Podcasts about My Fair Lady

We at WKXL's NH Unscripted are always trying to find ways to entice our audience to go out and have dinner and see a show. Today we're going to introduce you (or re-introduce) to the shows and songs that got us all goosebumpily about seeing the shows live. And so we give you: “ The Shows That Got Us Off The Couch And Into The Theater”. First up is the overtures from the Broadway show during the years 1960-1969. Think “Camelot”, “How to Succeed in Business Without Really Trying”, “Fiddler on the Roof”, “My Fair Lady”, etc.(NH Unscripted airs M/W/F @ 9am on 1450AM/103.9FM Concord and 101.9FM Manchester)

We at WKXL's NH Unscripted are always trying to find ways to entice our audience to go out and have dinner and see a show. Today we're going to introduce you (or re-introduce) to the shows and songs that got us all goosebumpily about seeing the shows live. And so we give you: “ The Shows That Got Us Off The Couch And Into The Theater”. First up is the overtures from the Broadway show during the years 1960-1969. Think “Camelot”, “How to Succeed in Business Without Really Trying”, “Fiddler on the Roof”, “My Fair Lady”, etc.

Dana and Tom with returning 5x Club members and guests, Allyson Techmeier and Sarah Duncan, discuss Legally Blonde (2001), celebrating its 25th anniversary: directed by Robert Luketic, written by Karen McCullah Lutz and Kirsten Smith, cinematography by Anthony B. Richmond, music by Rolfe Kent, editing by Anita Brandt-Burgoyne, starring Reese Witherspoon, Luke Wilson, Victor Garber, Jennifer Coolidge, Selma Blair, and Ali Larter.Plot Summary: Set against the polished halls of Harvard Law, this modern fable follows a young woman (Reese Witherspoon) whose sunny confidence and impeccable style mask a sharp mind waiting to be taken seriously. When she enrolls to win back a beau, she instead confronts a world eager to underestimate her—and finds her own voice in the process. A campus comedy becomes a courtroom coming‑of‑age tale, celebrating wit, resilience, and the courage to surprise everyone, including oneself.Guests:Sarah Duncan - Sister of Tom, Daughter of Dana@thenomadicarchaeologist on IGPrevious Episodes: Zodiac, My Fair Lady, The Artist, Inglourious Basterds, The Great Dictator, Forrest Gump, Mr. Smith Goes to Washington, Knives Out, All Quiet on the Western Front (1930), The General, History of the World: Part Allyson Techmeier - Sister of Tom, Daughter of Dana5x Club Member - My Fair Lady (1964), Mary Poppins (1964), 12 Years a Slave (2013), Batman Begins (2005), Casablanca (1943) Re-Revisit, Toy Story (1995)Chapters:00:00 Introduction, Cast, and Background to Legally Blonde03:44 Welcome Back, Allyson and Sarah!04:59 Our Relationship(s) with Legally Blonde09:58 What Did Allyson and Sarah Find Inspiring in Legally Blonde?12:35 Reese Witherspoon's Most Iconic Role?16:20 Plot Summary for Legally Blonde17:01 What is Legally Blonde About?22:57 Did You Know?25:53 First Break26:36 What's Happening with Allyson and Sarah?29:17 Legal Analysis of Legally Blonde36:11 Best Performance(s)40:53 Best Scene(s)54:24 Second Break55:02 Best Lines57:40 The Stanley Rubric - Legacy1:04:42 The Stanley Rubric - Impact/Significance1:12:43 The Stanley Rubric - Novelty1:22:42 The Stanley Rubric - Classicness1:32:04 The Stanley Rubric - Rewatchability1:35:27 The Stanley Rubric - Audience Score and Final Total1:36:52 Remaining Questions for Legally Blonde1:41:53 Thank You to Allyson and Sarah/Final Thoughts1:43:18 CreditsYou can also find this episode in full video on YouTube.You can now follow us on Instagram, Twitter, Bluesky, Threads, YouTube, or TikTok (@gmoatpodcast).For more on the episode, go to: https://www.ronnyduncanstudios.com/post/legally-blonde-2001-ft-sarah-and-allyson-duncanFor the entire rankings list so far, go to: https://www.ronnyduncanstudios.com/post/greatest-movie-of-all-time-listKeywords:Legally Blonde, Reese Witherspoon, legal accuracy, film analysis, inspiring movies, law school, female empowerment, cultural impact, legal education, movie legacy, film critique, legal, legal analysis, Ali Larter, Luke Wilson, Victor Garber, Selma Blair, lawyer, criminal, perm, hair care, podcastRonny Duncan Studios

Got your tweed pressed? Here's a look at how fashion and style transform the Broadway stage and its beloved characters: My Fair Lady, Coco, Kiss of the Spider Woman, La Cage aux Folles and more.

