in the transparency that we add? Like so much, like we talk about transparency so much in our industry, like, or rather not in our industry, I should say like artists talk about transparency in the world, right? Like we want corporate transparency. We want more governmental transparency. What are some of the least transparent motherfuckers?2 (1h 1m 4s):Yeah. I feel like I know why that happens in theater too. It's because there's no money. So everybody goes into it with all of their, like very theoretical and ideological approaches. And when you get very cerebral, very theoretical, you forget about things like, oh yeah, people don't want to do 10 out of twelves anymore because it's, it's, it's too fatiguing. And it actually works against the thing that they're there to do, which is create a new each performance, like being able to offer something fresh each time. So it, it, that is actually an area in which it's helpful to think about theater as a business.2 (1h 1m 47s):Because if this, if you were running a seven 11 and you had an employee, you'd have to have a bathroom, like it's, you know, you just think about the pragmatic things more when you're thinking about it as a business.6 (1h 1m 57s):Right. And, and it's like, I, and for me, it's like a lot of these things are considered mutually exclusive for some, or they're treated as mutually exclusive, but like, you have to, it's like the business and the sort of like cultural, ethical side, somehow don't mix. And I just don't agree. I don't agree for a lot of reasons. I don't agree in part through the Haven experiment. You know, I it's like, look, we, we're still not making money. And we, we, I want to say we were very privileged to have particular financial support. I don't want to take that for granted that we were not starting in the same place as a lot of other people. And I, and I don't take that for granted. It's not a brag. It's like a, like the bootstrap Smith. Like I want to make sure that it's not like, you know, taken for granted, but it's also like, there's still this idea that people won't show up sometimes like that, like literally I've had other artistic directors talk to me about Haven work in Chicago being like, what are you sure there's an audience here.6 (1h 2m 53s):I'm like motherfuckers. We just sent like 15 people away at the door for Isaac Gomez, horror play. But no one else would produce like, like why, what are we it, and those decisions are made because of business, right? Because, because how are we going to sell it to Chris Jones? Because like, how are we going to, and I, I, we found time and time again, that there is an audience for this work that we were able to at times even make money on, like compared to what we, what our show to show budget work. We were able to make money back, like, and we were paying people, you know, it still stipends, you know, not what they're worth. I don't want to pretend we were ever able to pay people what they worth.6 (1h 3m 35s):But we were able to pay people, usually double the typical storefront stipend it's like, and, and still keep ourselves on a typical like budget that I was used to for other storefronts. So it's like, it's this question of like, why are these things treated as mutually exclusive on a bigger scale? Look at center theater group right now, an article just got written. I got to see slave play out here, which amazing production also Chicago, shout out. I got to see cause he's under studying. And I got to see him perform that night. Rashad hall. Brilliant, brilliant. And his2 (1h 4m 11s):Shot6 (1h 4m 11s):Is brilliant. Oh my God, his Phillip just broke my goddamn heart. Oh my God. He was so good. That's a show that is deeply controversial, deeply challenging queer by PAC sexual BDSM oriented, racist, racist, racist, or in terms of its its topic matter like racism in the United States. And historically, and today it's it's and they gave away like 5,000 or more like free and discounted tickets. And they still made money.2 (1h 4m 48s):Jeremy DOE he recently just put something up on social about this that he made. He made accessibility like the most important feature of his, you know, this play being produced and it worked and it worked better still made money on this scarcity model, which is, I mean, that's a lot of this just comes from the scarcity model, influencing how everybody feels. So constantly afraid of losing the one little sliver of the pie that they have that, you know, all they can think about is how to make that tiny little sliver. How to divvy it up instead of saying no, how can we get more pie people? We want more pie. We want to just keep getting our tiny little slivers we want, we, we want to add.2 (1h 5m 28s):So I'm mindful of the time because I know we're about 50 and we're going to be having to wrap up and I want to hear about it's your last semester and you're working on a project and you're going to have spring break next week. What is your, is it a thesis? Is that, is that,6 (1h 5m 43s):That, that was actually last semester. That last semester. Yeah. That's so that's done. I've I've kept myself a little bit busy. I don't know. I, I found myself strangely in spite of the pandemic lab, maybe because of the pandemic last year and now being back in in person and, and all of that. I just, and also I think because of like big was amazing and like my designers were incredible. The students here are unbelievable, but it was also because of some of the things I shared, like an exhausting process, excuse me. And so I sort of took a break and then got into the semester and for some reason just was like, I want to make shit. I want to be involved in making shit.6 (1h 6m 24s):I want to, I want to be involved in my own shit. I want to get involved in other people's shit. I just want to make shit. And so I'm like, I just finished up working on a collaboration with a doctoral student in the music school where we created a, I worked with a lighting designer and we worked collaboratively to create a light based sort of design journey, like a sort of light experience in conversation with the music called busking style in real time, as part of his doctoral thesis.2 (1h 6m 60s):Wait, you're saying it was busking like that the project was6 (1h 7m 4s):The, the style of, of calling the lighting. Was it wasn't like, it was sort of like, Yeah, it was a, yeah. So it was board op up in the booth watching and listening for particular moments. And the music was also highly improv. The reason is because the composition had moments of high improvisation. So there were moments where it was literally like just listening for certain things to shift the lighting responsibly to the music as it was happening. And it was just something I had never done before. So I'm like, let's try this out. And then I'm, I'm drama turking and assistant directing a play that an acting MFA student who's a dear, dear friend has written in his performing it.6 (1h 7m 48s):So I can be sort of the outside eye while she's on the inside of it. And then I might have another project cooking for right before graduation. I'm I'm figuring that out right now. And then I've also got things outside. I'm thrilled to say my partner is actually going to be going to USC for film school next year. So she and I are actually working collaboratively on a couple of things with another acting alum from, from Cal arts, actually a which I'll be able to share a little bit more, actually there's some stuff online with little like BTS stuff it's called goon and I'm actually really pumped about it. Yeah. I'm really, it's, it's, it's super fun, super quirky.6 (1h 8m 30s):We found a great cinematographer. Right. We shed who's just has an inspired eye. And so, yeah, just, I don't know, just finding myself in that moment of like, I think also out of frustration, maybe with Cal arts at times, like I just want to get with the students here and make some shifts. Let's just make some,2 (1h 8m 47s):I think your thing is you want to helm your own ship, always. You want to kind of be in charge of your own destiny and which is a very good, I mean, I see you're making a face about it, but I just, from my prime saying that's a very good quality to have. And it actually leads me to another question I was going to ask you, which is, are you, age-wise about there with your peers in this MFA6 (1h 9m 9s):And that's been interesting. Yeah. Older, older. Yeah. I'm in my mid thirties. And that has been a, an interesting difference of experience at times. Yeah.2 (1h 9m 19s):Yeah. Well, we've talked to a lot of MFA's who, because they were in their thirties, we're able to see the whole thing about school in a m

Death Wish. Join Liam and Suzanne as they wade into the deep conversations brought about in this episode. Such as, was that really rabbit and what is going on with John de Lancie's lips?! Also, watch out for ANTS! What to expect from episode 38: Scie…