Podcasts about megs

Hi everyone, welcome back to the 21andsensory podcast! On this months episode I have the wonderful Meg Fatharly on as my special guest. Meg is a Cornwall-based artist who creates stunning embossed metal artwork, paper collages, art prints, keepsake cards and decorations for collectors, galleries and independent shops. Meg shares her work online @printcessmeg and her previous clients and collaborators include the V&A, Fortnum & Mason, the Natural History Museum, The Body Shop, Net-a-Porter and Toast.Megs links:Website: Megan FatharlyShop: ProductsStockists, Where to buy: Stockists MapUpcoming Markets + Workshop Dates meganfatharly.com/pages/events-and-workshopsInstagram: Meg Fatharly Collage, Print, Words and Handmade Art (@printcessmeg) • Instagram photos and videosOhh Deer x Meg Fatharly Collaboration 2026

This is Part 2 of the episode - do make sure you listen to Part 1 first as we pick up where we left off!Hi everyone, welcome back to the 21andsensory podcast! On this months episode I have the wonderful Meg Fatharly on as my special guest. Meg is a Cornwall-based artist who creates stunning embossed metal artwork, paper collages, art prints, keepsake cards and decorations for collectors, galleries and independent shops. Meg shares her work online @printcessmeg and her previous clients and collaborators include the V&A, Fortnum & Mason, the Natural History Museum, The Body Shop, Net-a-Porter and Toast.Megs links:Website: ⁠Megan Fatharly⁠Shop: ⁠Products⁠Stockists, Where to buy: ⁠Stockists Map⁠Upcoming Markets + Workshop Dates ⁠meganfatharly.com/pages/events-and-workshops⁠Instagram: ⁠Meg Fatharly Collage, Print, Words and Handmade Art (@printcessmeg) • Instagram photos and videos⁠⁠Ohh Deer x Meg Fatharly Collaboration 2026

“That's not a knife. THAT'S a knife.” Join Ian & Megs for our 350th episode as we leave the Australian outback behind, head for New York City and discover just how far charm, confidence and an extremely large knife can take you in Peter Faiman's Crocodile Dundee (1986). Liam isn't with us this week — he tried telling Mick Dundee that he knew his way around the Australian wilderness. He has not been seen since. Kev is also absent, having become distracted by the promise of a Walkabout Creek drinking session and apparently forgotten there was a podcast to record. This week we discuss: Mick Dundee as a character creation — Paul Hogan creates someone instantly recognisable, enormously charismatic and almost impossible not to like. But is Mick himself significantly better than the movie built around him? Great character. Great movie? Crocodile Dundee gives us an iconic central character, memorable scenes and lines that have survived for forty years — but do those ingredients disguise a surprisingly thin story? Memorable moments aren't the same thing as narrative — the crocodile attack, the knife, the bar scenes, the subway ending. We remember an extraordinary amount of Crocodile Dundee, but does remembering the individual moments make us overestimate the strength of the film connecting them together? The movie effectively changes genre halfway through — the Australian section plays almost like an adventure comedy, while New York turns Mick into a fish-out-of-water character. Which half works better, and does the film ever feel completely whole? Paul Hogan's performance — understated, relaxed and rarely chasing the punchline. How much of the movie's success comes simply from Hogan understanding exactly how much — and how little — Mick Dundee needs to do? Sue Charlton is much harder to understand than Mick — she is fascinated by Mick, romantically attached to Richard and seemingly capable of treating both men with remarkable cruelty depending upon what the scene requires. Susan, Richard and Mick — this relationship increasingly frustrated us. Richard is certainly not presented as particularly sympathetic, but Sue repeatedly humiliates him, keeps him emotionally dangling and then seems surprised by his reactions. Meanwhile, she also plays with Mick's feelings while refusing to be honest about what she actually wants. Does the romance actually work? Mick and Sue have obvious chemistry, but does the screenplay earn their relationship — or are we simply carried along by Hogan and Linda Kozlowski until that enormously charming final scene tells us everything has worked out? The changing comedy of Crocodile Dundee — some jokes remain beautifully simple and effective; others very clearly belong to 1986. How much can we separate the film's enormous cultural impact from the parts that have aged awkwardly? New York through Mick's eyes — the movie's best trick might be reversing our expectations. Mick initially appears to be the strange outsider, yet his straightforward view of the world often makes everyone around him seem considerably stranger. And finally, whether Crocodile Dundee is the Best Film Ever — or simply one of cinema's great reminders that creating an unforgettable character and giving him unforgettable lines is not necessarily the same thing as telling an unforgettable story. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

Clint, Meg and Dan are away this week but we've picked out some of our best bits for you. Todays episode includes, Clints strange dream, Megs lie detector results and we can't have a greatest hits podcast without an old Dans Diary entry.

“What really matters is what you like, not what you are like.” Join Ian & Liam for our 349th episode as we alphabetise the vinyl, rank our emotional catastrophes and head back to Championship Vinyl for Stephen Frears' High Fidelity (2000). Megs isn't with us this week — Rob asked her to rank her five worst break-ups and she decided she'd rather never speak to any of us again. Kev has disappeared into a record shop and refuses to come out until everyone agrees his Top Five Albums list is objectively correct. This week we discuss: John Cusack as Rob Gordon — charismatic, funny, self-aware... and still somehow completely incapable of recognising that he might be the problem. A coming-of-age story for a man in his 30s — has Rob reached adulthood without ever actually growing up, and is the film really about emotional adolescence arriving about fifteen years late? The strange A Christmas Carol connection — like Scrooge, Rob is forced to revisit his past, confront the stories he has told himself about his own unhappiness and realise that memory becomes much less comforting when other people get to challenge your version of events. Breaking the fourth wall and controlling the narrative — does Rob talking directly to us make him more honest, or simply allow him to curate his own story in the same way he curates his record collection? The Top Five obsession, music and taste as identity — are Rob's lists just a funny character trait, or a defence mechanism that allows him to substitute having good taste for actually having a personality? The ex-girlfriend tour and the women in Rob's life — funny, revealing and deeply unhealthy. Does revisiting these relationships actually help Rob understand himself, and how much are we still trapped inside his self-centred perspective? Barry, Dick and Jack Black before JACK BLACK — the supporting cast repeatedly threaten to walk away with the movie, while Jack Black seems to arrive already fully formed. The ending and Rob's emotional growth — does he genuinely mature, simply become more self-aware, or finally learn the fairly basic lesson that loving someone requires occasionally making the story about somebody other than yourself? And finally, whether High Fidelity is the Best Film Ever — or simply the perfect film for anyone who has ever mistaken having excellent taste for having an excellent personality. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/  

Grab your coffee and join Jess & Megs for our very special 100th episode!!⁠ENTER OUR 100TH EPISODE GIVEAWAY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TRY LARRY'S COFFEE!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JESS' YOUTUBE CHANNEL!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BERG BOX QUARTERLY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JOIN THE CROCHET BAES FACEBOOK GROUP!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CROCHET BAES MERCH!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SHUT UP & TAKE MY MONEY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Got a question or comment? Send The Crochet Baes an email: thecrochetbaes@gmail.comFind Jessica & Berg's Nest Crochet online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-Email: bergsnestcrochet@gmail.comFind Megs & Megs Makes Crochet Online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link Tree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thank you to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chan's Designs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for creating The Crochet Baes beautiful logo!

“Get off my lawn.” Join Ian, Liam & Megs for our 348th episode as we pull the Gran Torino out of the garage and spend some time with the angriest man on the street for Clint Eastwood's Gran Torino (2008) — a film about racism, masculinity, community and the legacy we leave behind.  Kev isn't with us this week — Walt caught him looking at the Gran Torino and has been sitting on the porch staring at him ever since. Kev assures us he'll be allowed to move eventually.  And we're delighted to welcome BFF of the BFE Hermes Auslander to help us unpack one of the most fascinating — and occasionally deeply uncomfortable — films of Eastwood's later career. This week we discuss: Clint Eastwood and legacy — how much does Gran Torino deliberately trade on everything Eastwood has represented on screen for the previous forty years? Where does this rank among our Clint Eastwood films? We put Walt Kowalski up against the other Eastwood performances and movies we've covered on the BFE. Masculinity according to Walt — tools, cars, beer, work and absolutely no discussion of feelings. Is the film celebrating this version of manhood or slowly dismantling it? The creation of “the other” — Walt begins with an entire community reduced to stereotypes and slurs. And the dismantling of “the other” — what happens once the people Walt has spent years categorising actually become people to him? Walt and Thao — a mentorship that begins with an attempted car theft and becomes the emotional heart of the movie. Sue — is she actually the person most responsible for breaking through Walt's defences? The language of Gran Torino — can the film use racism to interrogate racism without occasionally becoming too comfortable with the joke? The performances around Eastwood — does the decision to cast inexperienced Hmong actors add authenticity, or expose some pretty significant gaps in performance? And is there one acting moment that nearly ruins the entire film? When Walt locks Thao away, does Bee Vang give us anything close to the desperation that this enormously important scene requires? Walt's biological family versus the family next door — the people he's related to seem increasingly distant while the people he initially despises become his community. Father Janovich is more important than he first appears — what begins as Walt mocking an inexperienced young priest develops into a relationship that becomes crucial to understanding the ending. What does Walt actually leave behind? The Gran Torino matters, but his real legacy might have considerably less to do with the car. Clint Eastwood playing Clint Eastwood — brilliantly weaponising his own screen persona, or occasionally drifting into self-parody? That ending — after a career built around armed men solving problems with violence, Eastwood gives Walt one final confrontation and refuses to let him fire the gun. But does everything finish a little too neatly? Walt gets his redemption, Thao gets the car and the gang problem gets wrapped up remarkably cleanly for a film that has spent so long dealing in messier realities. Hermes joins us to tackle the redemption question — does learning to love a handful of people actually undo a lifetime of prejudice? And finally, whether Gran Torino is the Best Film Ever — or Clint Eastwood putting his own cinematic legacy on trial. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

Grab your coffee and join Jess & Megs for another episode where we chat about crochet and life!ENTER OUR 100TH EPISODE GIVEAWAY!⁠⁠⁠⁠⁠⁠⁠⁠⁠TRY LARRY'S COFFEE!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JESS' YOUTUBE CHANNEL!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BERG BOX QUARTERLY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JOIN THE CROCHET BAES FACEBOOK GROUP!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CROCHET BAES MERCH!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SHUT UP & TAKE MY MONEY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Got a question or comment? Send The Crochet Baes an email: thecrochetbaes@gmail.comFind Jessica & Berg's Nest Crochet online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-Email: bergsnestcrochet@gmail.comFind Megs & Megs Makes Crochet Online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link Tree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thank you to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chan's Designs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for creating The Crochet Baes beautiful logo!

“All you motherfuckers are gonna pay.” Join Ian & Liam for our 347th episode as we climb into a beat-up car, head for Hollywood and return to the View Askewniverse for Kevin Smith's Jay and Silent Bob Strike Back (2001) — a film containing approximately seventeen thousand celebrity cameos, several decades' worth of jokes that have aged with varying degrees of dignity, and considerably more discussion of internet commenters than anyone in 2001 could possibly have realised would become relevant. Megs isn't with us this week — Justice invited her to join the girl gang and she immediately decided their road trip sounded considerably better than ours. Kev has gone to Hollywood to hunt down everyone who's ever said anything mean about him on the internet. We tried to explain the scale of the task in 2026. He went anyway. This week we discuss: Are Jay and Silent Bob actually big enough characters to carry an entire movie? They work brilliantly wandering through the background of Kevin Smith's other films, but what happens when the supporting act suddenly has to become the main event? Is the road trip the worst part of this road trip movie? The strange thing about Jay and Silent Bob Strike Back is that it seems to get more entertaining the closer it gets to abandoning its actual plot. We ask whether everything involving getting to Hollywood is simply standing between us and the movie we really want to watch. The more meta it gets, the more fun we're having — once Ben Affleck starts explaining the View Askewniverse, actors start playing themselves, Good Will Hunting 2: Hunting Season appears and Kevin Smith begins openly taking the piss out of his own career, the film suddenly finds another gear. Kevin Smith celebrates his own cinematic universe years before Marvel made everybody obsessed with cinematic universes — characters, actors, locations and jokes from across his previous films all collide here. Is Jay and Silent Bob Strike Back effectively the Avengers: Endgame of dick and fart jokes? We've aged out of this movie. But is that actually the movie's fault? There are jokes here that probably would have destroyed us twenty years ago and now generate rather more complicated reactions. Does no longer being the target audience make Jay and Silent Bob Strike Back a bad film — or did we simply make a questionable choice reviewing it in our forties? Jason Mewes finally gets the entire stage — Jay has always been loud, crude and ridiculous, but can Mewes turn that into a character we actually want to follow for 100 minutes? And then there's Silent Bob — Kevin Smith gives himself considerably less dialogue but considerably more responsibility. Does the Jay/Bob dynamic still work when the film can't simply deploy them for five minutes and move on? What exactly did they say to Carrie Fisher? Princess Leia turns up as a nun, picks up two hitchhikers and finds herself involved in exactly the kind of joke you imagine her agent having several questions about. We investigate how on Earth Kevin Smith got her into this movie. The cameos become an entire storytelling language — Ben Affleck, Matt Damon, Mark Hamill, Chris Rock, Will Ferrell, Jon Stewart and seemingly everybody Kevin Smith had ever met. Which ones still absolutely kill, and when does recognising somebody become the joke? Mark Hamill versus Cock-Knocker — because if you've somehow convinced Luke Skywalker to appear in your film, obviously you give him an enormous fist and make him fight Silent Bob. The internet stuff has aged strangely well — the specific websites may have changed, but people anonymously saying horrible things about strangers online certainly haven't. Was Kevin Smith accidentally making a movie about the next quarter-century of internet culture? The women of Jay and Silent Bob Strike Back — Justice and the diamond thieves give the film something resembling an emotional storyline, but how well does that entire section survive a 2026 viewing? Kevin Smith making a movie for Kevin Smith fans — there's almost no attempt to make this accessible to somebody walking into the View Askewniverse for the first time. Is that self-indulgence, or exactly why the film works when it works? And finally, whether Jay and Silent Bob Strike Back is the Best Film Ever — or a film we might have absolutely adored at 22 and have made the potentially catastrophic decision to revisit at 47. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

On the Heather du Plessis-Allan Drive Full Show Podcast for Tuesday, 8 September, 2026, National lays out its taxing tourists plan. Labour leader Chris Hipkins tells us why he's been playing "hard to get". A royal watcher on King Charles' "brutal" letter to Harry and Megs. And on The Huddle, we ask Gareth Hughes and Jordan Williams if Wellington Zoo should be shut down. Get the Heather du Plessis-Allan Drive Full Show Podcast every weekday evening on iHeartRadio, or wherever you get your podcasts. LISTEN ABOVESee omnystudio.com/listener for privacy information.

“As the sound of the playgrounds faded, the despair set in.” Join Ian, Liam & Megs for our 346th episode as we head into the bleak, terrifyingly plausible Britain of 2027 for Alfonso Cuarón's Children of Men (2006). Humanity hasn't produced a child in eighteen years, society is collapsing, Britain has become an authoritarian state, and Clive Owen would really just like everyone to leave him alone. Kev isn't with us this week — he attempted to enter the country without the correct paperwork and is currently enjoying the hospitality of the British government's immigration system. And stick around for the Endgame, where we're joined by BFF of the BFE Synthia to help decide whether Children of Men deserves a place among the Best Films Ever. This week we discuss: How many screenwriters does it take to make Children of Men? Five credited writers had a hand in adapting P.D. James' novel. Does the finished film feel like the product of that many voices, or is Cuarón's vision strong enough to make it feel completely unified? Clive Owen as Theo — an excellent actor giving a wonderfully understated performance, but was he a big enough movie star to carry a film this ambitious at the box office? Michael Caine's Jasper becomes our most debated performance of the week — warm, funny and providing some desperately needed humanity... or playing in a completely different film from everybody around him? How much world-building should the audience have to do? Children of Men famously refuses to stop and explain its dystopia, instead burying information in news reports, advertisements, background details and production design. Is that masterful "show, don't tell" filmmaking, or does the movie occasionally expect us to construct too much of its world on its behalf? Ian digs into the screenplay — for a film with an enormous premise, why is the actual story remarkably simple, and does that simplicity allow the themes to become much bigger? Liam explores hope in a hopeless world — when civilisation has effectively accepted its own extinction, what does the existence of one child actually represent? Megs examines Kee's place within the story — is she given enough agency of her own, or does her importance as a symbol sometimes overwhelm her importance as a character? Alfonso Cuarón's direction — those extraordinary long takes aren't simply technical flexes. How does keeping us trapped alongside Theo change the way we experience the violence around him? The car sequence. We discuss how one seemingly impossible shot transforms from casual conversation to absolute nightmare without giving the audience a moment to escape. The politics of Children of Men — refugees, nationalism, terrorism, state violence and fear of outsiders. Nearly twenty years after its release, has the film become even more uncomfortable to watch? The production design — perhaps the film's greatest world-building weapon. From advertisements and graffiti to cages and buses, how much storytelling is happening in the corners of the frame? The ceasefire — one of the most powerful sequences in the entire film. Does that brief moment of silence earn its enormous emotional impact? And finally, with BFF of the BFE Synthia joining us for the Endgame, whether Children of Men is the Best Film Ever — or an extraordinary piece of filmmaking whose technical brilliance sometimes asks the audience to fill in more blanks than we'd like. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“This is Africa. We do things differently here.” Join Ian & Liam for our 345th episode as we head to 1970s Uganda for Kevin Macdonald's The Last King of Scotland (2006), a film that puts us terrifyingly close to Idi Amin through the eyes of a fictional young Scottish doctor who discovers that getting into the dictator's inner circle is considerably easier than getting back out. Megs isn't with us this week — Amin has appointed her Minister of Something He Just Invented and she's sensibly keeping her head down. Kev? He mentioned that he disagreed with the President once and, well... nobody seems entirely sure where Kev is now. This week we discuss: Forest Whitaker's extraordinary, Oscar-winning Idi Amin — charming, funny, frightening and capable of changing the temperature of a room in seconds. Is this one of the great performances of the 21st century? James McAvoy's Nicholas Garrigan — naïve, arrogant, selfish and frequently infuriating. How important is it that the fictional character through whom we experience this story isn't particularly likeable? Fact versus fiction — Garrigan never existed, but Amin certainly did. Does inserting a fictional white protagonist give audiences an effective route into Ugandan history, or unnecessarily place him at the centre of somebody else's tragedy? Ian breaks down the film's construction of Amin — how does the film make us understand his charisma without ever asking us to excuse what lies beneath it? Liam explores the seduction of proximity to power — Garrigan sees the warning signs remarkably early, so why does he keep finding reasons to stay? How much did we actually know about Idi Amin and Uganda before watching the film? We explore the history behind the story and how closely the broad trajectory of Amin's dictatorship matches what we're shown. The tonal transformation — the first act occasionally feels like an exciting adventure for a young doctor abroad. How effectively does the film tighten the screws until that same world becomes absolutely terrifying? Amin the man versus Amin the monster — are the moments of humour, insecurity, paranoia and apparent warmth what make Whitaker's portrayal so frightening? Garrigan's decisions — there's being naïve, there's making mistakes, and then there's Nicholas Garrigan. At what point did we stop sympathising with him and start shouting at the screen? The women in Garrigan's story — does the film recognise the consequences of his behaviour toward them, or are they too often used to propel his journey? The violence — much of the film holds back before suddenly refusing to do so. Does that restraint make the moments when Macdonald finally shows us the horror even more effective? The final act — The Last King of Scotland eventually becomes almost unbearably tense. Does turning historical atrocity into thriller mechanics enhance the film's impact or risk trivialising the reality behind it? And finally, whether The Last King of Scotland is the Best Film Ever — or a deeply uncomfortable historical drama elevated by one absolutely towering central performance. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

Grab your coffee and join Jess & Megs for another episode where we chat about crochet and life!⁠⁠⁠⁠⁠⁠⁠⁠TRY LARRY'S COFFEE!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JESS' YOUTUBE CHANNEL!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BERG BOX QUARTERLY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JOIN THE CROCHET BAES FACEBOOK GROUP!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CROCHET BAES MERCH!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SHUT UP & TAKE MY MONEY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Got a question or comment? Send The Crochet Baes an email: thecrochetbaes@gmail.comFind Jessica & Berg's Nest Crochet online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-Email: bergsnestcrochet@gmail.comFind Megs & Megs Makes Crochet Online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link Tree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thank you to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chan's Designs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for creating The Crochet Baes beautiful logo!