"I'm not here to teach you anything new. I'm here to make you see things that you normally would not see." — Dr. W. Edwards Deming In this episode, Deming educator Balaji Reddie reveals the practices that are hiding in plain sight within most organizations. Practices that feel normal. That get celebrated. And that quietly undermine everything you're building. One example: arbitrary targets. An employee collected 2 million rupees in a single day — four times his target. He told no one and did nothing for four days. Because he knew his manager would just raise the bar. That single moment of silence cost the company a genuine breakthrough. This is what Deming called a "faulty practice." And there are many more where that came from. Host Andrew Stotz and Balaji dig into Chapter 2 of The New Economics — Deming's most overlooked chapter. They cover why ranking employees is built on a mathematical illusion. Why chasing quarterly results destroys long-term value. And why the best leaders, from Steve Jobs to Walt Disney, ignored the pressures that trap most organizations. TRANSCRIPT 0:00:02.4 Andrew Stotz: My name is Andrew Stotz, and I'll be your host as we dive deeper into the teachings of Dr. W. Edwards Deming. Today I'm continuing my discussions with Balaji Reddie. He's an educator and a trainer in the teachings of Dr. Deming and quality management generally. And the topic for today is becoming aware of faulty practices. Take it away, Balaji.   0:00:26.0 Balaji Reddie: Good morning. Thank you, Andrew. So part three of our series, what we're looking at. So last time we met, we spoke about essentially Point number 14, because we outlaid his profound knowledge. And then I always said that he gave us a lot of clues as to what needed to be done. So I started out by reading some of the excerpts from the book, which we tend to ignore. And then he said, "Here's what I expect." So he expected leadership, a critical mass to be created, and then he gave attributes of a leader. So we listed 17 of those points, which we said principles of leadership. And now once you've created that critical mass and there's someone who's taken the lead and there are a bunch of leaders, maybe, so what do we do next? So when you start becoming aware that you are now in a prison, so to say, because that's what he said here, that they feel it's a fixture, and this is the way things are, this is how things always have been. So he says, "No, you need to understand that these things are wrong." Right? And you first need to become aware, and then we need to look at what needs to be done, perhaps. So he's given some suggestions, and you could always adapt and adopt this. So most of this would be taken from the book, The New Economics, chapter two, which he has titled as "The Heavy Losses." Now, remember, when he wrote this book, it was after the other book, Out of the Crisis, where he had listed his 14 Points. Yes, but he also listed diseases and obstacles. And people tend to ignore that.   0:02:18.9 Balaji Reddie: In fact, I remember having a chat with Bill Bellows on this, and I said, "Diseases and obstacles." And he said, "Obstacles?" I said, "Yes, he has listed 16 obstacles in Out of the Crisis." And he said, "Oh, wow." And he took his copy and he said, "Oh, yeah, you're right. There are 16 of them." And so sometimes you see things that you normally would not see. So when he wrote this, initially, I think many people thought that it was just an extension of those Diseases. But when you start looking deeper, you'll find that he became more elaborate in what he listed as the heavy losses. So he says here that these are things that you start observing and you say, "This is not normal." So the language that he's used is pretty, pretty clear. Present practice, so faulty practices. The present practice, and he says these are only reactive. You only need certain skills and not nearly any theory of management. Whereas when you opt to go to a better practice, you need a theory. So let's start with the very first faulty practice. And this stems from his 14 points too. He says, "Lack of constancy of purpose, short-term thinking, and emphasis on immediate results. Think in the present tense, no future tense." And then he becomes more elaborate and says, "Keep up the price of the company's stock and maintain dividends."   0:04:02.0 Balaji Reddie: Which, well, okay, it seems like you should not do that. No. He says here, you fail to optimize through time. Make this quarter look good, ship everything on hand at the end of the month or quarter, never mind its quality, mark it as shipped, show it as accounts receivable, and defer till the next quarter repairs, maintenance, and orders for material. Just a word here, in the new edition of The New Economics, there's been a spelling mistake there. So if anyone's listening, you can just correct it in the next edition that comes out. Instead of "defer till the next quarter," he's written "defer toll the next quarter." So we need to correct that in the next printing. Now he says here, a better practice...   0:04:52.1 Andrew Stotz: And before you go to there, can we just talk about this for a second?   0:04:56.1 Balaji Reddie: Sure.   0:04:57.8 Andrew Stotz: One of the things that, having been a financial analyst all my career, we get quarterly results from companies in the stock market. And in my own business, of course, I look at monthly results because we close the books every month. And it's definitely one... Donald Trump recently came up with the idea of telling companies not to report quarterly results. And I believe the Singapore Stock Exchange also came up with the idea of maybe we'll reduce the amount of reporting to maybe half-yearly, because we do have half-yearly reporting in some countries, right?   0:05:39.6 Balaji Reddie: Right.   0:05:40.9 Andrew Stotz: But having learned the teachings of Dr. Deming many years ago, long before I became a financial analyst, I always thought, I never really got this one because I thought, what an idiot you would be if you're running a company and all you could see was the market's demand for quarterly performance. And I've always admired those people, I think Jeff Bezos was one that really made it very explicit. "If you're here for quarterly performance, you're not gonna get it." And so I always have said to CEOs, having seen analysts and fund managers, I've visited, taken fund managers more than 1,000 times to meet with CEOs, and CEOs ask me, "What's your advice from seeing all that?" And I said, "Don't listen to this too much." Take it on board, what the discussions are about, but you're the CEO. Your job is to optimize the value of this business. And that means, that doesn't mean making quarterly numbers, manipulating things to make quarterly numbers. So part of what I've said to people is, "Get a backbone. Don't come and complain to me, 'Oh, yeah, but the pressure of the market's quarterly.' Come on." You know and I know that the job of a CEO is to maximize the value of the business, not the quarterly result. So anyways, that's my little pet peeve.   0:07:13.6 Balaji Reddie: Yeah. Yeah, that's right. And if you look at even Jobs, Steve Jobs, when he came back as Apple CEO, he had the nerve and the spine, like you said, to tell the board, "Don't judge me on this. It's gonna take time. And believe me," he said, "someday you will see results." Now, unfortunately, he was not there to see what he's created, but I think anyone in Apple can safely say that they're growing because of the foundation that he laid so long back, right? And I think that was one of the major reasons why he did not make Jonathan Ive as the CEO, because he wanted him to focus on the product and the customer rather than the quarterly results. And I don't think Apple ever played it by quarterly results.   