The Megs ran the Falmouth Road Race with Asics while Thomas tapped into his culinary side with some hot dog ramen (sounds delicious). We also dive into the Nike Pegasus Plus 2, which features an all new Air Zoom unit in the forefoot. SUPPORT OUR SPONSORS!LAGOON PILLOWSSleep is training. Lagoon Pillow is built around your sleep position and preferences — so you wake up recovered and ready to run. We use them every night and you should too. Find your perfect pillow at lagoonsleep.com/believe

“Call me Snake.” Join Ian, Liam & Kev for our 344th episode as we cross the wall, try not to get killed by the locals, and discover that in the distant dystopian future of 1997, the entire island of Manhattan has become America's maximum-security prison. It's John Carpenter's Escape from New York (1981), where Kurt Russell has one eye, Donald Pleasence is somehow the President of the United States, and absolutely nobody seems particularly concerned that they've sent one bloke in to rescue him. Megs isn't with us this week — she landed on Manhattan while attempting to evacuate Air Force One and has informed us that she'd actually rather take her chances with the inmates than record with us. This week we discuss: Kurt Russell as Snake Plissken — one of cinema's coolest antiheroes, but how much of Snake is actually a character and how much is simply Kurt Russell walking around being impossibly cool? John Carpenter's vision of 1997 — crime has exploded, America has become a police state, and Manhattan is a prison. It didn't quite work out that way... but how much of Carpenter's dystopia still feels surprisingly relevant? The extraordinary world-building — Carpenter gives us remarkably little information about how any of this works. Is that restraint part of the film's brilliance, or are there questions we'd really quite like answered? Ian gets into the film's narrative construction — because Escape from New York might have one of the cleanest movie premises imaginable. You've got a man, you've got a mission, you've got a ticking clock. What more do you actually need? Snake Plissken's reputation precedes him everywhere — everybody has heard of him, everybody thought he was dead, and we're left wondering exactly what this man did before the opening credits to become such a legend. Lee Van Cleef's Hauk — pragmatic authority figure or complete bastard? And is putting explosives inside the neck of the only man capable of completing your mission really the motivational strategy you'd go with? Donald Pleasence as the President — accent notwithstanding, does the film deliberately make the most powerful man in America one of its least impressive? Isaac Hayes as the Duke of New York — he's A-Number-One, but does the Duke live up to the incredible introduction the film gives him? The supporting cast is ridiculous — Ernest Borgnine, Harry Dean Stanton, Adrienne Barbeau and more. Who makes the most of surprisingly limited screen time? The film looks considerably bigger than it actually was — miniatures, matte paintings, abandoned locations and some ingenious low-budget filmmaking. How does Carpenter create an entire ruined Manhattan without actually having one? The pacing — at barely 100 minutes, Escape from New York gets in, establishes its world, completes its mission and gets out. Have modern action films forgotten how to do this? That ending. Snake has one final opportunity to do something heroic for the United States of America... and makes perhaps the most Snake Plissken decision imaginable instead. And finally, whether Escape from New York is the Best Film Ever — or simply one of the coolest B-movies ever elevated into cult-classic immortality. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

What happens when the career you built changes, disappears, or no longer feels right? I talk with content marketing leader Nicole Pytel about career change, burnout prevention, imposter syndrome, entrepreneurship, professional identity, and the growing role of AI in content marketing. Nicole shares how she moved from sports journalism into business, built her own agency, learned to shut work off, and later chose employment over entrepreneurship without seeing it as a step backward. We also explore what layoffs can teach us about identity, why confidence can exist beside fear, and how AI can support human skill instead of replacing it. Her story is a strong reminder to trust what you know, keep learning, and ask yourself one powerful question: Why not you? Highlights: 21:44 - The turning point that pushed Nicole to leave television. 28:50 - Why never shutting off from work led to burnout. 39:34 - How confidence can exist alongside fear and imposter syndrome. 45:35 - What a layoff can reveal about professional identity and self-worth. 50:24 - Why AI still needs human judgment, strategy, and creativity. 1:00:24 - Why trusting your gut can make career change worth the risk. About the Guest: Nicole Pytel is a content marketing leader who's spent her career translating complicated things into stories people actually want to hear — first from a newsroom, now from the executive table. Her career started in TV news as a sports reporter, where she covered the legendary Friday night lights of high school football and spent her Saturdays on the sidelines of Texas A&M's Kyle Field. She was eventually promoted to news anchor, and those days of turning complex topics into compelling stories still shape how she approaches content strategy today. Nicole then spent nearly a decade as the founder of Premier Content Source, a content marketing agency she grew to serve over 1,000 clients across multiple industries. She later worked as an embedded content marketing expert inside teams at Google Cloud, Chrome Enterprise, and YouTube. Most recently, Nicole served as Vice President of Content Marketing at Firebrand Communications, where she built the agency's content marketing line of business from zero and held a seat on the executive leadership team. Today, Nicole is focused on how AI is changing content marketing, building a four-chapter framework for how content teams should operate now that AI has fundamentally changed how buyers search, discover, and evaluate the companies they work with. Whether it's a thirty-second news segment or a company's entire content strategy, Nicole's guiding belief hasn't changed: if you can't make the audience care, you're just making noise. Ways to connect with Nicole**:** LinkedIn, https://www.linkedin.com/in/nicolepytelmarketing/ About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:04 What if the biggest thing holding you back isn't what's in front of you, but rather what you believe? Welcome to Unstoppable Mindset, where inclusion, diversity, and the unexpected meet. I'm your host, Michael Hingston, speaker, author, and advocate for inclusion and possibilities. This podcast explores how the beliefs we carry shape the way we live, lead, and connect with others. Each week, I talk with people who challenge assumptions, face adversity head-on, and show what's possible when we choose curiosity over fear. Together, we focus on mindset, resilience, and the small shifts that lead to meaningful change. Let's get started. Well, hi again, everyone, and once again, it is time for another episode of Unstoppable Mindset. We are having a lot of fun doing these podcast recordings, and I really appreciate all of you being out there. Love to hear from you if any of you have any comments on any of the things that we talk about, or even if you don't comment anyway. We'd love to hear from you, but I really appreciate you all being here and and and interacting with us today. We get to chat with Nicole Pytel. My screen reader pronounces it Pytel, but you know we were just besmirching technology, and it deserves it because it should pronounce it right. But anyway, that's okay. But no help. Nicole has been very much involved in a lot of content marketing and in a variety of things. I think we're going to have a lot of fun chatting and talking about different business things, and who knows what else will come up in the course of the conversation. That's what makes it fun because it is truly and always is intended to be a conversation. And who the heck knows where things may go as we follow along? But we'll make it work. So Nicole, welcome to Unstoppable Mindset. We're glad you're here. Nicole Pytel  02:08 Thank you for having me. I'm thrilled to be here. I'm so excited, and yeah, I can't wait to see where the conversation goes. Michael Hingson  02:14 I can't either. It'll we'll have a lot of fun with it. Well, I love to start this way. Tell us about the early Nicole, growing up and and all that. Let's get people to have a chance to get to know you a little bit. Nicole Pytel  02:28 Yeah, well, the the early Nicole is a a Florida native. I know people are always a little baffled by that. Not everybody in this state is from a transplant from New York or Philly or Boston or any of those places. Some of us are born here. And have you made Michael Hingson  02:43 and have you made friends with all the gators? Nicole Pytel  02:46 Ah, no, no. I stay away from the gators. Antisocial, Michael Hingson  02:50 aren't Nicole Pytel  02:51 they? They're yeah, they're they're a bit unfriendly. Yeah, I've I've never seen one in the wild, and I I'd like to keep it that way. Yeah, I hear you for sure. Yeah, yeah. Well, yeah, born in Miami, grew up in Fort Lauderdale. the The only daughter of two former Miami Dade police officers. So, yes, yes. My mom was actually an undercover narc in the days of the cocaine cowboys. So, she is incapable of being intimidated. And personally, I think she's amazing and also a little crazy for doing that. But yeah, grew up as an only child, had you know four-legged brothers. You know, just had a great childhood. You know, just really like as great as it could be. You know, dad worked from home, had his own business. Mom worked with dad a lot of the time and was in the PTA and running the Girl Scouts and the young astronauts and all all the things. So, you know, really great childhood and a lot of lessons that really kind of you know still stick with me today and kind of gave me that foundation to go and do all the really cool things I've done as a grown-up. A lot of lessons learned. So you know, it was a good childhood. Michael Hingson  04:06 What did your dad do, and what does he do? Nicole Pytel  04:09 He well, he was after he left the police force. He started his own business. He reconstructed traffic accidents. So he was an expert witness. His clients were personal injury attorneys in South Florida, which is probably the worst client you could have on the planet. Those are some demanding folks. He handled it really, really well. He had his own business for gosh, 30 years. So yeah, he was he was amazing. Michael Hingson  04:38 Did he ever consult for CSI Miami. Nicole Pytel  04:43 No, he did not. Just checking. Did not. The one that was the one cool thing he didn't do. No. Michael Hingson  04:48 Yeah. Well, talk about the potential for pressure, but that's okay. Sounded like he had a a good time and enjoyed what he did, and and it does sound very fascinating. It is. It is Nicole Pytel  05:02 indeed. Although you know, when you're learning to drive as a teenager and your father does that for a living, you know, you've you've seen all the terrifying accident photos and heard all the stories, and so it's a it's a little stressful learning to drive from somebody who sees the worst of the worst every single day, but you know, we made it. Michael Hingson  05:23 And did Dad work as a backseat driver for you every so often? Nicole Pytel  05:27 Oh, 100% 100% literally. I mean, till the day he died, he was the world's worst backseat driver. I, you know, I'm in my 30s, and he's like, "What are you doing? You know, so yeah, absolutely, 100% Michael Hingson  05:42 How about mom? Nicole Pytel  05:44 Oh, mom, mom is amazing, and yes, she's a backseat driver as well. Okay, I am as well. So, but you know, mom, mom is tough and and also amazing, and you know, such a a great mom to her fur kids and a good grandma to my fur kids, and you know, just just amazing the life that she's had. You know, just grew up as a State Department brat, lived all over the world, was cop, like just wild, just wild. So I I have I have some very cool parents. Michael Hingson  06:15 Do you have any kids of the two legged variety? Nicole Pytel  06:18 Not the two legged variety. I've got two of the four-legged kind. Yeah, Michael Hingson  06:22 that works. Yeah, they're they're demanding enough. Nicole Pytel  06:26 Oh, mine are little little tiny divas. Absolutely, and I'm proud of it. They were raised to be little spoiled divas. Michael Hingson  06:33 Well, I have my guide dog Alamo, and we have a cat who's now 16 and a half years old, named Stitch. She's the real demanding one, she she likes to be petted while she eats, and the only way to keep her from disturbing a podcast to get fed is to keep the door closed, which I do. But the the thing is that if if the door opened, she'd probably be in here, and she would be insisting pretty loudly if I didn't respond, that she needs me to go pet her while she eats. She loves it, and it's fine. There are just a few times that she doesn't get to do it, and mostly she's pretty quiet about it since the door's closed. But when we're done, I'll open the door, and I will hear from her pretty quickly that time for more food. Nicole Pytel  07:21 She's got you well trained. Very good. Have you well Michael Hingson  07:24 trained? Yeah. Now Alamo, Alamo, my guide dog, is a clock watcher, so he's going to get his his afternoon treat a half hour late, and and he's pretty quiet about that sort of stuff. He's pretty pretty nonplussed about it. He won't come over and bug me, even though he's here in the room during the podcast because he knows what's going on, but by the same token, as soon as we're done, he's going to be out there going, "It's after 130, Buster. Nicole Pytel  07:51 I hear you. Minnie, Minnie and Megs will be the same way. Don't you worry; it'll be time for their dinner when we're done here. So, yeah, they'll they'll be ready. Michael Hingson  08:00 Yeah, well, and Stitch also gets some treats in the evening. She gets them around 630 at night, but at five she starts demanding them, and she doesn't want to eat anything that's left over in her food bowl. She wants her treats, and she knows she's not going to get them until after 630, but she pushes anyway. Ah, it's fun. I wouldn't have it any other way, though. Nicole Pytel  08:23 No, absolutely not. They are just little rays of sunshine. Michael Hingson  08:27 They are. So you went to college, I gather. Nicole Pytel  08:30 I did. I went to the University of Miami. Both my parents did as well. Dad actually played football there back in the day. Yeah, actually, I mean, honestly, growing up, I pretty much lived at the Orange Bowl on Saturdays. We had season tickets to the Hurricanes, and you know, learned about football very, very early on. I was actually, I think I was like five, and I was sitting there on a Saturday playing with my Barbies, and Dad came in and was like, "All right, come on, put the Barbie dolls down. We're gonna go watch football. You're gonna learn about football, and I was I was hooked ever ever since. So you know, who needs copies? Michael Hingson  09:10 I got hooked more on on baseball. Of course, I still am of the opinion that for the longest time, we had the best announcers in baseball here in California. We had Vince Scully, we had Dick Enberg, and so many people. And I learned baseball from Vin Scully. I learned all about the rules and so on, because he could announce the game, and he could include stories, but never missed announcing what was going on on the field. So you you got both, and I don't think there are many announcers today who can do that. And they've got buddies, and they they kind of talk together, but they're yammering a lot and not announcing the game, which is all the more no fun. So yeah, what do you do? Nicole Pytel  09:54 Yeah, there's something special about those guys that can just do it solo for nine innings, especially with all the break. In between pitches and things like that, I mean that's it's a lot of air to fill. So yeah, I mean Vince Gully. There's there's nobody better to learn from. Michael Hingson  10:09 No, nobody better than Vinny ever ever in baseball. And and as I said, Dick Enberg was out here, and and then in basketball we had Chick Hearn who could talk faster than anybody in the world, which was pretty cool, and there were some other announcers. They weren't necessarily just announcers like Vinny. I mean, Harry Carey, who did the Cubs, and but he was well loved and had a great personality, and it was a lot of fun. But Vinny was definitely the best, and then Dick Enberg, who also did football, and I learned a lot about football from from him, which was kind of fun. But I've always been a baseball fan. Nicole Pytel  10:46 Same, I love baseball as well. There's just something so quintessentially like wholesome and American about baseball. It's just like the hot dog, and you know, there's just something about baseball where you just feel like just a pure good old fashioned American kind of thing, you know. It's just got this feeling Michael Hingson  11:08 to it. Yeah. Well, so you went and got. Did you do advanced degrees or just a bachelor's? Nicole Pytel  11:14 I did my bachelor's. Yeah. I I went into broadcasting. Actually, majored in in broadcast journalism and psychology. Ah, wow, that's a Michael Hingson  11:23 combination. Nicole Pytel  11:24 It is, you know, I the psychology part. You know, I've always been fascinated of like why people do what they do, and I wanted to be a sports journalist. You know, ever since I can remember, and I was like, well, what a great way to really understand people if you're going to interview them and talk to them all the time, and and tell them stories, you know, through the TV. Like, what a great way to understand them. Take take psychology, learn all about that. And and now that I'm in marketing, it's it's the same thing. Trying to figure out, you know, why'd they click on that ad and not this one? Why'd they open this email and not that one? Why'd they, you know, read this case study and not that one. So it's it that that major was kind of the gift that keeps on giving. Michael Hingson  12:07 Now you, so you got your bachelor's and then you went into broadcast journalism. Nicole Pytel  12:13 I did. I did. I I took off to College Station, Texas, to be a great reporter. Yeah, really no better place. I mean, you know, you start in broadcasting, and you're going to start in a small market. And there's all kinds of cities in in the country that I'm sure are lovely, but you've never heard of them before. Your God only knows what you're going to cover. But I was very, very blessed. I got to go to College Station, Texas, so that is the home of Texas A and M, and of course Friday Night Football, the local high schools. You know that the that was my job to cover that stuff. So you can't really ask for anything better than that for a first job out of school. Michael Hingson  12:55 So did you did you announce the games or what did you do? Nicole Pytel  12:58 I didn't. I was a I was a sports reporter for one of the local affiliates in town. So, and I was a one-man band. So I shot everything, edited everything, reported everything. I did, I did all the things, all the things. No photog following me around. No, no, nothing. It was all me. So I was the one, you know, on the sidelines shooting the games or standing behind home plate, and you know it was it was fun. It was it was definitely an adventure. We could probably do an entire podcast just on crazy stories about that. Well, Michael Hingson  13:29 how long ago was that? Nicole Pytel  13:30 Oh gosh, more years ago than I I'd like to think. My goodness, I went out there in 2006. So Michael Hingson  13:39 digital cameras had started to come into play. Nicole Pytel  13:44 Yeah, sort of. Although when you're working in a small market, they don't have the newest equipment, so the cameras were still big and heavy. You had this big bag of stuff to lug around. You had the big heavy tripod. You know, you're kind of going like carrying your weight in stuff. Yeah, you know, and and I'm doing it, you know, depending on where I'm going, you know, in in like dress clothes and and heels and and trying not to fall over, you know. So, but um, yeah, no, it's that was still the big and bulky stuff back then. Michael Hingson  14:14 Yeah, yeah, I'm I'm not surprised, and at the same time, you did it. What's what's the most memorable, if you have one, memorable event or thing that you can think of that you did while you were out there in Texas doing football and baseball and all that? Nicole Pytel  14:30 Oh man, there's there's so many, there's so many. But I think one of the coolest things I got to do was, you know, Kyle Field, which is Texas A&M's home stadium. It is it is enormous. It seats you know 100,000 plus people, and you know being there on a Saturday is is unreal. It's loud. Those are probably some of the most devoted fans on the planet. They never sit down. They they. Practice all their cheers the night before. I mean, it's just wild. But you know, I used to do obviously during the season. I'd go to the weekly press conferences during the week, and I'd I'd do stories. And you know, I never. I don't know if I ever told anybody this publicly, but they used to leave a chain link gate open at Kyle Field on Tuesday afternoons. It was just unlocked, and so I would I would go in there, and the stadium would be totally empty except for me, not a soul. And I'd go in there, and I was you know shooting my own stuff. So I had it all figured out where exactly where I had to put the camera and exactly how I had the angle of the tripod and exactly where I had to stand, so that I could get there. Home of the 12th man sign like right over my shoulder, the perfect shot for you know my stand up and my story. And so every every Tuesday I'd go in there. I'd kind of sneak in. I don't know to this day if they ever knew I was in there, but but being in there, you know, on the 50-yard line of this enormous stadium, all by yourself-it's totally silent. You know what it's like at at peak velocity volume, and being in there all by yourself, you're just like, this is the coolest thing I know ever. Like this is amazing. It's wild. It's just wild. Michael Hingson  16:19 Well, I won't tell anyone. I mean, it's sort of like Vin Scully, who always said, "This is between me and you, nobody else. Nicole Pytel  16:24 Exactly, exactly. Michael Hingson  16:26 Nobody will hear it. It's okay. That's that's cool. The only thing I would say about that is, and I experience this. If you talk about crazy fans, Kentucky and football is just as challenging, I went to do a speech somewhere, and the speech was on Monday night. It was the NCAA championship in football, and the and the Kentucky Wildcats were one of the teams. And I was told that my speech had to end at 630. It could not go any later because if it went later, I'd be speaking to an empty gym. Nicole Pytel  17:04 Yes, you would absolutely no pressure, no pressure. No, no Michael Hingson  17:07 pressure at all. Well, I kept an eye on the time and and ended it right at 630, and by 631, the place was empty. It was crazy. Nicole Pytel  17:14 Cleared out, cleared out. Well, hey, that speaks well for you that they were all there before the game. They weren't tailgating or anything, you you were bigger than the tailgate. Michael Hingson  17:22 I guess so, but it was it was fun, and and then you've got North Carolina for basketball, so oh yeah, it's again it's it's pretty amazing. Well, how long did you do your your stint dealing with sports and and being in the news media? Nicole Pytel  17:41 Yeah, so I was a sports reporter for two years, and then my contract was up in the summer of 2008 when the the economy was not so great. Yeah, and I I didn't want to stay in my job not because I didn't love it. I just wasn't really making any money. You don't make any money in TV. That's the big secret. It looks so glamorous, and and you're broke. But it was so it was basically impossible to get another sports job at at that time, you know. And I got a really good opportunity at the station I was at. They were like, you know what? Like everybody in town knows you. They see you on the sidelines. They see you behind home plate. Like they see you at all the things. And so why don't you be the main news anchor? Because they were rebranding the station, and I said, you know what? Okay, cool. I'll do that. You know that that'll be something new and different. And you know it kind of hurt to leave sports, but it was a challenge. You know to be the main anchor and the producer. So it was it was my show to run. So I did that for two years as well. No pressure, no pressure at all. No, it's fine. Michael Hingson  18:51 Yeah, Nicole Pytel  18:51 pressure. Michael Hingson  18:53 So you did that for two years, and then, Nicole Pytel  18:56 and then I left, and I totally did something different. I left TV and I started my own content marketing agency. Just me, myself, and I, and my little my little built-in desk in my kitchen in my apartment. So couldn't be more different. Michael Hingson  19:12 Did you do now? Was that in Texas? It Nicole Pytel  19:15 was in Texas. It was you know it was it was you know time to leave TV, and it was just like, okay, well, what am I good at? Like, what can I do? And I said, well, shoot, I can write anything, you know. So I'll do content marketing, and and there's so many journalists that go into PR. That's kind of like the the thing they all do. And I was like, I don't want to do that. Like, I don't know. It's just like being on the journalism side, you know, all the PR people. It's like, oh, come on, guys, stop! So I went into content marketing, started my own agency, just just me, myself, and I. And you know, was it was scary, but it was fun. It was you know throwing yourself into the deep end of the pool and and seeing if you could swim. If Speaker 1  20:02 you enjoy Unstoppable Mindset and would like to help us continue bringing these conversations to you each week, we've created a way for you to support the show. Your contribution helps us cover production costs and continue sharing stories, insights, and ideas that inspire people to live with purpose and possibility. If supporting the podcast feels right for you, you'll find the link in the show notes. Thank you for being part of the Unstoppable Mindset Community. Michael Hingson  20:35 So now, tell me something about what content marketing Nicole Pytel  20:40 is. Yeah, so you know content marketing, and and I I've always been on on the B 2b side, the business to business. So and usually, and most of my career has been in in tech. So you know, selling very expensive things to people who are very skeptical of whether or not it works and don't want to make the wrong decision on you know a six figure platform or something like that, and it's really the content marketer's job to really kind of give them almost like a buffet of things that that they need to really figure out. Okay, what problem do I have? What solutions are there for this problem? Like, who are the different vendors? What what are the different ways to solve this problem? What makes all these vendors different? How do I know which vendor you know will actually give me ROI? Like, do they understand my business? Do they understand people like me, and then you know, getting them all the way through until they're ready for a sales conversation. And as you might imagine, people don't like to talk to salespeople. They're you know at this point probably probably 80% of the way through. You know they they probably are pretty set on on which vendor they're going to go with before they talk to sales, but you know there's all kinds of different marketing. But content's the one that really runs the whole gamut of everything. You know, you everything ties back to content because you've got to bring them to something. Like you know, ads have got to drive to something. The website's got to say something. You know, like PR has got to plug something. So, you know, content's kind of that that through line for the entire process of them making these, you know, huge expensive decisions. Michael Hingson  22:33 Well, still going into content marketing, since you were in TV, is a pretty major, pretty major switch all the way around. And what makes me curious is how did you discover you really knew and understood content marketing? And more important, even than I guess, would be since you loved TV so much, when did you decide that it was worth staying in TV than it was to switch careers? That had to be a pretty scary thing, or maybe it wasn't. You may be just used to doing that sort of thing. Nicole Pytel  23:05 Yeah, no. Leaving TV, there was a there was a day, you know, when I knew I was done with TV, and and I was kind of frustrated with it. You know, you're not making much money, and and at that time it was so tough. The economy was was still tough, even even a couple years after that, and and it was just was tough. And news is a totally different kettle of fish than sports. Sports is is fun, and the fun stories and the feature stories and news is just it can be depressing. It can you know, it like you know. If it bleeds, it leads. That's you know where we're at, and that just started to get to me. And there, there was one day where things were just really, really slow, and and I was just like, oh my god, we don't have a lead story, and time is a ticking, and 10 o'clock is coming, whether I'm ready or not, and it's not like you can get on TV and go. Well, hey, good evening. Nothing happened today. Shut off your TV and go to sleep. And that's a story. That's a story in and of itself. Nothing happened, and I was really struggling. Like, oh my God, what's the lead story? What's the lead story? Am I going to have to take something and just kind of you know make make chicken salad out of chicken you know what and try to pass this off as important, and then we heard over the scanner there had been this this fatal car accident and this teenage girl had died in a car accident you know and for a split second I thought, "Oh, thank God, I have a lead story. And then, in the next second, I went, "Oh my God! Like, how is that your reaction to this story? Like, this girl is gone; her family is destroyed forever. Like, how did your brain even get to oh my god?" Thank God, I have a lead story, and and it was then that I was like, I don't want to do this anymore. You know, I was one foot out the door, and then I was like, uh, I don't like this. And to this day, I don't remember the girl's name. I don't remember any of the details, but I still think about it because it was really this turning point of like, I just don't want to do this anymore. Like I want to go do something else. That you know, maybe if I had stayed in sports, it would have been totally different. But the news side is just-it's tough. It's tough to see all that bad stuff day after day after day and kind of capitalize on it. Yeah, Michael Hingson  25:34 I-I'm amazed at some of the reporters that that I watch and and just listen to how they report the news, and now there's always it seems in our country a lead story of some sort. But how they do it and how they're able to do it day after day without registering too much emotion is pretty amazing. And I and I hope that their characters just don't become so hardened that they don't feel sympathy, and I and I think they don't. The reporters that I tend to watch, I think, are very human oriented, but and and they they behave appropriately, but at the same time, I'm amazed that they're able to do what they do, and it's got to be so tough. Nicole Pytel  26:24 It is tough. It is tough because sadly, you're kind of seeing the worst of the worst. I mean, you know, that's that's the stuff that that makes the news. And and today, you know, I don't watch local news really at all anymore. But it seems like now it's just kind of the police blotter, and it's like when I hear about all these bad things, you know. It's just, you know, the the storytelling has has kind of fallen out of it quite a bit. Michael Hingson  26:49 I collect old radio shows as a hobby, and I'm very fascinated to listen to the all the old news broadcasts from the 20s, well, the 30s, 40s, and into the 50s mainly. And I've heard some interviews with people who did news back in those days, and and who are somewhat still well, they're still alive or they used to be, and they talk about how news broadcasting has changed over the years, and they don't they don't do the same kind of news that they they used to do where they would report on things. Now they've got different people sort of chattering back and forth, and and they're they sometimes make light of stories and they just do a lot of different things, but they're not reporting the news the way the old reporters used to do. Nicole Pytel  27:36 Yeah, yeah. I mean, you know, back in the day, you had you know Walter Cronkite kind of ripping the paper off, you know, or you know they're sitting there smoking a cigarette, giving the news. I mean, you know, stuff like that, and you know, yeah, it's just it's totally different. I think it's become so sensationalized, and everybody's obsessed with being first. I think, I mean, you always want to be first, but I I think people are obsessed with being first, even if they don't always get it right. Yeah, and that's Michael Hingson  28:08 happened a lot. It Nicole Pytel  28:09 happens a lot, and and also it's like who can be the most sensational, who can make the biggest splash, and you know it just I don't know. It's it has it's changed so much. Yeah. Michael Hingson  28:25 Well, so now, but but again, well, not now. But then you went into contact mark content marketing. Do you feel that you knew that business as you were going into it, or or did you have a lot to learn? And how did you do it? Because for a while, it was just you doing everything? Nicole Pytel  28:41 Yeah, it was it was me doing literally everything. And did I know about content marketing? No, I didn't. I knew how to write, so I knew I could do copywriting. And I said, okay, well, I'll I'll figure out the marketing part. And it took a lot of courses. I learned about SEO. I learned about email marketing. I learned about inbound marketing. You know, I just took every course that I could and kind of just built the plane as I flew it. And you know, because yeah, when you start your own business and you're all by yourself, there's no there's no senior person to go ask. You're the person, and you've got to figure it out, and you know, I like to say the money train doesn't doesn't just magically show up every two weeks. You know, you've got to you've got to work and you've got to earn it. And so, when you've got your own business, you know, that's just it's a lot of pressure. And so, yeah, I just I just went and and learned as I went and learned a lot quickly. And you know, would would I tell everybody to go do that? No, but for me it was like, well, if I can do that, I can I can probably do anything. I mean, shoot, I kept a a roof over my head and food food on the table for for eight years with my. Business, so that's that's something that a lot of people can't say. Michael Hingson  30:03 Did you make any kind of mistake at the beginning, or as you were starting and running this business, that you're very grateful today that you made? Nicole Pytel  30:11 Oh, I I made plenty of mistakes. Oh my goodness! And of course, you're going to make mistakes. You're you're just learning. You're just drinking from the fire hose and just hanging onto the bowl, you know, and I think there was a there was a couple of mistakes I made. I think probably the biggest was not shutting off, you know. And I had come from news where at 10 o'clock the news started, at 1030 the show was over. You were done for the day. Nothing carried over to the next day. You came into work the next day. You started over, and it was really hard to have work that dragged on for days or weeks at a time. And you know, it was hard to shut off, especially when it's your own business. It's like, oh, let me just reply to this one email, or let me check this one thing, or let me go do this one thing over here. And and when I started my own business, you know, I was working, I was working out of the kitchen. So you know, you go to sit down and relax on the couch at night, and and your computer's you know four feet away in the kitchen. So oh, I'll I'll just go check this one thing, and I never was shutting off, and you burn out that way. You really, you really do. And I'm glad I learned that lesson. And I'm not saying I've never repeated that lesson because I've definitely, you know, it's it's a very acquired skill to be able to just turn your brain off and and go focus on something else. But I'm glad I made that mistake because it really showed me, like, you don't have to be on 24/7 even to run your own business, you know, like, and you have to stop. And so, what I've done ever since then, ever since I was able to afford, you know, a two-bedroom apartment or whatever, even my house now. I've always had an office so that you know I go, I do my work, and then at the end of the day, I shut off the computer and I leave that room, and I don't come back until the next day. Where it's like you know, like if you go to a traditional office, you get up at 5o'clock, you walk out, you're back at 9o'clock the next morning, like I've worked really hard to do that at home to really avoid that whole always on kind of mentality because you've just got to kind of stop, you know. Michael Hingson  32:34 Yeah, I my wife passed away in November of 2022, and she was more of a late riser, and I was more of a morning person, but we compromise pretty well. But since she has passed, I tend to get up pretty early because I can eat breakfast and then come in and spend time before anything else happens, going through emails and doing some things. But I don't have to rush doing it, and that helps. But then, then then the the other things happen in the course of the day. But I I know what you're saying, and I work pretty hard at shutting things down by around 5o'clock. Of course, I also have to do that because I have two creatures who say it's five here, not somewhere else, and we better get our food. Yeah. Yep. So they help, but I hear what you're saying, and it and it is a it is a discipline. Working at home and working for yourself is a is a discipline that a lot of people Nicole Pytel  33:33 oh yeah Michael Hingson  33:34 could learn and don't or just don't have the skills to do. But it is, I think, a very doable thing, and I enjoy it. And I usually have I usually have television as well. I have television or something on in the background, although I don't listen to much of it. It's just background noise, but it's there and it helps. Nicole Pytel  33:53 Yeah, yeah. There's something about silence. I've always got to have you know some music on or something. It's like the silence gets a little deafening when you're at home working, it's it's it's funny that way. Michael Hingson  34:03 I do some stuff on the weekends, and when I when I do catching up on letters and things like that on the weekends, I typically don't turn anything on. I just focus and get it done, and then I go off and read and do other things. So it works out. But I but I hear what you're saying, and I think it's an important lesson to learn that you've got to learn. You've got to find a way to recognize that that it is important to turn off. And if you don't, you're going to drive yourself crazy. Nicole Pytel  34:30 You will. And and you know now that we've got you know email on our phones and Slack on our phones and LinkedIn on our phones, it's really easy to sit on the couch at night after dinner and just let me check my email this one more time, or or let me reply to this Slack message, and you just gotta stop because you will burn out, and and then you know you're you're of no use to anybody, most of all yourself, you know. And I think that Michael Hingson  34:57 oh, go ahead. Nicole Pytel  34:58 I was just gonna say I think it. I think it's a lesson that a lot of people struggle with, you know, because everything is just this on-demand one tap of your phone. You can just be back at work 24 hours a day, and I think you have to learn that I don't have to be on 24-seven to be successful. Think that's the thing you've got to learn. Michael Hingson  35:20 Do you think you've experienced burnout along the way? Nicole Pytel  35:23 Oh yeah, absolutely, absolutely. You know, I, I, you know, one of my bad habits is, you know, I'll kind of like put myself last, and I've learned that, you know, oh, it's really easy to, you know, oh, I won't go for a run this morning because I've got you know this work thing that I've got to do, and you know you've got to kind of treat yourself as a non-negotiable as well. You know, not that you get to do the run every morning. There's some mornings when you really can't, but if you look at the run as you know something of that's you taking care of yourself, and something that that is pretty non-negotiable, and it needs to be part of the schedule. You're you're more likely to to stick with it and not push it off to the side. Because yeah, I'm guilty of that. You know, you you push things off to the side. You're eating at your desk. You're passing up on this, or oh, I'm not going to go out to dinner tonight because I'm going to sit here and catch up on stuff, and and you burn out, you know, and it's exhausting. Michael Hingson  36:28 Yeah, yeah, you gotta gotta learn to keep things in perspective, and you're right. Yeah, yourself is is an important part of of what you do, and you have to be able to take care of yourself along the way as well, Speaker 1  36:42 yeah. Michael Hingson  36:42 Well, you had your own company for almost 10 years, and then you decided to go back to work for someone else. What what caused that to happen? Nicole Pytel  36:50 Yeah, so it was a couple of things. You know, one was you know when you own your own business, and and Michael, you understand this. You're you're the everything. You're you're the you're the president. You're the head of marketing. You're the head of sales. You're the head of operations. You're doing the taxes. You're you're doing all the things, and you're not necessarily good at all the things, and you don't necessarily enjoy all the things. You know, and so there was kind of two reasons. So I wanted to really focus on what I was good at, which was the content marketing part. You know, I didn't want to have to fill out quarterly reports for the state or you know things like that. All the admin work that goes in into running your own business, and so I said, okay, I want to be able to do what I do best, and I want to be able to work with clients that are bigger than I can get myself. And so I was really, really lucky to land at an agency. I worked remotely, but the agency was was based in Silicon Valley, and you know our our biggest client was Google, and you know for clients it doesn't get any bigger than that so you know I got to just focus on the content marketing part and work with with companies and and people that I never would have been exposed to if I had stuck with my own business you know no matter what I was never going to break into Silicon Valley from from my apartment in Florida, so you know it was the right decision. It really was, and and in job interviews, people asked me, "Well, you're giving up being your own boss? And it's like I've got very specific reasons for doing that. It was just time, you know. Michael Hingson  38:35 Do you feel like in any way it was a step backwards going to work for somebody rather than being the boss? Nicole Pytel  38:42 No, I don't think so. You know, because I've that eight years that I had in my own business, I got I I've got that under my belt, and you know, no one can take that experience away. You know, it is it is what it is. I learned a lot of lessons. I learned a lot of lessons the hard way too, and it was a great springboard. But I like being able to focus on what I'm best at, and you know the stuff that I've been able to do since then. I wouldn't have had those opportunities if I had just kind of kept with my own business. So I didn't see it as a step back at all because I had very specific reasons for making the move. Michael Hingson  39:20 Yeah, and you know I respect that, and and went through the same sort of thing. I owned my own company for four years back in the mid 1980s because I wasn't able to find a job at the time. People just wouldn't hire blind people, so I started my own company, and then eventually decided to go back into the workforce. And my wife and I worked out a a plan for that, and I created a cover letter that actually impressed some people, and I got a job out of it. But by the same token, I wasn't at all regretful about having to stop doing what I was doing and go back to work for someone else, partly because some of those very pressures that. We're talking about went away, and partly because, as you said, it was time, and I knew it, so we did. Nicole Pytel  40:07 Yeah, yeah. You've got to you've got to go with your gut and stuff like that. You know, like if if your gut is telling you something, or if you're like, I think I'd be a little bit happier doing something else, or if I didn't have to do this part of it, you know, go for Michael Hingson  40:24 it. Well, so there were times that, as you describe it, you would go into a role with no map. You were the only and the first content marketing hire, and you did a lot of stuff with Google Cloud marketing and and so on. What's the difference? I guess the best way to put it. What's the difference between, well, yeah, what's the difference between confidence and just hiding fear? That's probably the good basic question. Nicole Pytel  40:51 Yeah, yeah, they're probably kind of on the same plane, but they project Michael Hingson  41:00 differently. Nicole Pytel  41:01 They project very differently. They they project very differently. So so yes, you know, I created my own business, and then two of the agencies I've worked at, I was the first you know full time content hire. Built the content marketing practice. It was like building a business within a business, and and all the things that go along with that, I just didn't have to do the taxes, and which is a good thing. Yeah, it's a great thing. And then at the same time, yeah, I was I was embedded with with Google Cloud's marketing organization, and and so I think confidence is you know you can do it. Like deep down, you're like I know my stuff, I can do the work, I can do this, and then of course there's the fear of, oh my god! Like Google, like I'm gonna have a Google email address. I'm gonna have you know a title at Google and a supervisor at Google. Like, oh my god! Like, and then of course you know the the fear comes in. The imposter syndrome kind of comes in. Like me, me, really? And I think it's kind of like jumping into a really cold pool. You're scared, but you just gotta do it and kind of not fake it till you make it, but just dive in and trust in the confidence side. You know, there's like it's like the devil and the angel on your shoulder. One is your confidence. That's the angel, and the devil is the fear. And just listen to that confident part, and eventually, I feel like the fear gets drowned out. Now, does the imposter system ever imposter syndrome ever totally go away? Of course not. Of course not. We all have days where you're like, why am I here? Why is anybody listening to me? Why does anybody think I'm smart? We all have those days, but you know, eventually, you know, if you've got that confidence in yourself, it will win out. Michael Hingson  42:52 Yeah, and and it is something that we all have to deal with. But I think we can. I think if we truly understand ourselves and we listen to our inner voice. We'll get the guidance and the confidence that we need. I think so many people tend not to be introspective and tend not to go back and listen to the lessons that they could learn from their own inner subconscious, their own inner voice. And the result of that is that they they end up being very clueless, but the fact of the matter is, there's a part of you that monitors every single solitary thing that you do, and it's ready to give you the information that you need if you'll but take the time to learn to listen to it. And most people just don't do that. But the fact is, we should take that time because we'll get better results than we would ever get any other way. Nicole Pytel  43:45 It's funny because we'll say things to ourselves that we would never say to somebody else. Like you'd never say it to a friend, but you say it to yourself. It's like, why do we do that? And you know, sometimes I think one of the most important questions I've ever asked myself is why not you? You know, you want to go be a sports journalist in Texas? Why not you? Why can't you do that? You want to own your own business? Why not you? People do that all the time. Why? Why can't you do it? And I think if you if you're really honest with yourself, and you say, "Well, why not you? And you force yourself to kind of have this conversation with yourself and give an answer. A lot of times, you can't think of Michael Hingson  44:33 one, and you create excuses. Nicole Pytel  44:37 You do, which Michael Hingson  44:38 really are are not helping, and they're not healthy, but you do it anyway. And I understand the concept of imposter syndrome, but you ultimately have control over that. Nicole Pytel  44:50 You do, and I think that's the thing. It's you know I think anxiety gets the best of us a lot of the time, and and you've got to be like, okay, well, what can I control? What is totally out of my control? I actually heard somebody say today, you know, when anxiety creeps in and you have a thought, "Oh my God, what if X Y Z happens? You say to yourself, "So what if it does? Like, so what? Like, can you control it? Can you fix it? And if not, then then you shouldn't just give it airtime in your brain, you know. We Michael Hingson  45:23 spend so much time worrying about everything over which we don't have control, and we don't really learn the about the things over which we truly have control and should focus our time on, which is which is such an issue because the reality is over 95% of the things that we worry about and what if about all the time are things over which we have no control. I hear a lot of people say I don't watch the news because I just get angry at all that. Well, I like to watch the news because I love information, but I can do that generally without getting angry. Now, sometimes I will, I will yell at somebody on the the TV because they say dumb things. There are people who have learned how to do that, but I also don't spend a lot of time at it, and I also know that I'm not going to hurt them, even if they hear me. So the Michael Hingson  46:16 the bottom line is that I I work at not doing that, but I still want to get the information as to what's going on, so I do. Nicole Pytel  46:24 Yeah, and that's you. I want to know, and what can I control my reaction to it? I'm not going to get angry unless somebody says something really, really stupid, and and then you know it comes out. But yeah, it's it. That's a great example. I want to know what's happening, and I'm going to control my reaction to it, and a lot of times that's all we can control is our reaction to things. Michael Hingson  46:45 But we don't, which is really and we don't. We don't, and we should. Nicole Pytel  46:49 Yep. Michael Hingson  46:50 Well, speaking of reactions, earlier this year you got laid off from your VP role. I'm I'm curious, what did that do to how you see your own professional identity and and and so on, or did you know it was coming, or anything like that? Nicole Pytel  47:05 There, there were some rumblings right before it happened that it was coming, and you know I'm one of sadly very very many people, you know, 1000s, 10s of 1000s, maybe even hundreds of 1000s of people in this position, and and it's it's tough because you're not your job, but when you do something 40 hours a week and and you get up every day and that's what you do, it becomes part of who you are. It's like that's what I do, and then when that's gone, it's just like, well, now like am I still am I still useful? Like, am I still smart? You know, and and all these things go go through your mind, and you learn a lot about yourself when that happens. You know, talking about hey, all I can control is how I react to it. You know, Lord knows. You know, when you get laid off, like there's a a million what ifs running through your brain, and and all you can do is just keep putting one foot in front of the other, and and controlling how you react to it. But it absolutely, you know, it definitely shakes your confidence, and you know, it's it's it's a very weird feeling, you know that first Monday when you don't go to work. It's like, oh my God, the rest of the world went back to work, and and I didn't, and it's very jarring. You know, especially when you're when you're as old a fossil as me and you've been working for so long, it's like now you're not. You know, I've been I've been very very lucky to take on you know some freelance work and stuff like that, and and you know it's given me an opportunity to really catch up on a lot of the things that I wanted to learn and try and do when I was working full time and didn't really have the time. So from that perspective, it's been really good. But it it it'll knock you down for a minute, and it's up to you to kind of pick yourself back up, and that's where you kind of learn a lot about yourself as to how how you react to that. Michael Hingson  49:08 Yeah, and you have to again. It's a matter of choice, and you have to decide what what you want to do. Well, so you got laid off. Did you sleep late that first Monday? Nicole Pytel  49:19 I didn't. You know what I did. You know what I did. I I knew I had to give myself something to do, so I got up early on that first Monday and I went and got the oil changed in my car. I was like, I'm gonna go out and be productive. You know, could I have laid in bed all day and just kind of wallowed in self. Yeah, that doesn't help. Yeah, but that's not helpful. So I was like, "I'm going to go get that oil change I've been putting off for like two months. And you got to go Michael Hingson  49:49 in earlier than you otherwise would have, and probably got it done sooner. Nicole Pytel  49:53 There you go. There you go. Sometimes it just works out. Michael Hingson  49:57 And you probably had two little fur creatures who. We're very glad to see you continuing to support their habits. Nicole Pytel  50:04 Yes, yes, they my little fur divas. Yes, they're kind of like you know now you know Minnie Minnie's worked with me her whole life. She just turned 14. I've had her since she was 11 months old, and and I've I've worked at home her whole life, and so she she comes to the office with me every single day with her little memory foam, and and and and she gets her decompression time too. You know, she knows at 5o'clock when I take her memory foam bed back into the bedroom. Like, all right, I'm done working for the day. I'm good. But you know, at first she was like, "Why aren't we working, mom? And then you know, we got some freelance work and got back in the office, and I could tell she was like, "Okay, we're getting back to normal. Because at first they were both like, "What are we doing? Aren't you supposed to be working? Like, what's happening? But as long as they've got all their treats and all their toys and and and you know all their things, they're good. Michael Hingson  50:58 Didn't you tell them that was time for them to go get a job? Nicole Pytel  51:01 Oh yeah, absolutely. Michael Hingson  51:03 And how'd that work for you? Absolutely. Nicole Pytel  51:04 No, it didn't work out. They were like, "We don't do that. Like, I don't think you understand, Mom. Yeah, this is not how this works. Yeah, Michael Hingson  51:11 yeah. Well, so one of the things I think that's interesting, we're and we're all facing it to one degree or another, is the whole concept of of AI, a lot of people are afraid that AI is coming for their jobs, and I can make some comments, and I will about that. But you've chosen to face that fear and confront it. So I guess the real question is, why do you think that was the right call, and what do you think about this whole business of AI? Nicole Pytel  51:39 AI is really something, and so so I I've seen both sides of it. As a content marketer, you know we were supposed to become extinct because AI could just write everything. And my point is, is like, can AI create content? Sure, but it doesn't know what to create, and that's where the human comes in. It like the human has to come up with the strategy, and you know I remember the first time trying out ChatGPT and having it write stuff, and it wasn't very good, and and you know obviously things have gotten much much better in in the past 334 years, but you know it just became obvious that that this is a thing, and I guess you know, as a benefit, so many of of my clients were AI companies in some way, shape, or form, and it's like this is happening, and you have got to learn how to deal with it. And at least in my job, it can it can make me better at my job because it can speed things up. It can kind of eliminate some redundancies, you know. And is it ever going to replace me? No, because I'm the human with the judgment, and I understand, you know, the business goals of of what we're trying to do and how we hit the revenue goals and who the audience is and what they care about and all of those things, but I think one of the the silver linings of of getting laid off was you know I've I've had a you know a chunk of time to really dive in and get my hands dirty with AI like the things that I was like, oh, if I could have it do this, this, and this, that'd be really cool. And then go in and build it and see, hey, can I actually build this and go into Claude Code and see if if I really can do that, you know? And and it's given me a chance to really do that and go, okay, well, when I when I get another job, this is how I'm going to use AI on day one. I'm going to create, you know, this list of things, and here's why. Here's the order I'm going to do them in, and here's where I'm going to use AI to make it better. But more importantly, here's kind of the framework for how humans and AI should work together in content marketing, because there's so many people out there that are like, "Hey, ChatGPT, go write my website for me, and then they wonder why it's not very good or or why it sounds the same as as their competitors. You know, there's studies out there that say you know buyers think that these companies all sound the same, and you know AI is a big reason for that. So if you can really figure out how humans and AI work together, I think that's that's the piece, you know. And and there at the beginning there were a lot of content marketing kind of purists out there that were like, I will never use this. I'm gonna write everything myself. I'm gonna do everything from scratch, and I was just like, "That's like saying, you know, when cars came out, like I'm not, I'm not riding a horse. I'm not getting a car. I'm taking my horse and buggy to work. You know, I mean, it's the same thing. Like things evolve, and and you know, take advantage of it. Michael Hingson  54:56 Well, the reality is that AI is here. And I think you're right. What we need to do is to learn how to use it. I heard a friend comment a couple months ago that was talking to his boss about AI, and his boss said, "I will never fire you and replace you with AI. I won't do that, he said. "I might fire you if you don't learn how to use AI. Nicole Pytel  55:26 Yes, and Michael Hingson  55:26 I think that's absolutely true. I I use AI when I write because it gives me ideas, but ultimately I have to still be the one to create them, and I am not convinced that we're going to see AI in anywhere in the near future, develop the true human spirit and learn how to do the things that we do, Nicole Pytel  55:48 right? Michael Hingson  55:50 And so I think it's important that we learn how to use AI, and we I get a lot of great ideas from it, and so I go into what I write, and that's great because it's got a lot more information and experience than I do. So I don't mind doing that, and I'll be glad to take the ideas. The first time I heard anybody talking about AI was in a Christmas party with relatives, and somebody was complaining because teachers were grousing about the fact that kids were just letting AI write their papers, Nicole Pytel  56:22 yeah. Michael Hingson  56:22 And I said, why not let AI write the papers? You're missing a golden opportunity, and the golden opportunity. And I've said this before on Unstoppable Mindset, but the golden opportunity is the teacher should let students, if they want to use AI to write their papers, let them use AI to write their papers. But then, after you collect the papers, take a period, call each student to the front of the class, and say, "Now defend your position. You're going to find out who really knows what they're talking about and who doesn't. Nicole Pytel  56:50 Yep. Michael Hingson  56:51 What a great opportunity! Nicole Pytel  56:53 That's one way to do it for sure. And my guess is most of them would have no idea. Yeah. Michael Hingson  57:00 How was your view of a special of a professional career change since you started years ago, or has it? Nicole Pytel  57:08 Yeah, many, many, many moons ago. Many Michael Hingson  57:11 moons. Nicole Pytel  57:12 You know, I think when when you first start out in your career, and tell me, Michael, if you agree with this, you know, you just want to get going. It's like I'm a grown up now. I get to do all these grown up things and all the things that I learned about in school. I'm gonna run off and do them, and I want to do as much as I can, as fast as I can, and and climb the ladder and do all the things. And then, you know, that's still important, obviously. But I think it's more about, you know, am I doing something that I take? I truly, truly take pride in something that I believe in. You know, like you know, I could never go work for a company and and do marketing if if I thought the product was boring. You know, I just couldn't. I I don't really care what title you give me, or you know how much money you want to pay me. It's like if it's going to be boring, I don't, I don't want to do it. So I think part of it is, you know, are are you getting satisfaction out of what you're doing? Michael Hingson  58:13 Also, we need to recognize and understand that sometimes life gets in the way, and you start out with a great plan. This is what I'm going to do, and something happens to change it. And the reality is, again, it's of course how you approach that change. But that change might very well be for the best. I know that's happened to me several times, and I have learned that life may happen, things may happen, but I'm gonna not. I don't. I didn't have control over the change necessarily happening. So it's a question more about how I decide to deal with it and what I'm going to do. And I think that's what's really so important to be able to do. And so I find that it's so important to let life do what life is going to do, and you evaluate which way you want to go, but truly evaluate it. Don't don't just react. Sit back and think. You may decide to keep on doing what you're doing, and you're given another opportunity. And of course, for me, the most dramatic example of that is after September 11th, people started calling and saying, "Gee, would you come and talk to us and tell us what we ought to know about September 11th and talk to us about leadership and so on. We saw your name in the media and we want to hear from you and we'll pay you. And of course, you'll pay me. That was a great start. But but what happened was that so many of those happened that my wife and I at the by the beginning of 2002 realized that this was an incredible opportunity. It would take work, but it was an incredible opportunity, and that in reality, as I tell people, selling life and philosophy is a whole lot more rewarding than being a computer hardware sales manager and selling computer hardware. And so I've been doing it ever since, and I've had so many wonderful advances. And I've I've met so many people, learned so many things, and I spend the time working on learning wherever I go and wherever I speak, and so I can't complain at all about what what caused my life to change. Nicole Pytel  1:00:15 Yeah, I mean everything happens for a reason. I really do believe that, and and you may not know what that reason is right away, but yeah, I mean, look at you. I I I can't even imagine having been there on September 11th. It was it was jaw dropping enough to to watch it on TV, and and I'm sure there was a lot that went through your mind and and went through your mind during and right after. And but now look at I mean all the people that that you've gotten to inspire and and educate and motivate and and people who have really learned something and you never would have had that platform. It's it's it's really something. Michael Hingson  1:00:56 Yeah, and and it's and and if you're given a choice between two things that both really sound great, you make a choice, and then you live with the choice you made. Again, don't don't what if the things over which you don't have control, Nicole Pytel  1:01:13 right? Exactly. Michael Hingson  1:01:15 Well, if someone is in a position today where they're listening and they're standing kind of in the same place you were when you decided to go leave television, so on, and they're certain that they should be going off and doing something different, but they're terrified to admit it. What would you say is the one thing that you should tell them? Nicole Pytel  1:01:36 I would say if your gut is telling you to do something, you need to listen to it, and I would say, ask yourself why not me? Why can't I go do this now? If you want to run off and be an