0:08:04.9 Andrew Stotz: Yeah. And here's a good book called Competition Demystified by Bruce Greenwald. And there's a passage in here that's interesting because he published the book back in 2005, so it was long before Steve Jobs really made the company profitable. And he had basically gone through and explained the situation at that time as a strategist looking at the company. And what he said, it says, he just said that "Jobs had managed to restore operating margins, but Apple survived, it had hardly prospered, its future does not look bright." And I use this as an example in my strategy class to help people understand that when you're building strategy, you're thinking long term. And the ecosystem that Steve Jobs created, the value of that ecosystem didn't really truly appear until many years after he was working on it. So anyways.   0:09:06.6 Balaji Reddie: Yeah, so that's a classic case here.   0:09:11.1 Andrew Stotz: Let's keep going. You're on a roll.   0:09:14.5 Andrew Stotz: Oh, that's okay. So now better practice, he says, theory of management. Now see what he writes here. He says, "Adopt and publish the constancy of purpose." Now, that's one of the things that he also changed in his 14 points in the 1990 edition, which he never really published in a book but he gave as handouts in his seminars. Earlier on, it was "Create a constancy of purpose," but he says now, "Publish it." And it should be a proper statement, right? And he also said not just for the company, but for other organization. Now, he perhaps was envisioning or he already saw what is happening in the world today, that it's not one company against another, it's a family of companies against another family of companies, if I may say so. And these companies are globally dispersed, so there has to be something that binds them together, and that's the constancy of purpose. And purpose is why we exist, right?   0:10:13.4 Andrew Stotz: And I want to ask about this.   0:10:15.3 Balaji Reddie: Right.   0:10:16.2 Andrew Stotz: Professor, can I ask you about this?   0:10:18.4 Balaji Reddie: Sure. Right.   0:10:21.0 Andrew Stotz: Because if we go to Out of the Crisis, he has his section, and this for me is on page 24, but I don't know what edition I... Maybe I have an old edition, but it's the chapter "Principles for Transformation." He's gonna talk about the 14 Points, and I want to talk about the first point. And the first point is "Create constancy of purpose for improvement of product and service."   0:10:45.8 Balaji Reddie: Yeah. This is the old edition, 24.   0:10:48.6 Andrew Stotz: And the question that I have is that was he saying... Because now you've said in The New Economics he says constancy of purpose. He just states constancy of purpose. He doesn't say "for improvement of product and service." So my question to you is, is he saying that the constancy of purpose should be about improvement of product and service, or is he saying your constancy of purpose could be any purpose, but you just need a long-term purpose?   0:11:22.8 Balaji Reddie: Yeah. And he says that anything that help people to live better and have a market. That's on page 25. So whatever you do, your purpose should be to make life better, right?   0:11:40.2 Andrew Stotz: Right.   0:11:40.7 Balaji Reddie: And the product is just the manifestation of that. It's the outcome, correct? For example, if you talk about Walt Disney and his statement of purpose, he made a very telling statement, right? And how he came to write that down as a very fascinating tale. But he said, "I'll do anything to make a child smile. I'll do anything to make a child smile." So all that you see was aimed at the child, right? Whether it was the merchandise, whether it was the animated films, whether it was the actual non-animated films, if I may say so. And then, of course, coming out with Disneyland and then Disney World. So whatever he did was for the child. And then after he passed away, they lost that. I think they wanted to just sustain what they had attained, but there was nothing new coming out of Disney. And slowly people started encroaching on their turf, so to say. You had someone like a Steven Spielberg who made ET, and that really pulled the rug under their feet. And before they knew it, there was Goonies and Gremlins, and they were really crumbling. And they thought, "Let's join hands with the devil," and so they hired him to make a film. And that did very badly.   0:13:01.9 Balaji Reddie: We also know that Hook, which was supposed to be on Peter Pan, et cetera. And then they were in a crisis and said, "What do we do now?" And most of the top people were just washing their hands of everything. They were the employees who were left, many of them who had worked with Disney, and they said, Sony was very keen to buy them out. And they said, "We need to keep them out, and how do we do that? The only way we can do that is to make a comeback and let's make another film. And we've not been doing anything original, so let's go back to the drawing board." But they said, "We need something to guide us." And that's when they discovered what Walt Disney had written, "I'll do anything to make a child smile." And they said, "What a shame. We forgot the child. We hired the best, but we didn't do anything for the child." And they added one more sentence there. "Anything to make a child smile, and there's a child in every adult." That's how they created Honey, I Shrunk the Kids. Unique idea.   0:14:03.0 Andrew Stotz: Right.   0:14:03.9 Balaji Reddie: You can see it's a statement of purpose that brought them back.   0:14:07.6 Andrew Stotz: Okay. That helps me to understand that what he's talking about, according to what you're saying, is come up with your purpose.   0:14:14.4 Balaji Reddie: That's right.   0:14:15.3 Andrew Stotz: Okay.   0:14:15.6 Balaji Reddie: And he of course also added the word "aim" later on, which is that direction, because he says there, "Where do we wish to be? And then by what method?" So you should know whatever you do should go in the right direction. So that's the first faulty practice, and also giving us a theory of what we need to do. So go back and try to rediscover your purpose if you don't have it, or maybe just come out with something and see what really ignites you, what really drives you forward. And he's given some bullet points here. No number of successes in the short-term problems will ensure long-term. Short-term solutions have long-term effects. So that's that statement where he said cause and effect are not closely related in time and space. Of course, management must work on short-term problems as they turn up, but it's fatal to work exclusively on short-term problems. So he tells us that there has to be some place where you need to stop and start focusing on the big picture. So that's the very first faulty practice. Now the next one is a real, real bucket of water on your face. "Present practice, ranking people, salesmen, divisions. Reward at the top, punishment at the bottom. The so-called merit system." At the top and bottom. It's an artificial creation because no matter what scale of measurement you use, there will be an average measure and there will be 50% above the average and 50% below the average. That's exactly what the word average means. So making these stupid claims that this is an above-average person or a below-average person does not really mean anything.   0:16:07.8 Andrew Stotz: Because what you're really doing is rewarding or punishing common cause variation?   0:16:14.9 Balaji Reddie: Well, that's one. But when you're artificially creating something which doesn't even exist, right? You're saying top half, bottom half. In fact, that funny statement where there's a headlines in England, this happened in England, which said studies have shown, and they spent half a million pounds on carrying out the study, that 50% of the children in England are below average nutrition level. You don't need to spend half a million pounds to figure that one out. That's the law of averages. And using that to judge people is crazy on some arbitrary scale that you've invented. And he goes on to...   0:17:06.7 Andrew Stotz: So the first question I asked was, is this just a frivolous or tampering with common cause variation? Or the other question that... Or is this part of psychology and the idea of demoralizing people through this type of behavior? Where does that fall in from the System of Profound Knowledge, let's say? Is it variation, psychology, or is it both?   0:17:34.5 Balaji Reddie: It's a bit of both.   0:17:36.4 Andrew Stotz: Yeah.   0:17:36.6 Balaji Reddie: Because if you talk about understanding psychology, what he meant, I think I used the word empathy, that we need to be empathetic. When you're talking about employees, what do you mean by empathy there? Well, we need to understand their learning processes. Each one of us has a learning process, but we have a different kind of a learning process. And then when you understand the learning process of a person and then put that person in the right job, you'll have to stop that person from working. That's joy in work. He says that when you... And that takes time. And the ranking system or the merit rating system is an excuse for not having understood or making an effort to understand your employee. You're becoming lazy. You put the onus on them when actually the onus is on you. You have to find out what makes that person tick, if I may use the word resonates. What resonates with that person, right? And then put that person in the right job. He's been saying this from the beginning. It's fascinating that he said this in Japan when he was teaching the control charting there.   0:18:42.3 Balaji Reddie: He said if you draw the control chart for performance of a worker and then it's all within limits for a long period of time, despite all the training and all the lessons that he or she has been given, then he said, "I think it's time to move that person out from that job and give them some other job." Because they've reached statistical control. Any amount of effort put in will not result in a better output. You're gonna get the same thing. And if you want something else, then you need to shift them or maybe give them some better job, whatever it is. So he always had this, that we need to use these in tandem. And in any case, it's a System of Profound Knowledge, so all the four sciences work together, right? And if you want to ask me, when a person understands their purpose, I'm extending the statement of purpose here to the person, when a person understands why they're doing something, they always do the job better. So that statement of purpose needs to come in here too. Instead of ranking them, sit down with them and have a heart-to-heart with each one of them. This is back again to the 17 principles we discussed last time, that you have to spend some time with them.   0:19:57.9 Andrew Stotz: Okay.   0:19:58.3 Balaji Reddie: And understand what makes them tick. So he says "the better practice is to abolish the merit system and manage the company as a system. The function of every component, every division under good management contributes towards optimization of the system. That is, it's not compromise, it's optimize." We don't say either-or, it's and. And he says "differences there will always be, but the question is, what do the differences mean?" So that's where you can use control charting to figure that one out. And I told you how I did this in my company and I got the HR lady to finally say, "I think we need to remove performance appraisal." Performance management, yes, of course you need to have a system in place because I need to know where I am. Even when we later on come to the 14 Points, one of his most, according to me, most misunderstood points is point number three, cease dependence on inspection. But that doesn't mean you stop inspecting.   0:21:02.8 Balaji Reddie: And we will read that when we come to that as to what he meant. So you need to know what is happening, definitely. For that reason, you do need to have some system in place, but you cannot judge a person based on that. And so he says here that "ranking is a farce. Apparent performance is actually attributable mostly to the system." And a simple equation, that's my favorite, that's what we discussed last night too, Tim Higgins, when he said x + (x * y) = 8. And you've gotta solve this equation when you don't even know both. Both are unknowns. Then how can you figure out what is x and what is y? So the other factor, the Pygmalion effect, right? I think for those who are not conversant with the Pygmalion effect, the play by George Bernard Shaw, Pygmalion, which was made into the movie My Fair Lady, where he picks up a lady from the streets who was a flower seller, a flower lady, a flower girl. And he accepts the challenge of teaching her how to speak good English rather than what they call as Cockney English. And then it's like an experiment and a challenge and he starts teaching her. And then to test himself, he takes her to a party. And there she has one drink too many and she gets a little bit tipsy and then goes back to her old way of speaking, which really shocks the guests in the party.   0:22:41.5 Balaji Reddie: And he's very upset when they come back home and he said, "You'll always be a flower girl." And then she makes a statement, "Treat me like a flower girl, I'll behave like a flower girl. Treat me like a lady, I'll behave like a lady." And that's the Pygmalion effect. You start treating people that they're failures and then they have to live up to that reputation, right? So they continue being failures. You treat them well, so the Pygmalion effect comes into play. And of course, he talks about his red beads. That's an excellent experiment in bringing out many of his principles. Though he did not design it originally for this, that came much later. In fact, in Japan when he carried out the red bead experiment, it was purely for sampling. He invented that experiment for sampling. And he said that he broke down barriers and made things so simple for people. I think the lessons of management came much later at Hewlett-Packard where while he was explaining sampling and then when he went to what he was trying to teach them about management, someone jumped up, I forget the name of the person, who said, "But this is... So this is what you're trying to teach us with that sampling experiment." And then he suddenly realized he could use this. And of course, the so-called, and then raises in pay, et cetera. Yeah, whom to raise? Everybody within the system, blah, blah, blah.   0:24:13.4 Balaji Reddie: So I think last time I explained this about the roles, responsibilities and objectives, right? I borrowed this idea from another company in India where I saw this happen. When we removed the performance appraisal system, we came out with something which was quite different. We used to sit down with the people and explain to them what we intend to do as a company for the next four or five years and what their role is and what we expect them to... How do we expect them to contribute? But then came the next question. We turned around to them, "What do you expect from us as a company to help you grow in this direction or anything else?" And so they would give us certain expectations. And so we negotiated, came down and wrote things down. And then came the best part. We said we're gonna meet not once a year, but every month and as often as possible to discuss. That's why I loved it when the Deming Institute came out and were doing it, I'm sure they're doing it even now, in the two and a half day, from "me" to "we". So when we met every month, we used to ask the question, "How are we doing?" Not "What have you done?" "How are we doing?"   