“I'm not a one-man woman.” Join Ian & Megs for our 343rd episode as we head to Brooklyn for Spike Lee's audacious, provocative, micro-budget debut She's Gotta Have It (1986). It's sex, independence, competing egos, and three men absolutely convinced they should be the answer to a question Nola Darling never asked. Liam isn't with us this week — Nola told him she wasn't interested in exclusivity and he's been drafting a rebuttal ever since. Kev? He heard Mars Blackmon say “Please, baby, please” and has disappeared to practise his technique. This week we discuss: Who exactly are we supposed to like in this film? Nola, Jamie, Greer, Mars — everyone gets their moments, but are there actually any genuinely likeable characters in She's Gotta Have It? Tracy Camilla Johns as Nola Darling — independent, sexually confident, complicated and occasionally deeply frustrating. How radical was this protagonist in 1986, and how does she play almost forty years later? That Thanksgiving dinner. Inviting all three men you're sleeping with to the same Thanksgiving meal is certainly a choice — but is Nola being liberated, honest and refusing to hide, or is she actually being unnecessarily cruel? The acting is... a moving target. From genuinely effective performances to line readings that wouldn't survive an amateur theatre rehearsal, the quality fluctuates wildly — so why does the film somehow remain completely compelling? Spike Lee's extraordinary debut — made with virtually no money and enormous ambition. Does the roughness actually become part of the film's charm rather than something we need to forgive? Jamie, Greer and Mars — three wildly different approaches to masculinity, yet all three ultimately want Nola to change for them. Does any one of them actually understand her? Spike Lee as Mars Blackmon — annoying, hilarious, insecure, endlessly quotable and somehow destined to become bigger than the film itself. Megs explores Nola's agency — is the film genuinely celebrating a woman refusing to conform to expectations, or can Nola's independence occasionally become an excuse for treating other people badly? Ian questions the film's internal logic — particularly that ending. Nola and Jamie's final scene seems constructed exactly like the climax of a romantic comedy: she's lost the guy, walks away, he calls her back and gives her another chance. Everything about the cinematic language tells us this is the outcome we're supposed to want... until the film suddenly tells us it wasn't. The final confessional — previous confessionals lead into events that we actually witness. So why does the most important one simply tell us that everything went differently without ever showing it? And what about Nola's vow of celibacy? Is it genuine growth, or such a rejection of her defining characteristic that it feels like the film suddenly lost confidence in its own ending? Does the finale feel rewritten? There's no smoking gun proving that it was, but Ian makes the case that the internal logic, characterisation and sudden reliance on “tell, don't show” make those final minutes feel suspiciously like a late attempt to change what the audience takes away from the film. The film's sexual politics in 2026 — what's still strikingly progressive, what's become considerably more complicated, and how does one deeply troubling sequence change our relationship with Jamie and everything that follows? The black-and-white photography and that sudden explosion of colour — necessity becoming aesthetic, and the first signs of the extraordinarily confident visual filmmaker Spike Lee would become. And finally, whether She's Gotta Have It is the Best Film Ever — or a messy, inconsistent, sometimes infuriating debut that somehow shines brighter than many considerably more polished films. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

Grab your coffee and join Jess & Megs for another episode where we chat about crochet and life!⁠⁠⁠⁠⁠⁠⁠TRY LARRY'S COFFEE!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JESS' YOUTUBE CHANNEL!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BERG BOX QUARTERLY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JOIN THE CROCHET BAES FACEBOOK GROUP!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CROCHET BAES MERCH!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SHUT UP & TAKE MY MONEY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Got a question or comment? Send The Crochet Baes an email: thecrochetbaes@gmail.comFind Jessica & Berg's Nest Crochet online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-Email: bergsnestcrochet@gmail.comFind Megs & Megs Makes Crochet Online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link Tree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thank you to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chan's Designs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for creating The Crochet Baes beautiful logo!

“Kmart sucks.” Join Ian, Liam & Megs for our 342nd episode as we hit the road for Ian's Patreon pick, Barry Levinson's Oscar-winning classic Rain Man (1988). It's a journey across America filled with family wounds, unexpected connection, and one of the most celebrated performances in cinema history. Kev isn't with us this week—he insisted Raymond was right about Kmart underwear and is currently somewhere in the American Midwest refusing to buy a different brand. This week we discuss: Dustin Hoffman's Oscar-winning performance — groundbreaking, influential, and endlessly imitated. How well has Raymond Babbitt's portrayal of autism stood the test of time? Tom Cruise before he became Tom Cruise — is Charlie Babbitt one of the strongest dramatic performances of his career, and does his character truly earn the emotional destination the film arrives at? Ian makes the case for a brilliant screenplay — from inherited trauma and forgiveness to what it means to truly communicate and how do we compartmentalise intimacy -  we explore why every major theme reinforces another in one of the tightest character scripts we've reviewed. The road movie structure — why does Rain Man work because Raymond doesn't fundamentally change... Charlie does? The elevator scene — one of the film's sweetest moments or one of its most complicated? We unpack how differently that sequence plays in 2026 and whether it's an affirmation of Raymond's humanity, a thoughtful act of kindness, or something more ethically complex. Las Vegas — does the casino sequence undercut Charlie's character development by rewarding the very instincts he's supposed to be leaving behind, or is it a necessary step in his transformation? Liam explores the brothers' relationship — does the film ultimately become less about autism than about learning to see another person on their terms rather than your own? Megs examines the film's emotional honesty — sentimentality, manipulation, and whether Rain Man earns every emotional beat it asks of its audience. The "show versus tell" balance — how much does the film trust Hoffman's performance to communicate Raymond's world without resorting to unnecessary exposition? The supporting cast — particularly Susanna. Is she underwritten, or does she quietly become the emotional bridge between Charlie and Raymond? The ending — understated, bittersweet, and refreshingly restrained. Could there have been any other conclusion that stayed true to these characters? And finally, whether Rain Man is the Best Film Ever — or one of the finest character-driven dramas ever put to film. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE

“Either they don't know, don't show... or don't care about what's going on in the hood.” Join Ian, Liam, Kev & Megs for our 341st episode as we head to South Central Los Angeles for John Singleton's astonishing directorial debut, Boyz n the Hood (1991). Hailed as one of the defining films of the 1990s, we explore a coming-of-age story that remains as powerful, relevant, and heartbreaking today as it was over thirty years ago. This week we discuss: John Singleton's remarkable debut — just 23 years old when he directed the film. How did a first-time filmmaker produce one of the most confident American dramas of its generation? The opening statistics — the film begins with a stark warning about violence affecting young Black men. We explore the context behind those figures, how they reflected America in the early '90s, and how the picture has changed over the decades. Larry Fishburne's Furious Styles — one of cinema's greatest fathers? We discuss why his guidance remains one of the film's emotional anchors. Cuba Gooding Jr., Ice Cube and Morris Chestnut — three young men whose futures are shaped by environment, opportunity, and the choices they make. Ian breaks down the screenplay — how Singleton balances social commentary with intimate character work, allowing the message to emerge naturally from the lives of its characters. Liam explores the film's central question — to what extent are our lives determined by circumstance, and how much agency do we truly have to change our future? Megs examines the women of Boyz n the Hood — what role do they play within the story, and how effectively does the film portray the different pressures facing young women in the same community? Kev looks at the film's legacy — how Boyz n the Hood influenced generations of filmmakers, from its storytelling to its uncompromising realism. The "show versus tell" balance — despite its powerful message, does the film avoid becoming preachy by grounding every social issue in believable human relationships? The ending — devastating, inevitable, hopeful, or all three? We discuss one of the most emotionally resonant conclusions in modern American cinema. And finally, whether Boyz n the Hood is the Best Film Ever — or simply one of the most important films ever made about growing up, community, and the cycles that shape our lives. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

Grab your coffee and join Jess & Megs for another episode where we chat about crochet and life!⁠⁠⁠⁠⁠⁠TRY LARRY'S COFFEE!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JESS' YOUTUBE CHANNEL!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BERG BOX QUARTERLY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JOIN THE CROCHET BAES FACEBOOK GROUP!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CROCHET BAES MERCH!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SHUT UP & TAKE MY MONEY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Got a question or comment? Send The Crochet Baes an email: thecrochetbaes@gmail.comFind Jessica & Berg's Nest Crochet online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-Email: bergsnestcrochet@gmail.comFind Megs & Megs Makes Crochet Online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link Tree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thank you to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chan's Designs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for creating The Crochet Baes beautiful logo!