0:25:33.0 Balaji Reddie: And so when I heard that, I wanted to tell Bill Bellows I've been doing this since 2004. And when I heard the "me" to "we" thing, which was around 2017, '18, I think I saw that happen and I was, "Wow. All right." So thinking on the same lines. So the faulty practice, all right, when he talks about this, the second one and what needs to be done. Yeah, he gives some other advice also that if you're faced with problems, cut the dividend, cut it out. And that's, of course, when you're having hardships in the company. So he's given us a set of steps there too. And he says finally, if necessary, cut pay, but nobody loses a job. So, of course, those are extreme cases that we need to do, but he gives us advice what needs to be done. Now, the third faulty practice is incentive pay, pay based on performance. And I think that this has a lot to do with the arbitrary numerical targets that are set, right? And then, "If you do this, I'll give you that." So he says that the performance of an individual cannot be measured except maybe on a long term.   0:27:04.7 Balaji Reddie: He said reward for a good performance may be the same as reward to the weatherman for a pleasant day. He's got no control over it. And he says, "Abolish this incentive pay and pay based on performance. Give everyone a chance to take pride." I think you were talking about this last week too when we said about these arbitrary targets that lead to all of this, where somebody made a statement to me that, "The targets were a distraction to me from what my actual job was. My job is this. The target is just distracting me from my job." So very often people feel that way, right? And pay for performance, "I'm supposed to do this," right? And he gives an example. The top salesman may be a heavy loss to the company by overselling, selling to a customer a bigger copying machine than he, the customer, needs, right? And selling a bigger or fancy insurance policy than the customer can handle, promising immediate delivery, promising unauthorized discounts, et cetera, et cetera, right? It's the same thing, when one of my students was doing this, his internship project, he found that there was excessive inventories that were stocked up at an automotive company, at the authorized service stations and the sellers, and they had excessive stocks of components and that's why the sales had dipped over a period of time.   0:28:42.3 Balaji Reddie: Why were they holding so much of stock? Because the previous purchasing guy, or rather sorry, the marketing guy, forced these guys to buy extra, saying that, "I'll give you a discount," and things like that. And so they overstocked themselves to a point where they did not need anything because he had to meet a target. So he pushed it down their throat without really understanding what repercussions this would have. All right? And the problem with that pay for performance, it sounds good. Get what you pay for, pay what you get for. But the funny thing is you'll get only that much. Another case which I can tell you is how this student of mine was... His job during the internship was to collect receivables from the shops that were buying stuff. This was in the appliances, home appliances industry. And after they trained him to do that, how to call up the retail outlets and outstanding statements and then go collect the money, and his target was 500,000 rupees a day. 500,000 rupees a day collection. Now, one day he collected 2 million. My question is, do you think he reported it? Well, he did. And for the next four days he did nothing.   0:30:22.6 Balaji Reddie: Now, there's also a reason why he didn't report it. Because when you don't have Profound Knowledge, if he reported that he collected 2 million, immediately the manager would have said, "From tomorrow, your target is 2.1 million." Now, this is what happens when you don't understand variation. If you drew a control chart and you said that, "Okay, the average is so much, so I'm telling him to collect 500,000," and he's collected 2 million, he's done something special. As a manager, I'd call him and ask him, "Could you please tell me what exactly you did? Because you've not done what I taught you, otherwise you wouldn't have gone to this extent." Sometimes you don't know why you've been successful. The theory comes from the outside, right? So a manager with Profound Knowledge would sit down and have a talk and say, "Okay, you did this right. Now try doing this again." And he goes the next day and collects 2 million again, and then the next day and 2 million again. And then he comes and says, "Okay, boss, I'm ready for a new target. Raise the bar." Now what have you done? You've improved the system.   0:31:24.9 Andrew Stotz: We have new knowledge.   0:31:26.3 Balaji Reddie: We have new knowledge. And that's why, answering the same question what you asked me, it is a bit of both. So you need to understand that it's beyond... And we need to help the people understand why they've been successful. So better practice, here you go, is "abolish incentive pay, give everyone a chance to take pride." So when they start realizing, like this child, this student of mine, why he hit 2 million rupees that day, it would have been great. Instead, he just kept quiet. So see, you've lost an opportunity to really learn, to find a leverage point in a process which can take the process to another level. The next one he talks about is failure to manage the organization as a system. Instead, components are individual profit centers, everybody loses, right? And I think we have these separate business units, and he says here that they don't optimize for the aim of the whole organization. I think this is again, if you look at his Points number 9, 10, and 11, he very clearly mentions these because one thing leads to another, right? Break down the company into silos, each one focuses on what they're doing, and there's no communication, and they don't know their understanding the relationship of their work with the work of others.   0:32:54.9 Balaji Reddie: They don't even talk to each other. And he says here that "enlarge the boundaries of the system," but that comes when you understand your companies much better. And the system must include the future. Definitely, you start with theory. If this is what's happening in the world right now, this is how the world is going to change. Now he says, encourage communication. Now this part, a lot to do with Point number eight, drive out fear, where he says make physical arrangements for informal dialogue between the various components of the company regardless of level of position. That's a very telling statement. Encourage continual learning and advancement. Some companies have formed groups for comradeship in athletics, et cetera, all right, which provided facilitation for study groups. The company can well afford to underwrite the cost of social gatherings in outside locations. I can give you my personal example here. One of my college friends, and this was the time in the '90s when she came to America to do her Master's and then eventually started working in Ford, right? She did her Masters in applied electronics and she joined there as a design engineer. And that time, the world was a different place, and we Indians from India, we tend to be very, very conservative about a lot of things. We don't want to step on people's toes. So when someone says something, we, instead of opposing it, we keep our mouth shut.   0:34:32.6 Balaji Reddie: And so in meetings when they used to discuss and somebody brought up something and she said, "No, I think there's a problem," and they said, "What's the problem?" and she decided not to say anything, but eventually it turned out that she was right. And so the team members had a grouse against her that she doesn't share and she doesn't talk, she doesn't open up. Now what had happened was the HR lady in Ford, when she'd given her resume, when she asked about her hobbies and activities, one of the things she wrote there was dancing. Now she was learning a form of classical dancing here in India and obviously she could not continue pursue that in the United States at that time. So when that lady read dancing, she said, "You know, Ford sponsors ballroom dancing classes. So would you like to go for that?" So she said, "Oh wait, I learned a classical dance form in India. This has nothing to do with this." So she said, "Well, dancing is dancing. Why don't you just go? And we're paying for it, so why don't you go for it?" So she said, "I just enrolled in that class." Now, the first day when she went for the class, I don't know if you've seen the movie Shall We Dance, Andrew, but Richard Gere and Jennifer Lopez, and if you remember the first day, they tell you to hold your partner's hands and you're blindfolded and you follow your partner. It's about trusting the person in front, right? So she said when she went through that and she had to hold a stranger's hands, the whole barrier was broken.   0:36:08.2 Balaji Reddie: And she said, "I don't know, I had a different kind of a feeling when I came back to work." And she started trusting a lot more and it had an impact. Now, who would have dreamt that a ballroom dancing class could have changed my friend like this? That's Point number 13. You just have a theory that this will make that person a better person. You don't really do things to get a return on investment, but it works. So I think this is a beautiful paragraph by Deming where he says that there are ways and means of doing it and give it a shot. You have nothing to lose, right? Now he comes to the next one. Now this one, I think a lot has been spoken about this, MBO. But very clearly, he says "MBO as practiced." He does not blame Peter Drucker at all. In fact, he says Peter Drucker was clear that the objectives are interdependent and they're not mutually exclusive. He says, "Unfortunately, efforts of the various components do not add up. There is interdependence. Thus, the purchasing people may accomplish saving of 10% over the last year and in doing so raise the costs of manufacture and impair quality.   0:37:31.3 Balaji Reddie: They may take advantage of high-volume discount and thus build up inventory, which will hamper flexibility and responsiveness to meet unforeseen changes in the business." Peter Drucker was clear on this point. It's unfortunate that many people do not bother to read his work. In fact, let me just make a note that it was even Juran who said this, that having these kind of disjointed objectives can lead to a lot of problems. He said, of course, you can't be devoid. And that's why I think Deming has been very clear in chapter one of The New Economics where he says there are some things called as facts, right? Facts of life. So giving an arbitrary target is not a fact of life. He says here how he needs to improve that. So setting numerical goals, arbitrary numerical goals, I would say, right? Work on a method for improvement of a process. By what method? I think even Brian Joiner says that when you set this arbitrary goal. And now he goes on to explain that even further where setting a goal beyond the means of the process, they either distort the systems, distort the data, or distort both. Then management by results.   0:38:56.7 Balaji Reddie: Okay. Take immediate action on any fault, defect, complaint, action on the last data point. I think this again brings to the fore the understanding of variation where you need to look and ask questions and where you say, "Okay, I know this normally happens." So understand and improve the processes that produce that. Understand the distinction between common causes and special causes and understand the kind of action to take. So common causes, most of the time you need management to take action. There's a change in system. Yeah, there are some times when it is when a person close to the process can take that decision. Likewise, a special cause can be taken care of by the person closest to the process, but sometimes you need management action too. So that will always be the case, but it's rare, right? And so he talks about Sears, Roebuck, et cetera, and working on improvement of the process. The other one was buying materials and services at the lowest bid, right? Which he goes back to his Point number four, where he says here that it does not take brains to work with the cheapest. It takes brains to choose the best. Right?   0:40:23.4 Balaji Reddie: And estimating the total cost of materials and services, purchase price. Don't go by purchase price alone. And if I know right, Andrew, this was a point he was working on till the end of his life. You see the lady who was actually looking into the publication, the second edition of The New Economics, Elizabeth DiLorenzo. I was in touch with her because in my early days of my introduction to the Deming world, because I was quoting a lot from Out of the Crisis and The New Economics, and she was working for MIT Center for Advanced Engineering Study that used to originally publish his books. And she told me a very funny tale of how she was expecting her twins and at the same time she had to release this book. So the joke at MIT was, "What's gonna come out first, the twins or the book?" And since Deming was no more, she had to release that very quickly. So March '94 is when she released the book, and she said her twins were born some weeks later. So they are as old as this book. Now, she was telling me that till the end, the one aspect of what he was working on was, if you see the notes in the appendix and purchase of supplies and service. So continuing purchase of supplies and services, World 1, World 2, World 3 and World 4. He made this so clear. I think nobody has made it clearer. Okay, World 3, sorry, there's no World 4. So he talks about this and he talks about how practical you need to be about this, right?   0:42:18.7 Andrew Stotz: Yeah, and I underlined something in there from a long time ago that said, "Sudden jump to a single supplier is inadvisable."   0:42:28.8 Balaji Reddie: Right. He says there's a method of doing that.   0:42:32.5 Andrew Stotz: Yep.   0:42:33.2 Balaji Reddie: And I teach that method, by the way, where you start with the product, then go on to the process, and then go on to the system. And that takes time. You just can't get up one fine morning and say, "You're my sole supplier." It doesn't happen that way. It takes a lot of effort and a lot of doing, right? The next faulty practice is delegate quality to someone else or some group. And this is, I remember my interaction with Dr. Juran on this, right? I had just received my certificate for ISO 9000, I became a lead assessor, and I quite liked the new standard that had come out at that time in the year 2000 because it had a lot of Deming flavor to it. Plan-Do-Study-Act had come in and things like that. I was quite happy, the definitions and this. I said, "It's better than what it was." It's not, they had a long way to go, no doubt about it, but I said at least they've broken away from the defense mode where they copied the whole document from, right? And when he asked me the question that, "What's the status of quality in India?" and I said, "Well, earlier on it was a lot of standards-oriented and ISO 9000 played a huge role in that," and he just raised his hand as to tell me to stop and he said, "I am very disappointed with the ISO." And then he made this statement, "The ISO 9000 is a standard for mediocrity splendidly marketed by the ISO." And I just stared at him. I said, "What?" because I had just received my certificate, so obviously I was very touchy about it. And I said, "Dr. Juran, a little harsh." He said, "I've just begun."   0:44:26.4 Andrew Stotz: Yeah. And the problem is, is there's a lot of money to be made from it and it's an ingrained system.   