Merriam-Webster's Word of the Day for July 25, 2026 is: vituperate • vye-TOO-puh-rayt • verb To vituperate someone is to criticize or censure them severely or abusively. Vituperate can also mean "to use harsh condemnatory language." // They were vituperated for betraying their friends. See the entry > Examples: "On the world stage where Britain's royal family have traditionally been in the vanguard promoting our nation's brand, the Duke and Duchess remain hugely relevant. Old codgers vituperate and hate on them for their lucrative Instagram vibes, but out there in the global ether Haz and Megs still matter ..." — Tessa Dunlop, The i Paper (United Kingdom), 24 Mar. 2026 Did you know? There would seem to be as many English words and phrases for reading someone the riot act as there are justifications for doing so, from chew out, bawl out, and ream out, to dress down and tongue-lash. Vituperate, unlike this sample litany, is decidedly formal. This isn't to say that one needs must wear a top hat or pince-nez to vituperate or be vituperated, only that the word vituperate (which traces in part back to the Latin word vitium, meaning "fault") tends to appear in the types of publications that also use constructions like "needs must" and words like pince-nez.

“Hello, my name is Frank.” Join Ian & Liam for our 340th episode as we step into the awkward, tender, and unexpectedly moving world of Hello, My Name Is Frank (2014). Megs isn't with us this week — she agreed to supervise a road trip but abandoned the assignment after discovering nobody had prepared an itinerary. Kev? He's currently trapped at a support-group meeting after introducing himself and accidentally agreeing to organise the next twelve sessions. This week we discuss: Garrett M. Brown's performance as Frank — vulnerable, funny, and painfully sincere. Does the film give its central character the depth and dignity he deserves? The road-trip structure — does taking Frank away from his familiar routines allow the story to open up, or does it rely too heavily on familiar indie-film conventions? The film's depiction of Tourette syndrome — compassionate, educational, and humanising, or occasionally too eager to turn Frank's condition into a source of comedy? Ian explores the film's narrative construction — how a collection of eccentric characters and emotional detours builds toward something more heartfelt than expected. Liam examines the balance between laughing with Frank and laughing at him — and whether the film always knows the difference. The unlikely group dynamic — loneliness, grief, friendship, and the strange families people create when the ones they were given cannot provide what they need. The relationship between Frank and Laura — does it develop naturally, or does the film push its emotional destination before earning every step of the journey? The supporting performances — which characters enrich Frank's story, and which feel as though they have wandered in from a broader, quirkier comedy? The “show versus tell” balance — does the film allow us to understand Frank through behaviour and relationships, or explain too much of what we should be discovering ourselves? The tonal shifts — broad comedy, uncomfortable encounters, and genuine sadness. Does the film hold those elements together without becoming emotionally manipulative? The third act identity crisis — at what point does Hello, My Name Is Frank quietly stop being about Frank? We unpack one of the strangest narrative pivots we've seen in years. The ending — hopeful, sentimental, or exactly the kind of emotional release the story requires? And finally, whether Hello, My Name Is Frank is the Best Film Ever — or simply a small, sincere film with more empathy than polish. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

Globally, 8 billion people will experience trauma in their lifetime. Ninety-three percent of those in crisis will not receive adequate care. The barriers are familiar: cost, stigma, language, geography, workforce shortages. What is less familiar is someone actually building technology to address all of them at once, starting from survivor experience rather than market opportunity. Megs Shah is the Founder and CEO of The Parasol Cooperative, a nonprofit that builds trauma-informed AI tools for survivors of domestic violence, human trafficking, and technology-facilitated abuse. Her flagship product, Ruth, is the world's first trauma-informed AI chat — designed by and for survivors and the advocates who support them. In just over a year, Ruth has facilitated more than 679,000 private crisis support interactions across 147 countries in 85 languages, earning a 92% helpfulness rating. It requires no login, no account, and no personal information. Privacy is not a feature; it is the architecture. In this conversation, Megs and I talk about what it means to build technology under a fundamentally different moral and financial logic — one that centers dignity, safety, and access rather than engagement and data capture. We discuss how lived experience from survivors shapes design decisions that conventional technologists miss, why trauma-informed AI is categorically different from general-purpose AI deployed in sensitive contexts, and what it looks like to measure success when the meaningful metrics are trust, stabilization, and safety rather than clicks. We also talk about the ways technology is already being weaponized against the people Ruth is built to protect — and what it would take to design systems that take patterned harm seriously before it escalates. This episode was produced by Jack Lucas Chang.

“Stay gold, Ponyboy. Stay gold.” Join Ian, Kev & Liam for our 339th episode as we rumble with Greasers, dodge the Socs, and revisit Francis Ford Coppola's adaptation of S.E. Hinton's The Outsiders (1983). Megs isn't with us this week — she was offered membership of both the Socs and the Greasers, refused to pick a side, and is currently attempting to negotiate peace between the two gangs over a chocolate milkshake. This week we discuss: The extraordinary young cast — before they became household names. Cruise, Swayze, Estevez, Dillon, Macchio, Howell... has there ever been a more stacked ensemble of future stars? Coppola's adaptation — does the film successfully capture the heart of the novel, or is something lost in the transition from page to screen? We spend far too long talking about the World Cup — and somehow convince ourselves it's completely relevant. (It probably isn't.) Ian, Liam and Kev decide whether they're Socs or Greasers — and discover that class identity may not be quite as straightforward as they first thought. The floating heads... — artistic flourish, bizarre distraction, or one of the strangest stylistic choices in a major studio film? Ian breaks down the film's coming-of-age themes — brotherhood, identity, and why the smallest moments often carry the greatest emotional weight. Liam explores masculinity in the film — toughness, vulnerability, and whether The Outsiders was quietly ahead of its time. Kev weighs in on the rivalries — are the Socs and Greasers really that different, or are they simply products of circumstance? The "show vs tell" balance — does the narration enhance Ponyboy's story, or does the film work best when it simply lets the performances breathe? The church sequence — heroism, tragedy, and why one of cinema's most memorable moments is still so emotionally effective. The ending — hopeful, bittersweet, or quietly heartbreaking? Does Coppola earn the emotion without overplaying it? And finally, whether The Outsiders is the Best Film Ever — or simply one of the finest coming-of-age dramas ever committed to film. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

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6 - Két és fél méter magasra dobott fel egy bölény egy turistát Yellowstone-ban, aki súlyosan megsérült by Balázsék

“It's all in the reflexes.” Join Ian & Liam for our 338th episode as we descend into the neon-lit underworld beneath San Francisco's Chinatown for John Carpenter's gloriously bonkers cult classic Big Trouble in Little China (1986). Megs isn't with us this week — she accidentally accepted an invitation to Lo Pan's wedding and we're told she's currently trying to escape a floating wheelchair and several unfortunate centuries-old curses. Kev? He confidently followed Jack Burton into an alley "because it'll be quicker this way" and hasn't been seen since a glowing eyeball floated past. This week we discuss: Kurt Russell's Jack Burton — swaggering, endlessly quotable, and hilariously convinced he's the hero. Is Jack actually the greatest accidental sidekick in cinema history? Who did Kurt Russell actually base his performance of Jack Burton off of? Dennis Dun's Wang Chi — the film's true protagonist hiding in plain sight. How does Carpenter brilliantly disguise whose story this really is? What 1990s video game phenomenon was heavily inspired by this film? John Carpenter's genre mash-up — martial arts, fantasy, horror, comedy, and action. Why should this film never have worked... yet somehow works perfectly? Kim Cattrall's Gracie Law — fearless, funny, and game for absolutely anything the film throws at her. Ian breaks down the screenplay — how the film constantly subverts audience expectations by making its loudest character the least competent person in the room. Liam explores the film's mythology — ancient curses, Chinese folklore, and why the exposition somehow makes less sense the more attention you pay. Lo Pan — one of the most delightfully eccentric villains of the 1980s. Menacing, theatrical, and completely unforgettable. The action choreography — practical effects, flying warriors, and glorious 1980s excess. Does the film know exactly how ridiculous it is? The "show vs tell" balance — does the film overwhelm us with mythology, or does its sheer confidence carry us through the chaos? The ending — triumphant, absurd, and leaving just enough mystery for one final sting in the tail. And finally, whether Big Trouble in Little China is the Best Film Ever — or simply one of the greatest cult movies ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Everybody wants to be us.” Join Ian & Liam for our 337th episode as we slip into designer shoes, grab the garment bags, and survive another impossible day at Runway magazine with The Devil Wears Prada (2006). Megs isn't with us this week — Miranda Priestly spotted her wearing cerulean before she'd learned why it was cerulean and immediately reassigned her to the Paris office. Kev? He's still trying to fetch the unpublished Harry Potter manuscript, a flight to Miami, and a steak for Miranda... all before lunch. This week we discuss: Meryl Streep's iconic performance — restrained, terrifying, and endlessly quotable. Is Miranda Priestly one of the greatest screen bosses ever created? Anne Hathaway's Andy Sachs — idealistic, ambitious, and increasingly compromised. Is her transformation inspiring, tragic, or somewhere in between? Emily Blunt steals every scene — razor-sharp timing, impeccable delivery, and why Emily Charlton remains one of the film's most beloved characters. Stanley Tucci's Nigel — warmth, wit, and heartbreak. Does he quietly become the emotional centre of the film? Ian breaks down the screenplay — how the film effortlessly balances workplace comedy, character drama, and biting satire. Liam explores the film's central question — is success worth sacrificing the people and principles that got you there? The fashion world — superficial excess, genuine artistry, or something much more complicated than the film's critics often admit? The "cerulean sweater" speech — one of the great monologues of modern cinema. Does it completely redefine how we understand Miranda? The "show vs tell" balance — how the film uses costume, performance, and visual storytelling to chart Andy's evolution without ever needing to announce it. The ending — personal victory, professional failure, or exactly the compromise Andy needed to make? And finally, whether The Devil Wears Prada is the Best Film Ever — or simply one of the smartest and most rewatchable comedies of the 21st century. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

Grab your coffee and join Jess & Megs for another episode where we chat about crochet and life updates!⁠⁠⁠⁠TRY LARRY'S COFFEE!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JESS' YOUTUBE CHANNEL!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BERG BOX QUARTERLY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JOIN THE CROCHET BAES FACEBOOK GROUP!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CROCHET BAES MERCH!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SHUT UP & TAKE MY MONEY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Got a question or comment? Send The Crochet Baes an email: thecrochetbaes@gmail.comFind Jessica & Berg's Nest Crochet online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-Email: bergsnestcrochet@gmail.comFind Megs & Megs Makes Crochet Online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link Tree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thank you to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chan's Designs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for creating The Crochet Baes beautiful logo!

Recap of family golfland sunsplash trip from June 19-21,2026. Spoiler something fell off at sunsplash and the

“There's something down there…” Join Ian & Megs for our 336th episode as we squeeze into the claustrophobic darkness, extinguish every source of comfort, and descend into Neil Marshall's modern horror masterpiece The Descent (2005). Liam isn't with us this week — he confidently insisted he'd found a shortcut through an unexplored cave system and, according to his last voicemail, is "pretty sure this is still the right way." Kev? He volunteered to be the group's map reader despite never actually bringing a map. We haven't seen either of them since they crawled into the first tunnel. This week we discuss: Neil Marshall's masterclass in tension — how The Descent spends almost an hour terrifying us before the monsters even become the biggest problem. The all-female ensemble — authentic friendships, believable conflict, and why the characters feel so much more than horror archetypes. Claustrophobia as horror — does the cave itself remain the film's scariest antagonist, even after the Crawlers arrive? Megs explores the group's dynamics — grief, guilt, betrayal, and how fractured relationships become just as dangerous as the environment. Ian breaks down the film's visual storytelling — darkness, colour palettes, practical effects, and why the audience never loses its sense of geography despite the labyrinth. The Crawlers — perfectly revealed monsters, or does the film become less frightening once it shows its hand? The balance between psychological horror and creature feature — is Sarah fighting monsters, trauma, or both simultaneously? The infamous UK and US endings — which version better serves the story, and does changing the ending fundamentally alter the film's message? The "show vs tell" balance — how little exposition the film needs before we're completely invested in every decision the group makes. The jump scares — expertly earned or simply proof that sound design can make anyone leap out of their seat? The ending — hopeless, empowering, hallucinatory, or one of the bleakest finales horror has ever produced? And finally, whether The Descent is the Best Film Ever — or simply one of the greatest horror films of the 21st century. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

Grab your coffee and join Jess & Megs for another episode where we chat about crochet and life updates!⁠⁠⁠TRY LARRY'S COFFEE!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JESS' YOUTUBE CHANNEL!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BERG BOX QUARTERLY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JOIN THE CROCHET BAES FACEBOOK GROUP!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CROCHET BAES MERCH!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SHUT UP & TAKE MY MONEY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Got a question or comment? Send The Crochet Baes an email: thecrochetbaes@gmail.comFind Jessica & Berg's Nest Crochet online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-Email: bergsnestcrochet@gmail.comFind Megs & Megs Makes Crochet Online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link Tree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thank you to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chan's Designs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for creating The Crochet Baes beautiful logo!

In this episode of "Financial Crime Matters," Kieran talks with Megs Shah, the CEO and founder of The Parasol Cooperative, a not-for-profit that has created an AI tool to reach and serve the victims of domestic violence, child sex abuse, and labor trafficking. Drawing on her successful career in AI working with large corporations and her experience as a survivor of child sexual abuse, Megs discusses how the cooperative has created technology that allows victims of violence to safely seek emotional support and ultimately resources that can help free them.

“Locksley! I'm going to cut your heart out with a spoon!” Join Ian, Liam, Kev & Debbie for our 335th episode as we celebrate the 35th anniversary of Robin Hood: Prince of Thieves (1991). Grab your bow, avoid the Sheriff's dinner invitations, and prepare for a film packed with accents of varying legality, spoon-based violence, and enough Alan Rickman scenery-chewing to feed Nottingham for a winter. Megs isn't with us this week — she was scheduled to record, but unfortunately entered an archery tournament disguised as a peasant and is currently hiding from the Sheriff's tax collectors. This week we discuss: Kevin Costner's Robin Hood — movie star charisma, questionable accent, and whether audiences have ever really cared. Alan Rickman's Sheriff of Nottingham — one of cinema's great villains. Does he completely hijack the film from everyone around him? Morgan Freeman's Azeem — wisdom, dignity, and why he often feels like the smartest person in every scene. The 1991 blockbuster formula — action, romance, comedy, spectacle. Is this the perfect example of a film designed to entertain first and ask questions later? Ian explores the film's historical accuracy — or more accurately, the complete lack of concern anyone involved seems to have had about it. Liam questions whether the film is secretly two films at once — a sincere Robin Hood adventure and a dark comedy starring Alan Rickman. Kev dives into the action sequences — archery, sword fights, castle assaults, and how well they hold up three and a half decades later. Debbie weighs in on the romance — does Robin and Marian's relationship actually work, or is it simply required by law in a Robin Hood movie? The supporting cast — Michael Wincott, Mary Elizabeth Mastrantonio, Christian Slater, and one very famous cameo that audiences still cheer for. The accent debate — does Costner's performance improve if you simply accept that nobody in this film comes from the same county, let alone country? The “show vs tell” balance — does the film earn its emotional moments, or rely on Bryan Adams to do the heavy lifting? The ending — triumphant, excessive, and unapologetically crowd-pleasing. Is this blockbuster filmmaking at its purest? And finally, whether Robin Hood: Prince of Thieves is the Best Film Ever — or simply one of the most entertaining adventure films of the 1990s. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“We are the spear of victory.” Join Ian & Liam for our 334th episode as we march into battle, confront history, and revisit Gina Prince-Bythewood's epic The Woman King (2022). Megs isn't with us this week — she's reportedly been recruited into military service and informed us that podcasting now ranks somewhere below her training and defending the kingdom. Kev? He attempted to negotiate a peace treaty with a rival podcast and accidentally got himself appointed as a trade envoy. We wish them both luck. Later, we're joined for The Endgame by BFF of the BFE: Juleen, who helps us unpack the film's legacy, historical context, and emotional impact. This week we discuss: Viola Davis' commanding performance — fierce, disciplined, and deeply human. Is this one of the great action-drama performances of the modern era? The balance between history and storytelling — where does the film take liberties, and what responsibilities come with doing so? Ian shares some exciting casting news — as he finds out the result of an audition while simultaneously trying out for a second production. The action sequences — visceral, kinetic, and grounded. How does the film distinguish itself from other historical epics? Liam explores the film's treatment of leadership — strength, sacrifice, and the burden of responsibility. Ian makes what may be his most unexpected comparison yet — drawing a connection between The Woman King and The Notebook that somehow makes more sense than it should. The supporting cast — who stands out alongside Viola Davis, and which relationships give the story its emotional core? We discuss the passing of Anthony Head — reflecting on a career that touched everything from cult television to stage productions and beyond. The “show vs tell” balance — does the film trust its audience enough, or does it occasionally over-explain its themes? Juleen joins us for The Endgame — bringing perspective on the film's historical representation, emotional resonance, and where it sits among modern epics. The ending — triumphant, bittersweet, or something in between? What does victory actually look like in this story? And finally, whether The Woman King is the Best Film Ever — or one of the most compelling historical dramas of the last decade. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“The drama doesn't stop when the cameras do.” Join Ian, Liam & Kev for our 333rd episode as we step behind the scenes of daytime television, backstage rivalries, and gloriously oversized egos with Soapdish (1991). Megs isn't with us this week — she's reportedly accepted a surprise role as the long-lost twin sister of a character who was presumed dead after falling into a volcano. We expect her dramatic return during sweeps week. This week we discuss: Sally Field's performance as Celeste Talbert — charming, chaotic, insecure, and impossible not to root for. Is this one of the great comedy performances of the early '90s? The ensemble cast — Kevin Kline, Robert Downey Jr., Cathy Moriarty, Elisabeth Shue, Whoopi Goldberg. How does a film with this much talent avoid collapsing under its own weight? The satire of television production — petty feuds, ratings desperation, and the beautiful absurdity of soap-opera storytelling. Ian breaks down the film's narrative structure — twists, reveals, mistaken identities, and why the screenplay commits so fully to the bit. Liam explores whether the film works better as industry satire or outright farce — and whether those are even different things. Kev weighs in on the performances — who understands exactly what movie they're in, and who steals every scene they enter. The soap-opera influence — evil twins, secret children, miraculous survivals, and why audiences keep coming back for more. The “show vs tell” balance — does the film cleverly parody melodrama, or occasionally become the thing it's mocking? The surprisingly sharp commentary — beneath the silliness, what is the film actually saying about fame, aging, and relevance? Elisabeth Shue's role — innocent newcomer, plot device, or the emotional anchor holding the madness together? The ending — ridiculous, heartfelt, and exactly as over-the-top as it needs to be or low hanging fruit in a moment that's aged terribly? And finally, whether Soapdish is the Best Film Ever — or one of the most underrated ensemble comedies of its era. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

Grab your coffee and join Jess & Megs for another episode where we chat about crochet, knitting socks, and life updates!⁠⁠TRY LARRY'S COFFEE!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JESS' YOUTUBE CHANNEL!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BERG BOX QUARTERLY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JOIN THE CROCHET BAES FACEBOOK GROUP!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CROCHET BAES MERCH!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SHUT UP & TAKE MY MONEY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Got a question or comment? Send The Crochet Baes an email: thecrochetbaes@gmail.comFind Jessica & Berg's Nest Crochet online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-Email: bergsnestcrochet@gmail.comFind Megs & Megs Makes Crochet Online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link Tree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thank you to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chan's Designs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for creating The Crochet Baes beautiful logo!