0:44:30.5 Balaji Reddie: Yeah. So I just asked him, why would you say that? They made a lot of changes. He said, "Yes, but two things are missing." And one of them, he said, is something about leadership. Go back and read it. And then I went and read the standard again, and I realized what he was trying to say here. There was a lot of work that they were delegating to a person called the management representative, and he says, "Sorry, you can't delegate this to someone else. It begins at the top." Ed Deming also said that. He said, "It begins at the top. Only they can do this."   0:45:10.5 Andrew Stotz: I have a little story on that.   0:45:13.5 Balaji Reddie: Sure, sure, sure.   0:45:14.8 Andrew Stotz: In my coffee business, maybe 15 or 20 years ago, we got a big, big customer, and overall, they were a very good customer. But they picked us over all of our competitors. And then they told us, "Okay, in a month we're gonna come and inspect your factory, and if you get below 80%, then you're not gonna be our supplier." And so we said, "Well, I study with Deming, and I know quality, and we've never had a problem with quality ever." And my business partner, Dale, is very focused on the principles of quality. So they came, we were quite proud, and then by the end of the day, they had 600 questions they went through. And by the end of the day, we were like, "Yeah, what's our score?" And they said, "65. You're fired." They said, "You have 10 weeks or five weeks to fix these top 10 things." And then at that moment, we had a revelation, which is, oh, to them, paper is quality. And what I've always said, what I learned from that, was that it wasn't a big deal. We did the paperwork that they asked for, and then we got the job. And they were a customer for 16 years and a very good customer. But what we learned, one of the things I say, is that we had the heart of quality. They asked us for the paperwork that they thought represented quality. That's not such a big deal. But could you imagine having been trained that paperwork is quality, and then you have to try to develop the heart of quality? Very difficult.   0:47:01.9 Balaji Reddie: Very difficult. And now I come to this picture that he's drawn on page 37 of The New Economics, the old edition. I think the new one, let me just see what that is. Okay, that's on page 27. So he says here that unique processes that produce figures, all these principles have been applied to just 3%. Now, I have my own version of this particular picture that he's put here. Imagine an X and a Y axis, all right? And on the X axis, you can put down measures that are known. Close to the origin, you can write "known", and then as it goes away from that, "unknown", right? And then you have on the Y axis "measurable", and as you go up, "unmeasurable". So because he said that most of the things are unknown and unknowable, and among the known, you have only some fraction of those which are measurable. So the 3% deal with those factors or those parameters which are known and measurable. There are many parameters, he says 97%, which are unknown and unmeasurable, but you still need to manage them.   0:48:26.5 Balaji Reddie: And that's where he gives us a lot of advice that comes after this. Okay, when after this diagram, beautiful paragraphs in his book. "Beware of common sense," he says. And of course, he gives the example of Gallery Furniture, salary instead of commissions. Also goals, aims, hopes, facts of life, futility of a numerical goal. And a picture may help, where he talks about the goal being beyond the capability of a system. And will the goal be achieved? And he says redefinition of terms and distortion, et cetera. Gives a lot of examples there. And then he goes on to give even more examples. Okay, if you say merit pay, et cetera. Need to manage by results, wrong. And the last bit, the note where he says America 2000 was originally put together in December 1989 at the educational summit between the President and the governors of the 50 states. These goals were published in February 1990 by the White House, later incorporated into America 2000. This job may be an example of an enlargement of a committee. We shall learn in chapter four, he says, that the enlargement of a committee is not a way to acquire profound knowledge. How could they know?   0:49:57.7 Andrew Stotz: Yeah, and so what's happened to education since then in America?   0:50:00.6 Balaji Reddie: Oh, no comments. And we in India are almost going the same way. Of course, in some cases they've gone back to the roots saying that, no, we need to get back to our original way of educating people, right? We had this thing of exposing a child to all the different kinds of subjects, right? Like you have history, geography, languages, mathematics, science, just about everything. But the idea was to very quickly identify which child is resonating with what, because we need these different kind of people to work together. Some people are good at memorizing, some people are good at analyzing, some people are good at imagination. And so you throw all this out and then you cast the net and then you say the job of the teacher is to identify, okay, you're good at this, you're good at this. The problem is when you start saying if you're good at this, you are intelligent, and if you're not good at this, you're not. There are different kinds of intelligence. I would say the problem is more with the teachers and not with the system.   0:51:16.5 Andrew Stotz: We should wrap up at this point.   0:51:18.9 Balaji Reddie: Absolutely.   0:51:19.6 Andrew Stotz: How would you summarize what you want people to take away from this discussion?   0:51:24.0 Balaji Reddie: Sure. Go back and read chapter two in The New Economics. Dr. Deming has very clearly shown us why we need to do what we need to do. You're gonna be seeing things differently. As he used to say towards the end of his life, "I'm not here to teach you anything new. I'm here to make you see things that you normally would not see." And now he's just shown us what we thought was normal in the working of a company is actually detrimental to the running of a company over the long term. So my advice is go back, read this. You could watch some of the videos of the Deming Institute, especially on the 14 Points. We will be covering the 14 points later, but I would say that this is a real elaboration of his Diseases and he's given us what needs to be done. Not just pointing out what was wrong, but he tells us what needs to be done. That's why the heavy losses form an integral part of the preamble to actually what is the next step that you're taking your foot off the brake, so to say, trying to identify things that are pulling your company back.   0:52:37.8 Andrew Stotz: Well, Balaji, I want to thank you for this discussion. And recently I have been reading chapter two and I saw a lot of new stuff. It's funny how you just keep rereading. And then today you've just made me realize I gotta go back and read that chapter two because he does really the way he did the tables. I kind of forgot all about that. When I went back to it about three or four weeks ago, I was like, oh, this is really great. I kind of forgot about it. And now as you go through it, it's the tables was what I was focused on, but now I'm also seeing the text in between that you're highlighting that's valuable. So for everyone out there, grab your book, go to New Economics, go to chapter two. It's just gold. It's gold.   0:53:30.7 Balaji Reddie: It's gold.   0:53:31.0 Andrew Stotz: So, and for listeners out there, remember to go to deming.org and jump into DemingNEXT to continue your journey.   0:53:37.7 Balaji Reddie: Absolutely. Absolutely.   0:53:39.9 Andrew Stotz: Yep. And this is your host, Andrew Stotz, and I'll leave you with one of my favorite quotes from Dr. Deming, and that is, "People are entitled to joy in work."   0:53:52.2 Balaji Reddie: Absolutely.