“I never had any friends later on like the ones I had when I was twelve... does anyone?” Join Ian, Kev & Megs for our 332nd episode as we walk the tracks, dodge leeches, and revisit Rob Reiner's coming-of-age classic Stand By Me (1986). This week is all about friendship, memory, growing up, and the strange sadness of knowing some moments only become important once they're already gone. Liam drops in later for a special bonus segment, while BFF of the BFE: Ariannah Who Loves BFE The Most™ joins us for The Endgame. This week we discuss: River Phoenix's extraordinary performance — vulnerable, intelligent, and quietly devastating. Was this the role that proved he was destined for greatness? The chemistry of the four boys — natural, funny, chaotic, and deeply believable. Is this one of the strongest young ensembles ever put to film? The film's relationship with memory — nostalgia, grief, and the way adulthood reshapes childhood stories. Ian breaks down the narration structure — reflective storytelling, emotional hindsight, and why Richard Dreyfuss' voiceover works where so many others fail. Megs explores the emotional honesty of the film — masculinity, vulnerability, and the fear of being left behind. Kev weighs in on the pacing and atmosphere — quiet moments, campfire stories, and why the journey matters more than the destination. The balance of humour and sadness — how the film pivots effortlessly between childhood comedy and existential dread. Ian talks about the short story in the middle of this bigger story and what Stephen King is really doing with it Liam joins us for a bonus segment — dropping in to talk about the film's legacy, Stephen King adaptations, and why stories about friendship hit differently as you get older. The “show vs tell” balance — does the film earn its emotional resonance through subtle character work, or does nostalgia do some of the lifting? Ariannah joins us for The Endgame — helping us unpack why Stand By Me continues to resonate across generations and whether its emotional simplicity is actually its greatest strength. The ending — bittersweet, perfect, and quietly heartbreaking. Does any closing narration hit harder than this? And finally, whether Stand By Me is the Best Film Ever — or simply one of the most emotionally truthful coming-of-age films ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are very thankful to the following Patreon backers for their generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“You have been weighed. You have been measured. And you have been found wanting.” Join Ian & Liam for our 331st episode as we joust for glory, dance to Queen in medieval Europe, and revisit Brian Helgeland's wildly anachronistic crowd-pleaser A Knight's Tale (2001). Megs isn't with us this week — she's apparently been appointed to the royal court after successfully inventing modern fashion 600 years early. Kev? Last seen trying to enter a jousting tournament under a fake noble title before being immediately exposed by Paul Bettany. This week we discuss: Heath Ledger's breakout leading-man performance — charming, earnest, rebellious. Was this the moment Hollywood realised he could do absolutely anything? The film's glorious tonal chaos — medieval sports movie, romantic comedy, rock concert, underdog drama. Why does this bizarre cocktail somehow work? Paul Bettany's Chaucer — flamboyant, scene-stealing, and possibly the film's secret MVP. Liam breaks down the film's anachronisms — Queen, Bowie, Nike-energy editing. Does the film transcend historical accuracy through sheer confidence? Ian explores the underdog narrative — class, identity, and whether William's rise actually challenges the social order or merely slips inside it. The romance between William and Jocelyn — genuine chemistry or the weakest part of the film? The sports-movie structure — training montages, rivalries, and comeback arcs dressed in chainmail. The “show vs tell” balance — does the film earn its emotional moments through character work, or simply overwhelm you with charisma and music? Rufus Sewell's Count Adhemar — classic villainy, simmering resentment, and one of the great sneering performances of the era. What's with the romantic plot's detour in Act II - where did that come from? The ending — triumphant, ridiculous, emotionally earned… or all three simultaneously? And finally, whether A Knight's Tale is the Best Film Ever — or simply one of the most aggressively lovable films of the 2000s. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Aashrey Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Youth Hosteling with Chris Eubank

Grab your coffee and join Jess & Megs for another episode where we chat about crochet, knitting socks, and life updates!⁠TRY LARRY'S COFFEE!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JESS' YOUTUBE CHANNEL!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BERG BOX QUARTERLY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JOIN THE CROCHET BAES FACEBOOK GROUP!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CROCHET BAES MERCH!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SHUT UP & TAKE MY MONEY!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FOLLOW OUR TIKTOK ACCOUNT!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Got a question or comment? Send The Crochet Baes an email: thecrochetbaes@gmail.comFind Jessica & Berg's Nest Crochet online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-Email: bergsnestcrochet@gmail.comFind Megs & Megs Makes Crochet Online:-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Etsy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link Tree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thank you to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Chan's Designs⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for creating The Crochet Baes beautiful logo!

We are back to address the current events of Stefon Diggs and Megs' effect on the black community.

It's all Harry Styles’ fault that the 'taxi cab theory' is everywhere you look. His engagement has everyone debating whether finding 'the one' is a matter of fate, or as Sex And The City’s Miranda Hobbes told us, all about timing? We do not agree. The Devil Wears Prada 2 is officially massive. So, is it good? Why did it almost make Amelia Lester cry and why do some Americans just not 'get' our Aussie love interest Patrick Brammall? REMEMBER: We drop segments just for subscribers on Tuesdays and Thursdays, hosted by Mia Freedman, with Emily Vernem and Holly Wainwright. Become a subscriber, HERE. Why is there a Sperm Olympics? How is Australia performing in it? And… again, why the hell is there one? Clare Stephens explains spermmaxxing. Are you super-stylish, or are you just thin? Lena Dunham is heading back to the Met Gala this week, and a new essay from her about the reaction to her past appearances reveal who’s considered cool enough to go. VOTE FOR US PLS & THX: We’ve been nominated for Best Society & Culture Podcast and Best Producer (go Ruth!) at the The Australian Audio Awards. Vote for us RIGHT HERESUBSCRIBE here: Support independent women's media What To Listen To Next: Listen to our latest episode: She Opened The Fridge. What She Found Ended Her Friendship. Listen: The Real Reason You Resent Your Friends Listen: The One Minute Of Live TV That Undid A Noughties Icon Listen: Scurrilous Gossip: An Engagement, An Affair & A Royal F-You Listen: The Family Ritual That Has Us Divided Listen: The Most Honest Dating Questionnaire We've Ever Seen Listen: Is WFH Bad For Women? Connect your subscription to Apple Podcasts Discover more Mamamia Podcasts here including the very latest episode of Parenting Out Loud, the parenting podcast for people who don't listen to... parenting podcasts. SUBSCRIBE here: Support independent women's media You can now watch our show in full length video on the Apple Podcast app - make sure your phone is up to date and we can't wait for you to see Mamamia Out Loud on Apple What to read: 'My commitment-phobic ex is married with kids. This viral theory explains everything.' The 10 defining moments that made Sex and the City perfect television. 'The 5 types of Met Gala guests I look forward to seeing every year.' A brutally honest review of The Devil Wears Prada 2, a movie that breaks everything. 'I spent a day with Meryl Streep and Anne Hathaway. One moment changed my view on The Devil Wears Prada 2.' THE END BITS: Check out our merch at MamamiaOutLoud.com GET IN TOUCH: Feedback? We’re listening. Send us an email at outloud@mamamia.com.au Share your story, feedback, or dilemma! Send us a voice message. Join our Facebook group Mamamia Outlouders to talk about the show. Follow us on Instagram @mamamiaoutloud and on Tiktok @mamamiaoutloud Mamamia acknowledges the Traditional Owners of the Land on which we have recorded this podcast.- - - - - AUTO GENERATED TRANSCRIPT:Speaker 1: Hello, and welcome to Mama Mia. Out loud, It's what women are actually talking about on Monday, May the fourth. I'm Hollywayen right, I'm Clays Stephen, I'm Amelia Lester, and here's what's on our agenda for today. The taxiicab relationship theory gets an update thanks to my close personal friend Harry Styles. Speaker 2: Plus dispatches from the Worst Dressed list ahead of the met Gala tomorrow, and a lister shares what it was like to be mocked over her fashion choices for a decade. Speaker 3: And the Devil West product is absolutely everywhere right now, so we unpack why, and we also talk about the fact that Meryl Streep, who must be the most celebrated actress of all time, apparently didn't discover her worth until she was fifty six. Speaker 1: In case she missed it, though out loud as speaking of knowing your worth, we are pulling on our big girl pants and asking you for a favor. Speaker 3: You have to know, if you're listening to this, that Holly is so uncomfortable right now to just go with us. Speaker 1: To still like asking for this. I don't like asking, okay, But there's this thing called the Australian Audio Awards. It's like like the Oscars or the Emmys of the logos, except it's not but for people who speak into microphones like us, right, and we're up for some awards this year and we need your help to win them. So if you love love, love out loud, and we know that lots of out louders do, and you listen all the time, and you think you know what those those women need. They need some public accolades, Yeah, some affirmation. Speaker 2: Think you think you know what I'd like to see. I'd like to see them dress up in some frocks, you get on a stage and make a speech. Speaker 1: Yeah, but particularly you class evens, I would like to see you do that. The very pregnantness you will be when this event occurs, very high heel, great, and you're in your flop here you keep telling us, so maybe you'll be really indiscreet and just get up there and say something rude. Yeah, anyway, we digress. Tell the out louders how they can help. Speaker 2: Okay, So basically these Audio Awards, you go there's a link that will put in the show notes and you can vote for There's two things and sorry, you can vote anyway that you got. Speaker 1: We're not voting, you know, we've got suggestions. Speaker 2: In our interests. We like you to vote for best Podcast Producer Ruth to Vine, Mummy are Out Loud, and Best Society and Culture Podcast Mummy. Speaker 4: Because we are society high society, and we are very we're so cultured. Speaker 2: And we do. The thing is we pretend to be cool, but we really like awards. Speaker 4: And I think that's what people think of when they think of you and me. They're just like, we're. Speaker 1: Too cool for school. Speaker 2: And meanwhile we're like, we rely on achievement for something. But it would be funny. I think. So the podcast Awards the end of this month, right the twenty eight. I believe I would like to win this award. While Jesse's on Matt lead, I think. Speaker 1: You want to just wade right into that weird Steven's Sister dynamic. Just get into the weird Twin stuff. Come in and help. I think there's a people's choice too, So anyway, like just vote for us, vote for wherever you get to vote for us, and we would love it. We can't bribe you with anything except our affection. Yeah, yeah, anyway, shall we get on with the friends over to you, Amelia Lester, I'm up. Speaker 3: Well, it's been hard to escape the Devil Wears prior to of, like, really has it has been everywhere? Speaker 4: I kind of felt like bullied into going to see it. Speaker 1: I feel like Merril's chasing us down with that red pitchfork. She's like, literally, go theater on and look. Speaker 4: It's done really well. Speaker 3: It's done better than anyone expected at the box office over the weekend. I'm going to tell you what the critics said. They basically liked it, and then I want to know what you thought, Holly Claire. I know you haven't seen it yet. Yeah, the critics praised it. They said it was glamorous, they said it was wishy, They said it was the fun we need right now. They called it a millennial nostalgia bath. I love a millennial nostalgia brath. Look, some did question the whole premise of updating a movie that came out twenty years ago. Someone wrote it's less a follow up than a tribute at the satire apparently didn't bite so hard. Speaker 4: Holy. What I want to know. Speaker 3: Is did this movie live up to the marketing height machine for you? Speaker 1: I don't want to be a debbie down of it. No, I went to see it with my sixteen year old daughter, and that was really interesting because the absolute enormous generation gap there in terms of so this is a magazine. Once upon a time, magazine editors were considered very important and influential. She's like, this was a job everybody wanted. That was a lot of groundwork being laid there with my daughter. And look, I'm not allergic to a nostalgia bath. I like that. I mean I back in the day, I was first in line for the Sex and the City movie like I was. Speaker 4: And the vibes were similar. Speaker 1: And even though as we know, that run of movies ended up disappointing us bitterly, in that first movie, I remember the excitement of seeing those women on screen again and being in the movie theater and seeing them walk down the street and like the audience was kind of like, yeah, there's a girl, and we're back in that world. And I think the Devil Wears Prada nostalgia is similar in that these were great characters who've entered, you know, our culture in lots of different ways. Miranda Priestley and Andy Sex and Emily Blunt's character Emily is just heaven. So I understand that wanting to jump back into that, but they've had to give it quite a cynical update to reflect where media culture is now, and so it ends up to me feeling like quite a negative, like it's not and to be honest, the Sex and the City movie was a bit like this too. I remember they were grappling at the time of the financial crisis and so they were like, this cushion costs two hundred and fifty dollars, and lots of the critics were like, who are these women and why are they spending that money? And this feels a bit like that, and that we're supposed to all be lolling and laughing along while they're telling us our media has been hollowed out, billionaires run everything. Speaker 4: I don't know. Speaker 1: Am I being a bit too cynical? No? Speaker 4: I think you're right. Speaker 3: When I went to see it, I went to see it with two friends and they both turned to me at the end and said, are you all right? Because I kind of feel on the verge of tears and didn't Nicki Gammel, Yes. Speaker 1: I saw a review from Nicki Gammel in The Australian where she said, she cried, And she didn't cry because the plot line was really touching it. She cried because of what it was saying. Yea journalism, which is obviously not everybody's industry and they don't care. But if it is yours, you have this kind of affection for it, and this does not dress that up. Speaker 5: No. Speaker 3: And what's interesting is Lauren Weisberger, who wrote who wrote the book, The Devil was Prida a piece for Vogue dot Com on the occasion of this movie coming out about what her life has been like after that book came out. Now, that book was not seen particularly favorably when it came out. People criticize the bad writing. It was kind of seen as a little bit mean, a little bit throwaway, and then that first movie kind of gave the book a bit more of a sheene than it had on first publication. Now, Lauren Weisberger has done great for herself. She apparently announces in this article that she now lives on a boat in a remote part of the Bahamas, which is good for me. Absolutely sounds difficult to get your mail there, but other than that sounds delightful. But her article reminded me that her book was first and foremost about a bad boss. Yes, that's what people loved about it because everyone, practically everyone has been in a work situation where they felt oppressed underappreciated, and everyone could relate to that kind of idea that when you're young, you want to make your mark on the world, but older people kind of are trying to push you down, or that's what it feels like. So everyone knows what it feels like to be young and underappreciated, but the new movie is so far removed from that idea of bad bosses and bad workplaces as it feels alien to. Speaker 1: It's also funny because the bad Boss, Miranda Priestley, obviously became a cultural hero, so much so that Anna Wintour, who she's famously based on, kind of kept her distance very much from the first movie, but now is entirely in on it. She's appearing in all the promo. There's a lot of partnerships between Vogue and this movie, so she's accepted that. But there are a couple of nods in the movie to how times have changed in that now Miranda Priestley isn't allowed to just throw her coat at people anymore, and she has someone who sits next to on the meetings and says things like you can't say that all the time, as if there has been like a woke update, if you like. And that feels a bit funny, But you're right, it was everybody related to this idea that these people are monsters like glamour. Speaker 6: Like. Speaker 1: The idea was that, you know, the Miranda Priestley was kind of a glamorous monster who you got to see a little bit of the humanity of. But by this movie, we're all supposed to be rooting for her, unquestionably. Speaker 2: Because I think even if that was the kind of premise of the book, in the first movie, you're very much you're looking at Miranda Priestley, but you're also it's obvious that she's an icon and that it's Andy's character arc to kind of fight against that, not that there's something inherently wrong with Miranda. So so I'm interested to see in the second in the second one, whether, yeah, what the stakes are then if there's none of that tension. But as much as you say it was depressing, am I like because I'm going to go see it. I like a film that isn't good. Speaker 1: I don't know what you mean, but for me it felt and look, I'm not no spoilers here. And you do get lots of fashion montages, you get lots of a fashion show montages. You get you know, they're walking in a different coat every two minutes, there's music, there's celebrities everywhere like this. It delivers all that, okay, but it just for me, it felt kind of a bit empty. And basically the steaks are which billionaire is going to get to own this business? Which was kind of the stakes the first time around two is like will Miranda get to keep a job? And it kind of feels like I don't know if I care about that. But Patrick Brammel, isn't it Remember last Wednesday we were all giddy on the show because he was here and we bumped into him in the offices. He wasn't here to see us, sadly, he was here to be interviewed by the amazing Kate Langbrook for No Filter, and that episode's out today. Speaker 2: I have purely been absorbed being vibes so far online and I think you guys are pretty spot on with the vibe of people. People I've seen they're like, yeah, yep, fun But Patrick Brammel. I'm obsessed. I'm obsessed with him and Harriet Dyer, who's his wife. They co wrote, co starred in Colin from Accounts, and now he's. Speaker 4: Maybe one of the funniest TV shows ever. Speaker 2: Yeah, and now he's in a bloody Hollywood movie with Anne Hathaway. Is he hot? Is he car like? What's the what's the go? Is there? Is there? Speaker 4: Bare? So I want to. Speaker 3: Say the outset that I love Patrick Bramore and I think he's so good in this movie. And to me he was a highlight. He was he was just so he gets to play an Australian. So you might remember in the first movie, Andy Sack's love interest is also played by an Australian, Simon Baker, my personal friend has discussed on the show, but he has to put on an American accent, whereas in this one, in recognition of the fact that there are a lot of Australians in New York these days, he gets to play an Australian. So I loved it, But then I started to hear the rumors that his part has really been cut down. People observed that it felt a little underdeveloped, and I. Speaker 4: Was surprised to read that. Speaker 3: A lot of the reviews felt there was zero chemistry between him and Anne Hathaway. Oh. Speaker 1: I didn't feel that necessarily, But what I did fit I knew that his part had been cut. And the reason I knew this is because when we first found out about Patrick Brammle, there lots of pap of him and Anne Hathwayne. She's wearing this particularly incredible sort of bluey purple sequin slithery dress that's just like oh, and she was like spinning around a lamp post and it looked like she was tipsy, and he was holding her back and this kind of stuff. That whole sequence is not in the film, so it obviously has been cut back a lot. Speaker 3: Boy, I love your forensic knowledge of this so bad. Speaker 1: I did spy on that. But I think one of the reasons why he plays such a small part because basically he's the love interesting Again, no spoilers about whether or not that works out, But this movie is about girl bosses. Even though girl bosses are out of fashion now, this movie is ultimately about that. It's about Andy's ambition, It's about Miranda's ambition. They sort of talk a lot about how much they love work, and they're the partners are all a bit beta and a bit like not relevant. Speaker 3: Including by the way, Meryl Streeps, who was played by Kenneth Branner. Yes, and the reviews also commented that that didn't work for them either. So maybe just the writing around these boyfriends and husbands felt hollow because that's not where the interests lay. Speaker 1: But isn't it funny because we used to critique girlfriend roles, you know in movies. We'd be like, oh, the so and so actress, she just has to play the girlfriend. Not no character development, right, no particular complex characteristics or backstory. They're just the girlfriend. And I feel like this and so maybe this is progress. This is one of those movies where there are just the boyfriend roles. Speaker 4: So it's just like true sort of. Speaker 1: Middle aged guy. Well, I don't know whether Patrick Brewmle will qualify as middle age whatever, like nice enough age appropriate guy of name recognition is in this person's life, but we don't really care about them. Speaker 2: There is one person who is pretty convinced that there was chemistry between Anne Hathaway and Patrick Brammel, and it is Patrick Brammle's wife, Harriet Dyer. She I lulled so hard at this. She has uploaded this Instagram video where the caption is trust No One, and she is filming her TV as her daughter stands in front of it, and Patrick's on a red carpet and he is asked by the interviewer about Anne Hathaway, and he says, playing someone who falls in love with Anne Hathaway. Tough gig, tough gig, and he looks straight at the camera, and then the interviewer says, the world's most beautiful person according to People Magazine and everybody in here, and he says, and me too. Andy rewinds it and plays that again and then switches a camera to her and she's like what, And she's got her glasses on and just sitting at home, and then she interspersed it with all this footage of like when you propose to her their wedding. Speaker 4: Apparently they got engaged five days after he proposed. Speaker 2: Yeah, yea, yeah, they got married five days up. Speaker 3: Yeah. Speaker 2: It was like, so they've had this beautiful love story in him reading Newborn books and being miscored and hath the way talking about how gorgeous and joyful he is, and it's just so good But a great part that Amelia directed me to is that so ninety nine percent of the comments from Australians absolutely get it. That they're like, yeah, this is funny because like whose husband ends. Speaker 4: Up in Hollywood? Speaker 2: Blod faster. But there are a few Americans who are like, oh no, this is this isn't right. Speaker 5: Yeah. Speaker 3: No, there's a distinct portion of the comments that are like I don't understand what's happening here, or like check on your husband, or like just completely missing the point. And I have reason to believe, in part from the spelling of said comments that they may be from Americans. There's a suspicious lack of us in words like coloring. And that got me thinking as to why Patrick Bramle, who I thought worked so well in the movie, had evidently been cut down. And I wonder if it's just because he is allowed to play such a quintessentially Australian part in it. He is very laconic, he's very understated, he's got that very kind of irony seeped Australian wit about him, and maybe it just didn't play very well in a movie that's actually not very irony drench. Speaker 1: That's true. I just have to mention one more thing, because I think Mia would throw something at my head if I didn't. Twenty years have passed between these movies. Twenty years has not passed on these ladies' faces. Yeah, it's just be very clear about that. Speaker 2: I could have told you that without saying any Yeah. Speaker 1: That doesn't matter because in lots of ways, I think particularly Emily Brunt Blunt's character she plays, she's obviously still Emily, you know, the former assistant, but she's got a villain arc in this and she is meant to be again, this isn't a spoiler, the hot new girlfriend of a billionaire character. So they're like commenting. The script is commenting on the fact that the tech bros run the world now, and there's kind of a Bezosi character who's had a glow up in her hot new girlfriend, and she would have done all that stuff to her face. Question so perfectly character, you know, in character, and appropriate for the industry, for the vibe and all those things. But it is astounding to think it was twenty years ago. Because Anne Hathaway, Meryl Streep, who is just one of them. Speaker 2: She seventy, She is incincredible. Speaker 1: To look at her Jita performance and this is great. You're just like, Wow, my twenty years and your twenty is not the same. Maybe I live in doggy well, Meryl. Speaker 3: I did want to also say that Meryl had a great moment in her interviews for this She was being interviewed on the American Today Show by Jenna Bush Hager, who was incidentally George W. Bush's daughter, and Jenna was talking to her about the fact that she initially turned down the. Speaker 4: Role on the Devil Wes product Let's Have a Listen called me up and they made an offer and I said, no, I'm not going to do it. Why because I. Speaker 1: Wanted to see. I knew it was going to be a hit, and I wanted to see if I doubled my ask. Wow, And they went. Speaker 4: Right away and said sure, And I thought, I'm fifty six year It took me this long to understand that. Speaker 1: I could do that, that you can ask for what you want. Yes, and I wanted it. But you know, if they didn't want to do that, I was okay, because I'm old. I'm ready to fifty six. Speaker 4: I was ready to retire. Speaker 1: But you know, I love that story. I also love that story because, as she says at the end, there she was fifty six, and she thought, well, I'm winding down, you know, like good years. Her career has been unbelievably amazing in the last twenty years. Speaker 3: I know. Speaker 2: And it's also quite inspiring to think you can have that lightning rod moment at fifty six, because I beat myself up thinking, oh goodness, maybe it's too late for me. I should have had it backbone before. Now I've got some time. Speaker 4: We've got time time to develop it. Speaker 1: Merril's shown us all that after the break. What Harry Styles can teach us about love? I don't think so what Harry Styles can teach us about taxicabs, which I also have to explain to my daughter what they are as well. God help me. But while we're on a roll of things from another time, A TV show that ended in two thousand and four has provided some of the most enduring relationship theories of several eras. I think there was He's just not that into you, which can also be She's not just not that into you. It's fine, And the other is everywhere in the news this week because of my close personal friend Harry Styles. I think we touched on it last week that Harry and Harry is engaged to Zoe Kravitz. Now, he hasn't said that because he never says anything about his personal life, but sources close to have confirmed. Speaker 4: Oh good, old sources. Speaker 1: The woman is wearing a golf ball sized diamond on her finger. It's on. It's definitely on. And this has started a lot of headlines like this one. Harry Styles and Zoe Kravitz are reportedly engaged after less than a year, and fans think this wild theory explains why, and they mean the theory I'm about to explain to you. Harry Styles proposing after eight months is further proof that taxi cab theory is real and none of us are safe. Okay, are you across what taxi cab theory is? Speaker 2: Yes, I'm across it from Sex and the City. As you say, I believe it was a bit of Miranda Wisdom. Speaker 1: Oh no, it was Miranda brand I'm about to play it to you. Yeah, Season three, episode eight. This iconic statement the wait. Speaker 2: Hedge, it's fate. Speaker 4: It's not fate. Speaker 5: His light is on, that's all what lights. Men are like cabs. When they're available, their life goes on. They wake up one day and they decide they're ready to settle down, have babies, whatever, and they turn their light on the next woman they pick up them. Speaker 2: That's the one, Mary. Speaker 5: It's not fake. It's dumb luck. Speaker 1: It's not fake, it's dumb luck, so says Miranda Hobbs. Now, obviously none of us, not even me with my close relationship to missus Steals, knows whether or not there's any truth to this in terms of their relationship. But the reason that it's being applied to him is because it has one of the classic characteristics of taxi cab theory, which is that he has had quite a lot of high profile relationships. And when I say high profile again, he's never mentioned any of them ever, but there are photographic evidence. Speaker 4: Is that right? Speaker 1: He doesn't talk. Speaker 2: About his was his most recent one before. Speaker 1: So he was with Taylor Russell, who's a British actress, for quite a long time. He obviously famously dated Taylor Swift. Yeah, he was with Olivia Wilde for quite a long time. He's dated Kendall Jenna, He's dated Caroline Flack, He's dated a lot of people. Speaker 3: Can I just interrupt Holly and ask do you think he's going to come to the tailor swift wedding now that he's engaged to no should wedding guests. Speaker 1: I we really hope so that wedding is going to be the best. The reason why they're applying this theory to him is they're saying that a trademark of a taxi cab the taxi cab theory, And I don't think this is just a men thing. I think this is men and women. Is that you know, you date lots of people and you try them all on and whatever, and the theory is that one of them is right for you. But taxi cab theory says it's not that one of them is right for you, it's that the timing is right for you. And they're saying that's why Zoe and another trademark of it is quick. So you've been dating, dating, dating, dating quite long relationships a year here, two years here, three years there, whatever, But then eight months he has been dating Zoe that we know of, he puts a ring on it. Taxi cab theory thoughts. Speaker 2: From the outside, he's looking ready to settle down, and so we all then assume that he's gone, Okay, who am I? Who am I next to right now? Who do I happen to be at dinner with? Speaker 1: Oh? Speaker 2: I happen to be with Zoe kra which is Bloody Convey, which. Speaker 1: Is a very good dinner because, as I discussed, absolutely amazing. Speaker 2: She's incredible. But the way at least this article was constructed was very much that it was about him and his readiness. And the thing I worry about is that do we start thinking if we use this theory, do we start thinking that someone is only with somebody because of timing, that it's interchangeable, it could have been anyone. It's not real, it's not a real life. Speaker 1: I don't think that's the correct way to view taxi cab theory. I think it's not about you'll do, it's that the timing is right. And the reason they're not applying it to Zoe Kravitz is because she's been married before and she's been engaged before, so it doesn't apply to her in the same way, do you know what I mean? So my theory on this, and the reason why I think it's true not for everybody, like everything isn't for everybody, is that we like to have a romantic narrative that there's one right person for us, and whether we meet them when we're nineteen or fifty nine, we will just know that's the right person for us. That's it. And what taxicab theory says is that's not true. There could be lots of right people for you, but in order for you to to get together and settle down in verted commas, you have to it has to be the right timing. So other examples for this might be Taylor and Travis. Right if they'd have met at twenty two, because at the same age, would we not have any of these beautiful songs that we have for Taylor, Or if they'd have met when they're twenty two, would the timing not have been right for them both to commit in the way that they are now ready to commit. So in my mind, taxicab theory doesn't mean you're settling or it's the wrong person. It just means timing is everything. So the people I dated before I met my guy, if you're a serial monogamist, and many of us are, we like to go, well, none of those people were right, This one's right. But the truth of it is is probably like that one probably would have been fine, but if we weren't ready, I don't. Speaker 2: Know it's by romantic sensibility. Speaker 3: I think I sort of agree with both of you a little bit, and agree with both of you a little bit because I think what the taxicab theory misses is it makes it very one sided, now, whether that side is a man or a woman. I take your point, Holly that even though sex and city talks about men are like cabs, we could equally apply to women. But a relationship is about a dynamic between two people. And what I think this theory overstates is that it's just about one person picking another person. And I don't think that's how relationships work. I don't think a relationship works or like ends in marriage. And I'm using air quotes here for anyone listening, just because one person decided, Yes, this is the person I'm going to make it work. It's about two people meeting and deciding together. And that's what's different about when you get in a cab. It's not about a mutual decision. Speaker 4: It's about one person deciding. Speaker 1: I agree. But the way that I've always thought of taxi cab theories, you both have to have your lights on, do you know what I mean, like, you have to both have your lights on for the timing to work. If one of you has the light on and the other one doesn't, it's not going to work. You both have to have your lights on. Speaker 3: I feel like that was what was really You know, we've been talking on this show about what happens over twenty years, and I think that that line from Sex and the City, they weren't talking about both people having their lights on. I think back then we had an idea of relationships which was that men in heteronormative heterosexual relationships men picked women. Yes, I think, and you're trying to update it, which is good. Speaker 6: Yeah. Speaker 1: Although I think I always that was always my understanding of that quote, because I think in later in the show, Carrie's talking about my lights not on, his lights not on, Like I always sort of understand it to mean it's all about timing. And I genuinely do believe that a great deal of whether or not a relationship will work or not is about time. Speaker 2: I think you only have to watch one to eight seasons I've Married at First Sight to see that it is not oh that much about time, because you've got two people who's lights could not be more on who are matched by very clever, non manipulative psychologist and they go in and you can have your light on as bright as it can possibly be, and it still doesn't vibe. Speaker 1: I don't buy that because I don't think their lights are on for that at all. Speaker 2: Oh holy just because they're getting Instagram followers. I am not looking for real love. But the other thing is, I don't know. I think you hear so many stories of people who may be met at a time that wasn't on paper a particularly good time. Speaker 4: Oh that's a good point to people. Speaker 2: To meet, and it's still and it still happens. Speaker 3: Yeah. Speaker 1: But I think, like any theory, it doesn't apply to everybody. One person's going to meet. Some people are going to football in love of their childhood sweetheart stay with them forever, right. But in the dating world, in the world where you are trying people on, if you are serial and anogamizing, I think that's where this comes in, because sometimes your lights on even when it shouldn't be. Like if you heard of the getaway car theory of like you find a relationship to get you out of the relationship you're in, so you could be married and one person's light is on and the other one doesn't know. Like I think the point of it is that for a lot of people, the one true love theory isn't necessarily it. It's more like, is this the right moment? Clooney and a mile? Very good, very good advertising for that. Speaker 2: No, hard because I'm also like A miles A mile. Speaker 3: Zoey, like, I don't know for a proving any extraordinarily Well, no, but I don't like that theory right because I bet that. Speaker 1: I mean, of course a mile is extraordinary, and of course so is extraordinary. But that theory buys into the idea that everybody who didn't get picked there was something wrong with that and we're waiting for like. So my point about A mile and George is he was married when he was young, but through all his big rise he was single, and he was known as the most eligible bachelor in Hollywood. And I think that he made a bet with Nicole Kidman comes to mind, I will never get married again? Speaker 3: Is that during that period, as people may remember, I had a long phone conversation with him. She went for about an hour in a work context, and I guess he's light his life just wasn't. Speaker 2: Why. Speaker 1: But the thing is is that of course these women are amazing, because of course they are. But if you believe that it just takes the right woman, then that's like a model of exceptionalism that I'm not that into. Was more likely getting to a point in his life where it's like, I don't want. Speaker 3: To be a six I don't want the pot belly pig as my life, and. Speaker 1: Then he meets an extraordinary woman, and he would have met other extraordinary women in Amma would have met a million extraordinary men who wanted to tie her down like she's a catch and a half in a million ways, intellect, beauty, human rights, like savior. She's incredible, but her light probably was not. Speaker 3: I feel like you just out sexist argument to know. I thought the taxi like theory was sexist, which turns out I was carrying. Speaker 2: Around the sexes I think. I think that there are I think the taxi light theory does make us feel better about ourselves, but that doesn't necessarily mean that it's true, because because I think it's really convenient to be like, oh, that man like George Clooney. The reason he didn't end up with all those women was because of timing, not because he wasn't compatible, it wasn't right whatever, Whereas I think I lean towards Amal and George were always destined? Speaker 4: Is that do I? Speaker 1: Did we just say the word destined? Speaker 2: I think romantic you. Speaker 4: Are because you met the love of your life quite young. Speaker 2: Yes, I think maybe I'm trying to justify my own choices, which is. Speaker 1: And maybe I'm trying to just always because I don't. I don't buy the theory necessarily that everybody before was wrong and it was the right fit. Speaker 4: Oh, you haven't met my ex boyfriend, fair cool. Speaker 1: I'd love to know what we think about the taxi light theory, and also if there's an update, because I've heard a couple like some people say it's musical chairs, who are you with when the music stops? Some people say it's coughing season. EMM has said that, like there's times of years, seasons in your life where you're just like, Okay, let's do it. Speaker 2: I need someone. Speaker 1: But I was wondering because my daughter wouldn't even know about taxis and lights on. Speaker 4: No, no, we need to fit into this. Speaker 2: But yeah, yeah, it's like the ubers available and empty. Speaker 6: The. Speaker 1: Waiting time on this No, I can't ten minutes too long. Tell us out louder. Speaker 2: We're really in an era of maxing, which we've touched on on this podcast. Not me personally. I'm not maxing anything. Speaker 1: I'm just everything is maxim but everything. Speaker 4: Other people very optimi everything. Speaker 2: Yes, so looks maxing, sleep maxing, fun maxing, which sounds gross. But here's one I hadn't heard of until this weekend. Sperm maxing. I like it because it's not something I can personally participate in. I feel excused from sperm maxing. Speaker 1: What how does? Speaker 6: What? Speaker 4: How do you? Speaker 1: Maxis swem? I'm not I don't need to know. I'm just curious. Speaker 2: Headline in Sydney Morning heralds red iced testicles and abandoned underwear. This is the world of sperm maxing. And it begins by telling us about a lovely man named Mick and his partner Holly, and oh there you go, Holly, I'm in. So they were discussing their plans to have a family, and Holly was and Holly was saying she had fears about her fertility, and Mick said, you leave that to me, love, And so what he did was he stopped wearing underwear because most underwear is made of polyester, and that's apparently and a crime disruptor. Come on, and lowers testosterone. Speaker 1: I believe many babies have been born to polyester wearing people. Speaker 2: And then he would ice spark at least once a week, not that shrunk, No, no, no, Heat's the bad thing. Because then another guy called Tom was explaining that he goes in the sauna, but don't worry because he takes an ice pack with him. Speaker 1: And puts it on this necessary that would be a very confusing sensory experience. Speaker 2: Because apparently excessive heat is damaging to sperm. So apparently there is some evidence about heat and sperm. But the rest of this is complete. You won't believe it, but it's complete bullshit. But Brian Johnson, who's that tech entrepreneur who's obsessed with longevity, claims to have the one who has his sons. Speaker 1: Yes, the one who has his son's blood injected into He's done so many and measure time erections. He doesn't need food after eleven am. Speaker 4: Like that guy. Speaker 1: He's living a long but very boring life. Speaker 2: Yeah, well, he claims to have sperm quality to rival a twenty year old. He's got no basis that claim, but that's what he says, which brings me to the Sperm Racing World Cup. Are we aware of the Sperm Racing World Cup? Speaker 1: Totally? Speaker 2: I discovered this and it is the funnest thing I've discovered as of late. It's founded by tech entrepreneurs. Speaker 1: They have too much money, too much money that they should come to my We did frog racing, peak racing, like good. Speaker 2: Sperm race should be doing some sperm racing. It's a race that's going to be held in San Francisco next month. Speaker 4: I think what they're saying is that their cab light is on. Speaker 2: Yeah, I'll show you with my literal sperm. And it's one hundred and twenty eight men, each representing a different country, and they submit semen samples which then compete in a microscopic race for a one hundred thousand dollars prize. Now here's the ad for it, because I know you guys are interested. Speaker 6: The Sperm Racing World Cup one hundred and twenty eight countries, one hundred thousand dollars grand rights, the highest stakes competition elequancy. We are searching for the healthiest man alive. This race will immortalized a nation to your country is watching, the world is ready. Speaker 3: I don't want to know what images are currently playing. Speaker 2: It's sperm racing. Speaker 1: This brings a whole new meaning to the term wanking. Frustrating one hundred thousand dollars price. Speaker 2: Yeah, but I as much as trust the tech bros To make a literal tournament out of sperm racing, which I have to say I'd love to attend. I mean, how do you make it exciting? I don't know. This is interesting in the sense that fertility has traditionally been in something that women have seen as their soul responsibility and burdens. And it's nice that men are starting to recognize that. You won't believe it, but fifty percent of fertility is down to the man. Speaker 4: This feels like Elon Musky to me. It feels musky. Speaker 3: Yeah, and I imagine, yeah, and. Speaker 4: You got the That was the joke I needed. Speaker 2: And obviously the problem is that not every fertility issue is has a cause or like it's it's not your fault. Speaker 3: I'm sorry you're trying to what's problematic about the spermilm? Speaker 4: So I think we get a crash and it's. Speaker 2: Literally not a race. Do you reckon? Speaker 3: You can do a little bit of a race. Are you familiar with the facts of life? It is literally a race. Speaker 2: But do you reckon? You can tell when a man has very fast spur? Speaker 4: Oh my god. Oh interesting. Speaker 1: But do you think he's putting it on his dating profile like one this it would definitely be on that. Speaker 3: It's going to immortalize his nation. Yeah, for Australia, I need an update on this. Speaker 2: When it happens, we'll have to keep everybody updated on the tournament and Australia's participation. We need to find who's representing Australia. Oh my god, sorry, I've got another contact. Speaker 4: So clear, like you asked, you posed a question to the group. Can you tell first sperm? Speaker 2: Yeah, something tells me like you kind of know who would have fast sperm. But I don't think it's necessarily a good thing. Speaker 4: No, it's not always. Speaker 2: No, I think it's it's aggressive and it's like congrats Elon musk. But like you're releasing a lot of sperm and you're not like hanging out with that sperm very much? Speaker 1: Are you may not taking the sperm to soccer again. Speaker 2: No, you're not taking a sperm to sport on the weekend, and I think that's very sad. Oh my god, after the break, we get you across everything you need to know about the Met Gala before tomorrow. Tomorrow on the evening of the first Monday of May, which is always confusing. But America exists in a different time to us. Speaker 1: There are one day behind us. Speaker 2: They're one day behind us, and I always have to google time in New York. As is tradition, four hundred and fifty very glamorous guests are going to start arriving at the Met Gala. The dress code for this year is Fashion is Art and the theme is Costume Art and I don't understand the difference between dress code and a theme. Speaker 1: And also always yeah, the Met Gala is about a costume institute in an eye museum. Speaker 2: Yeah, okay, I'm glad I'm not the only one who was feeling like because I was like, I think it's just me not understanding fashion. But no, it's weird. So guests are invited to explore their relationship to fashion as an embodied art form. That might mean that there are references to literal art, literal paintings, literal kind of art, moments like whether it's the Renaissance or whatever. But it's the Met Gala, so I think everybody just goes bat it crazy and we don't really understand the tide of the theme. Most of her time, Anna Wintur is still the chair despite having handed the rains reluctantly. Speaker 1: Streep is still the chair. Speaker 4: Yes she is. Speaker 2: And she's enlisted Beyonce, Nicole Kidman and Venus Williams to serve as their evening's. Speaker 1: Co chair, so they have to go. Speaker 2: Yes they do. Holly, there's a little bit of gossip about Anna Wintour and whether we can expect to see Harry and Meghan at the met Gala. Speaker 1: You see, the thing is about the Met Gala, and we'll get to this in a minute too, but whether this is is particularly fraught with who will accept an int because of the involvement of one aforementioned Jeff Bezos and his wife Lauren Sanchez Bezos, because they are bankrolling it. So in the past, big companies bankrolled it. I think Apple's bankrolled it before, TikTok's bankrolled it before. Now it's Lauren and Jeff, and some people are like, I don't think we want to be part of that, So we're not going. Speaker 3: And there have been protests. People have been putting bottles of urine or a liquid that appears to be urine, scattering them around the Metropolitan Museum of Art in the lead up to the gala to protest the fact that the alleged fact that Amazon warehouse workers are not provided with toilet breaks. Speaker 1: Wow, that's a protest. And for the last few years they have been to kind of eat the rich vibe boiling away about the met gala for good reason, but this year it's overt, right, So I reckon that Harry and Meghan might use that as the excuse for why they weren't invited. You I didn't want to go any who wants to go and hang out with Jeff and Lauren. Those people are bad, evil, naughty. But actually it's that Anna wouldn't invite them, And why would Anna not invite them? So the word on the street is that Anna because it used to be Anna. Winter's relationship with celebrities evolved a lot over the years, and if you watch The Devil We was Proud of Too, you'll know that was a matter of survival. There was a time when she was like Kim Kardashian, I don't think so she's not vogue, and then she literally is exceptionally vogue these days. But she apparently doesn't like Harry and Meghan because she's a royalist, a staunch royalist. She's a dame after all. This might be overregged a bit, but she's a royalist, so she doesn't approve of what happened there and the way that Harry treated the late queen allegedly, and also that Meghan chose to do her first ever Vogue cover with Edward Ennafel in Britain and Anna was not happy about that and sees her as a bit. Speaker 2: So I wonder if eventually they'll be considered. Speaker 1: I think Anna's backtracked on enough things and in fact, you know, but as I say, I think that Harry and Megs, if they're not there, which I don't think they will be, well, could definitely use a social justice excuse. But there are a lot of very famous people who are going to be there, of course, including as you've said, the afore mentioned Nicole. Lena Dunham's going, which I find amazing because I've just read a memoir and she talks about the Metgala and not glowing terms, but she was on one of the committees as well. I think we've got Sabrina Carpenter, We've got Zoe Kravitz, so we might get Harry. We've got a lot of very famous people who are going. But this year, more than ever, it's kind of political. Speaker 3: There's a bit of a tipping point being reached about it. Amy O'Dell, who writes a fashion subject called The back Row, wrote last week a piece that I've seen a lot being quoted and circulated which basically argues that the met Gala is in danger of becoming uncool. Speaker 4: And the whole point of the met. Speaker 3: Gala was that it was cool, right, It was like the ultimate and fashion. And the problem is that by allowing the Bezoses to bankroll the whole thing and a winter, risks turning the whole thing into this very craven exercise that no one will want to be a part of. So it's interesting. I'm going to be watching the Red Cup very carefully this year to see if it does feel like the star wattage has been slightly dimmed. Speaker 2: Yeah, and if the people who make it cool because Ndaya is not going Zendaya makes things cool. Speaker 4: She does. Speaker 2: So what I found interesting in all the kind of stuff I've seen about the Met Gala coming up, there was a great piece on Lena Dunham's substack called and her subtacks called good Thing Going, and she wrote a piece called Dispatches from the Worst Dressed List, and I clicked straight away because having been a huge fan of girls, having been a huge fan of her, I remember years and years and years of seeing her constantly mocked for her fashion choices, and I remember wanting to scream at my computer and be like, it's not the fashion, you're talking about her body, And I was so frustrated. And she has now kind of processed that. And as you say, Holly, she's going to be at the Metgala, which is a bit of a surprise. But she writes at the beginning that she's in the process of getting ready for the Met Gala, which she loves to watch but tends to wobble through. And she talks about some of the things that were written about her and how it destroyed her relationship to fashion, and she had loved it when she was little, she had found it really really fun, but it got confusing. She writes when dressing became a bit more of a public affair. Basically, she quotes a bit that Joan Rivers said about her, where she said, it's okay stay fat, but don't say it's okay that other girls can look like this. Try to look better, and Lena Dunham Wrights, I was trying. We just have a different definition of what better meant. And do you guys remember those years? Oh yeah, her just being made fun of. Speaker 1: But also because as I said, I've just read the book, or nearly at the end, it's very clear that she's got like she went through years where she was conventionally skinny, and if you correlate this in the book, that coincides with time when she was really struggling with her health and her addiction issues and with mental health and all those things. Since she'd be super skinny and people would celebrate her for that. She made the cover of Vogue famously once in one of those eras, and then there were other times where she was encouraged. There's a part at the beginning about girls where she was told put more weight on the fact that your body looks the way it does is the thing that makes this show Edgy get bigger. So like her body has obviously been objectified to send different messages at different times about all kinds of things. But it's also clear in her book that she does love clothes and style and fashion and that her mind did does and so it was part of her world. But that's not the case for everybody. Right, If you go to the Met Gala, especially these days, you're generally paid to be there by a brand. They will dress you, they will style you, they will do your duels, they will do your put you up at the hotel, and you'll do all these things and it will cost them millions. But I was reading about how it's seen as the best possible advertise, which is be interesting. If the coolness factor wears off, as you're talking about Amelia, that is the best marketing spender brand can have. Because apparently the media impact of the Metgala is bigger than the Super Bowl in terms of how Father's pictures travel, how much coverage it gets, the fact it's televised, it will be on every news side, it will be on every social media feed forever. That not only the brands who are actively involved, like Vogue and whichever are actually sponsoring it will be the ones who cover it, so it is seen as money well spent, and the event itself costs about six million to put on. Speaker 3: Yeah, I mean, it's obviously at a level that few of us can relate to the met Gala, But that Lena Dunham piece gave me a lot of feelings. Speaker 4: I loved it. Speaker 3: I read it as a companion piece to the love Story discourse. This whole idea of Carolyn Bessett Kennedy, who was lauded for her fashion sense. Speaker 4: People ask the question, is this fashion or is she just thin? Speaker 3: And this was kind of the flip side to that argument, which is can I not be fashionable if I am not thin? And I loved the fact that she asked that question. This really hit home to me because I have never felt like someone who knows how to dress. I am surrounded by very stylish people, and I grew up with like friends. And I interrupt, Please don't I think of myself as I feel like I've struggled with what to wear my whole life. And I do enjoy clothes. But it's interesting that when I was at my skinniest and probably at a pretty unhealthy relationship with my body. I was lauded much more for my clothes and for my supposed style than at other points in my life. And I love that Lena's teasing out that connection. And just recently I saw some comments online that said that I don't dress very well, and it hurt my feelings because I was like, I try, and I do try with my clothes, and I meant to not try. I mean, as as Miranda Priestley reminds us in The Devil wes Prata, we all have to get dressed in the morning, so you may as well put some thought into it. But I do wonder how much of what we perceive of as stylish is actually connected to bodies. Speaker 1: Oh so much of it is. And I mean this last night literally, I was packing for the week because I always come up to Sydney on a Monday morning. I usually stay for a couple of nights, so I've got to think on Sunday when I'm in my most harried, like what am I wearing? Obviously we're on camera, but and I was in my huffing around in my bedroom, going I hate all my clothes. I hate all my clothes, and my kids could hear me, and obviously because I am aware, you know, feminist mother, I do not huff around my bedroom going I hate my body, nothing fits me. But the code is I hate all my clothes. I've got nothing to wear, and my son it's like, what do you mean, why have you even got those clothes if you hate them? You know, But there is no question that these things are so connected, and that fashion world, particularly the high fashion world, they say we like to imagine that they've made a lot of progress on that in the ten years. But I don't think in Anna Wintour's world that progress. Speaker 4: I'm just not talking about it as much. I think that's what it is. Speaker 2: I remember it still sticks with me. Speaker 3: Now. Speaker 2: Remember when Kim Kardashian went on a red carpet wearing a It was kind of like a high neck dress. There's a lot of fabric, and she was very, very pregnant. Speaker 1: I was working gossip mags and I'm not proud of this at all, but everybody says she looked like a couch. I think we printed that. I think we took the piss out of that overtly, and she was trying very hard to be high. Speaker 2: Fashion exactly and I think about that all the time. As a pregnant person. I'm like, I the idea of being mocked and being so embarrassed because you're like, I didn't choose for my body to grow, Like, like it just grows in the direction and grows when you're pregnant, and it can grow in weird direction. And to be totally honest, this this move now, and I'm sure people have the total opposite perspective to me, But the move now of people having really cool maternity, you know, people make it look really really cool and sexy, having a bump like the Sienna Millers of the world with their like little top that will open and it looks really sexy. I'm like, God, you can't even be pregnant and be able to give up for just a few months. Speaker 1: No, we're not allowed hot at all times. Okay, I just need to ask, right, Because as we said, this mat Gala has got this political weight to it. I feel like for the last few years it has, and there's been a sort of oh but it's fun and we all need the distraction. Are we going to be looking at that red carpet tomorrow? Because I know I will, Yeah, I will. I will I will. Speaker 3: Yeah, I will too, And I think that why I will be looking is because fashion is fun. It should be fun, it should be something that we enjoy looking at. And I love how Lena ties up her piece because it's not a hopeless piece. Speaker 4: She ultimately concludes. Speaker 3: By saying, what I realize now is I was making choices that maybe made people feel uncomfortable, whether it was because I was wearing clothes that that type of body should not have been wearing, for instance, or she was wearing clothes that weren't regarded as as exactly mattering me. She talks about how she spoke to a very well known fashion critic about this sort of debate recently, and the fashion critics said to her, you just have a point of view that's called taste. And I love the idea that just because you're wearing something that might not be universally regarded as flattering or fashionable, you can still have a point of view about it. And I guess that's ideally what these kind of red carpet events are meant to showcase is a unique point of view. Speaker 4: So yeah, I'll be watching. Speaker 1: We will rope in our absolute fashion expert May who used to love the met Gala. As she said, people take more risks there than they do when they're you know, at the Oscars or whatever, because it is the whole point of it is to be quite bad shit. So we will be doing a met Gala wrap up for subscribers tomorrow afternoon, and I'm sure that Maya will have many thoughts. That's all we've got time for this Monday. I hope everybody's week starts well. We will be back in your ears tomorrow for subscribers, and the three of us will be here on Wednesday. Thank you to our team. We'll see you then, Bye bye. Speaker 2: Mummy acknowledges the traditional owners of the land on which we have recorded this podcast.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

“The Force, it's calling to you. Just let it in.” Join Ian, Liam & Kev for our 329th episode as we celebrate our annual Star Wars Day release by jumping to lightspeed into J.J. Abrams' galaxy-reviving blockbuster Star Wars: The Force Awakens (2015). Megs? She's not with us this week — She's been recruited by the Resistance after showing a worrying amount of lightsaber proficiency. This week we discuss: The revival question — how The Force Awakens brought Star Wars back to life after a decade away. Nostalgia, safety, or smart recalibration? Daisy Ridley's Rey — mysterious, capable, and instantly central. Is she the perfect modern Star Wars protagonist? Why is her best work done when she's not talking? John Boyega's Finn — defector, comic relief, emotional anchor. Does the film fully realise his potential? Adam Driver's Kylo Ren — volatile, conflicted, and deliberately unfinished. One of the saga's most interesting villains? Ian breaks down the film's structure — echoes of A New Hope. Homage, remix, or outright repetition? Kev dives into the spectacle — practical effects, sound design, and what it's like to watch your first Star Wars Film The legacy characters — Han, Leia, and Luke. How well does the film balance past and future? The humour — lighter, faster, more modern. Does it fit the Star Wars tone? The “show vs tell” balance — does the film rely too heavily on familiarity, or does it earn its emotional beats? The ending — powerful, quiet, and iconic. Does it stick the landing? And finally, whether Star Wars: The Force Awakens is the Best Film Ever — or simply the most important reboot of the modern blockbuster era. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Let my people go.” Join Ian, Liam & Megs for our 328th episode as we part the Red Sea, confront destiny, and revisit one of the most ambitious animated films ever made with The Prince of Egypt (1998). Kev? He's not with us this week — he attempted to follow a mysterious burning bush into the desert and hasn't returned. We assume he's negotiating some very specific commandments. This week we discuss: The scale of the storytelling — biblical epic through animation. How does the film balance intimacy with spectacle? Val Kilmer's dual performance — Moses and God. Subtle, conflicted, and quietly powerful. Ralph Fiennes' Ramses — tragic, proud, and deeply human. One of animation's most underrated antagonists? The music — from Deliver Us to When You Believe. Does the soundtrack elevate the film into something transcendent? Megs explores the film's emotional core — brotherhood, identity, and the cost of doing what is right. Ian breaks down the animation — traditional techniques blended with early CGI. How well does it hold up? Liam questions the narrative focus — is this Moses' story, Ramses' story, or something shared between them? The depiction of faith — reverent, interpretive, and accessible. Does the film succeed regardless of belief? The plagues sequence — visually stunning, morally complex, and still haunting. The “show vs tell” balance — how much does the film trust its visuals versus its dialogue and songs? Ian goes all Old Testament, telling us that 'the book was better' and how they left the ultimate sideplot sitting on the table The ending — epic, earned, and emotionally resonant. Does it land as both spectacle and personal journey? And finally, whether The Prince of Egypt is the Best Film Ever — or one of the greatest animated films ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“Follow the money.” Join Ian, Liam & Kev for our 327th episode as we type through the night, chase sources, and piece together one of the greatest journalistic thrillers ever made with All the President's Men (1976). Megs? She's not with us this week — she insisted on meeting a source in an underground parking garage and hasn't come back up yet. We assume she's waiting for a shadowy figure to confirm something. This week we discuss: Robert Redford and Dustin Hoffman as Woodward & Bernstein — contrasting energies, relentless curiosity, and the slow grind of uncovering truth. The procedural storytelling — phone calls, notes, dead ends. Why the film makes paperwork feel like high drama. The pace — deliberately methodical. Does the lack of traditional “action” heighten tension or test patience? Megs explores the role of journalism — integrity, persistence, and the cost of getting it right. Ian breaks down the film's structure — accumulation of detail, repetition, and how small discoveries build into something enormous. Liam questions accessibility — does the film expect too much knowledge from its audience, or does it teach you as it goes? The use of sound and silence — typewriters, newsroom chatter, and the weight of quiet spaces. Deep Throat — myth, mystery, and whether the film benefits from keeping him just out of reach. The ending — abrupt, unresolved, and historically loaded. Does it land emotionally without showing the full outcome? We debate “show vs tell” — is the film a masterclass in restraint, or does it occasionally feel too distant? The legacy — how this film shaped political cinema and public trust in journalism. And finally, whether All the President's Men is the Best Film Ever — or simply one of the most important investigative films ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

Jon and Megs are back and they can’t remember anything… This podcast features No No Yeah Yeah by Chinese American Bear

"Welcome to Jumanji!" Join Ian, Liam & Megs for our 326th episode as we press start, pick our avatars, and get sucked into the chaotic, comedic, and surprisingly heartfelt world of Jumanji: Welcome to the Jungle (2017). Kev? He's not with us this week — he selected his character without reading the stats and is now stuck in the jungle with a weakness to cake and only one life remaining. We wish him luck. This week we discuss: The central gimmick — body-swap comedy meets video game logic. Why this concept works far better than it has any right to. Dwayne Johnson's performance — bravado, vulnerability, and comedic timing. Is this one of his most self-aware roles? Kevin Hart as the reluctant sidekick — high-energy, fast-talking, and constantly outmatched. Does he elevate or overwhelm? Jack Black's scene-stealing turn — Surely even Megs will commend his commitment, physicality, and one of the boldest comedic performances in a mainstream blockbuster.   Karen Gillan's balancing act — action hero competence with awkward teenage insecurity underneath. Megs explores the film's take on identity — how stepping into a different body reframes confidence, perception, and self-worth. Ian breaks down the narrative structure — game levels, stakes, callbacks and consequences that are both earned and why the film's pacing feels so clean. Liam questions the emotional core — does the film earn its character growth, or is it just well-disguised formula? The video game rules — clear, fun, and occasionally inconsistent. When do they help the story, and when do they get bent? We're looking  at you, Nick Jonas The humour — broad, physical, and surprisingly sharp. Which jokes land, and which ones don't quite stick? The ending — satisfying, predictable, or just the right amount of both? And finally, whether Jumanji: Welcome to the Jungle is the Best Film Ever — or one of the most unexpectedly successful reboots of the modern era. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Juleen from It Goes Down In The PM Hermes Auslander James DeGuzman Synthia Shai Bergerfroind Ariannah Who Loves BFE The Most Paul Komoroski Duane Smith (Duane Smith!) Andy Dickson Chris Pedersen Randal Silva Nate The Great Rev Bruce Cheezy (with a fish on a bike) Richard Ryan Kuketz Dirk Diggler Stew from the Stew World Order podcast NorfolkDomus John Humphrey's Right Foot Timmy Tim Tim Aashrey Youth Hosteling with Chris Eubank Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/. Massive thanks to Lex Van Den Berghe for the use of Mistake by Luckydog. Catch more from Lex's new band, The Maids of Honor, at https://soundcloud.com/themaidsofhonor Also, massive thanks to Moonlight Social for our age game theme song. You can catch more from them at https://www.moonlightsocialmusic.com/

“This is nothing. This is nothing. Why does the dog wag its tail? Because a dog is smarter than its tail.” Join Ian & Liam for our 325th episode as we step into the spin rooms, sound stages, and manufactured realities of Barry Levinson's razor-sharp political satire Wag the Dog (1997). Megs isn't with us this week — she's been hired to produce a last-minute war in Albania (tight turnaround, great exposure). Kev? He's currently composing a patriotic anthem that may or may not exist by the time you hear this. This week we discuss: Dustin Hoffman's Stanley Motss — flamboyant, obsessive, and desperate for credit. Is this one of the great comedic performances of the '90s? Robert De Niro's Conrad Brean — calm, calculated, and morally untethered. Is he the real power in the film… or just the most efficient? The central satire — media manipulation, political theatre, and the terrifying ease of creating “truth.” We share many stories of what it means to guide an actor, when you should back off, and what do we do when we simply 'can't find the character' ourselves Ian breaks down the film's narrative precision — lean, fast, and ruthlessly efficient storytelling. Liam explores the film's relevance — does Wag the Dog feel prophetic, outdated, or uncomfortably current? The machinery of deception — producers, actors, composers. Who actually “makes” reality in this world? The escalation of the lie — how small fabrications spiral into full-scale belief. The “show vs tell” balance — is the film too clever for its own good, or exactly as sharp as it needs to be? Which character were we both all-out on? What does it mean for something to be satirical and at what point does that present itself in the film? Is it harder to get on board with the conceit of the film in 2026 compared to 1997 and why? Ian shares everything he knows about Albania and where he learned it from The ending — dark punchline, inevitable consequence, or the ultimate statement on power? The moral centre (or lack of one) — does the film care about truth, or just the performance of it? And finally, whether Wag the Dog is the Best Film Ever — or one of the most incisive political satires ever made. Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE

What happens when scientists are right and nobody wants to hear it? Neil deGrasse Tyson, Chuck Nice, and Gary O'Reilly explore the frustrating history of brilliant minds who were ignored, mocked, and punished for telling the truth with science writer Matt Kaplan. NOTE: StarTalk+ Patrons can listen to this entire episode commercial-free here:  https://startalkmedia.com/show/told-you-so-with-matt-kaplan/ Thanks to our Patrons William D A, JK Smith, k c, Jim Worke, ufuk mevlevioglu, discount, Mark Snow, scott.hraha@gmail . con, Daren Covington, alex fricke, Alistair Gray, Jordi Estevez, Jeppe Blomgren, Kal McCloud, James Hale, Olivia Ruffe, Barbara, Tyler Dirkse, Bupkis Null, Tamajai Parrotte, Ebony Davis, Hailey Drake, Josh Whalen, SomethingWonderful, Ms.Yi, Luke Williams, L M, DP, Noah Golden, Courtney Minick, Megs, Jake, Terry Kirk, Joe G, Kip Kerley, Alec Walters, Alex Brown, Baxter, Austin Garcia, Sam W, Ladie Charette, Patrick Laverdière, juno brown, John Gary, Lucidious Flow, Leticia Farrar, Chu88, Fatima, Adrienne Bennett, David Labas, David Presnell, BLUE TIGER, Theresa Anoskey, Jahkenan Lloyd, Sambath Kumar Balasubramanian, Michelle Hester, Tatjana Gall, bandofspartans, Scarlet_Bukur92, LeopaldChaos, Mark Schwerin, Jack, Andrew, Edward Landry, Roland, Daniel Peter, Dan, Derek C, Erik Mardiste, Samuel Young, Keith McCredie, Dom, Ulq, Israel Soto, Q/Aurora Phoenix, JeanieZee, Terry Carr, Todd Bergmann, meteor guy, Patrick Congdon, Jeremiah Lewis, Janet Staples-Edwards, Eric Mensah, Chris Morales, Timothy Stanford, Dean Lasseter, Daniel Hays, Madhur Behl, Professor Grumbly Gut, Max Wolters, Jeremy Lewis, José Ikamba, Ian Ravenshaw Bland, Ron Spee, Brandon Smith, Richard Lord, Cody Avery Campbell (codesuniverse), Shawn Shields, M.R. Saar, and Nicole Elizabeth for supporting us this week. Subscribe to SiriusXM Podcasts+ to listen to new episodes of StarTalk Radio ad-free and a whole week early.Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.