Romance novels—especially historical romance novels—thrive on heroes and heroines who don't match in terms of social class. There must be conflict, after all, or the novel would end before it began. But not even George Bernard Shaw's mismatched couple in Pygmalion (later My Fair Lady) can claim quite as much distance as Shana Galen's Tamsin Archer and the Honourable Garret Kildare, the main characters in A Shop Girl's Guide to Wooing a Lord (Berkley, 2026). Tamsin's once comfortable if never opulent life took a sharp downward turn when a Royal Navy press gang hauled her father off to unwanted service on a seagoing vessel, service from which he never returned. By 1813, when we meet her at age twenty-three, she's doing her best to support her injured mother and two much younger siblings by selling flowers in the street. A young man named Garret speaks kindly to her and pays her a shilling when she's expecting far less, and as a result she remembers him fondly, but it's not until two years later that she meets him again. By then, a chimney sweep has taken her younger siblings and holds them hostage to payments she can never make and that he might not honor even if she did. She's desperate to get them back. In 1815, Garret's life also makes a dramatic turn. His father, the Earl of Glenister, announces that the family has run out of money and must sell its ancestral lands in Ireland. Not exactly poverty, especially by Tamsin's standards, but still uncomfortable. Garret and his three brothers—Liam, Killian, and Daire—make a bet that one of them will secure the hand of an heiress, thus sparing their younger sister, Mariah, from having to marry an elderly and decrepit duke. But as Garret sets out to woo his heiress, he encounters Tamsin somewhere she's not supposed to be … Shana Galen, a former English teacher, has written more than fifty romances. A Shop Girl's Guide to Wooing a Lord, first in her The Heiress Hunters series, is the latest. Find out more about her and her books here. C. P. Lesley is the author of two historical fiction series set during the childhood of Ivan the Terrible and four other novels, including one co-written with P.K. Adams. Her next book, Song of the Silk Weaver, will appear in the summer or fall of 2026. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Romance novels—especially historical romance novels—thrive on heroes and heroines who don't match in terms of social class. There must be conflict, after all, or the novel would end before it began. But not even George Bernard Shaw's mismatched couple in Pygmalion (later My Fair Lady) can claim quite as much distance as Shana Galen's Tamsin Archer and the Honourable Garret Kildare, the main characters in A Shop Girl's Guide to Wooing a Lord (Berkley, 2026). Tamsin's once comfortable if never opulent life took a sharp downward turn when a Royal Navy press gang hauled her father off to unwanted service on a seagoing vessel, service from which he never returned. By 1813, when we meet her at age twenty-three, she's doing her best to support her injured mother and two much younger siblings by selling flowers in the street. A young man named Garret speaks kindly to her and pays her a shilling when she's expecting far less, and as a result she remembers him fondly, but it's not until two years later that she meets him again. By then, a chimney sweep has taken her younger siblings and holds them hostage to payments she can never make and that he might not honor even if she did. She's desperate to get them back. In 1815, Garret's life also makes a dramatic turn. His father, the Earl of Glenister, announces that the family has run out of money and must sell its ancestral lands in Ireland. Not exactly poverty, especially by Tamsin's standards, but still uncomfortable. Garret and his three brothers—Liam, Killian, and Daire—make a bet that one of them will secure the hand of an heiress, thus sparing their younger sister, Mariah, from having to marry an elderly and decrepit duke. But as Garret sets out to woo his heiress, he encounters Tamsin somewhere she's not supposed to be … Shana Galen, a former English teacher, has written more than fifty romances. A Shop Girl's Guide to Wooing a Lord, first in her The Heiress Hunters series, is the latest. Find out more about her and her books here. C. P. Lesley is the author of two historical fiction series set during the childhood of Ivan the Terrible and four other novels, including one co-written with P.K. Adams. Her next book, Song of the Silk Weaver, will appear in the summer or fall of 2026. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Romance novels—especially historical romance novels—thrive on heroes and heroines who don't match in terms of social class. There must be conflict, after all, or the novel would end before it began. But not even George Bernard Shaw's mismatched couple in Pygmalion (later My Fair Lady) can claim quite as much distance as Shana Galen's Tamsin Archer and the Honourable Garret Kildare, the main characters in A Shop Girl's Guide to Wooing a Lord (Berkley, 2026). Tamsin's once comfortable if never opulent life took a sharp downward turn when a Royal Navy press gang hauled her father off to unwanted service on a seagoing vessel, service from which he never returned. By 1813, when we meet her at age twenty-three, she's doing her best to support her injured mother and two much younger siblings by selling flowers in the street. A young man named Garret speaks kindly to her and pays her a shilling when she's expecting far less, and as a result she remembers him fondly, but it's not until two years later that she meets him again. By then, a chimney sweep has taken her younger siblings and holds them hostage to payments she can never make and that he might not honor even if she did. She's desperate to get them back. In 1815, Garret's life also makes a dramatic turn. His father, the Earl of Glenister, announces that the family has run out of money and must sell its ancestral lands in Ireland. Not exactly poverty, especially by Tamsin's standards, but still uncomfortable. Garret and his three brothers—Liam, Killian, and Daire—make a bet that one of them will secure the hand of an heiress, thus sparing their younger sister, Mariah, from having to marry an elderly and decrepit duke. But as Garret sets out to woo his heiress, he encounters Tamsin somewhere she's not supposed to be … Shana Galen, a former English teacher, has written more than fifty romances. A Shop Girl's Guide to Wooing a Lord, first in her The Heiress Hunters series, is the latest. Find out more about her and her books here. C. P. Lesley is the author of two historical fiction series set during the childhood of Ivan the Terrible and four other novels, including one co-written with P.K. Adams. Her next book, Song of the Silk Weaver, will appear in the summer or fall of 2026. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/historical-fiction

Eine Frau schwebt mit einem schwarzen Regenschirm über die Dächer Londons. Der Wind trägt sie durch den grauen Himmel, während unten zwei Kinder staunend nach oben blicken. Wenige Augenblicke später landet sie vor dem Haus der Familie Banks in der Cherry Tree Lane. Mit ihrer Ankunft beginnt eines der größten Filmmärchen des 20. Jahrhunderts: Mary Poppins. In dieser Folge BRITPOD – England at its best widmen sich Alexander-Klaus Stecher und Claus Beling einer Frau, die weit mehr war als nur das berühmteste Kindermädchen der Filmgeschichte. Schauspielerin Julie Andrews, die im vergangenen Jahr ihren 90. Geburtstag feierte, zählt bis heute zu den größten britischen Künstlerinnen aller Zeiten. Von ihren Anfängen als Wunderkind im Londoner West End über den Triumph von My Fair Lady bis zu ihren Welterfolgen in Mary Poppins und The Sound of Music zeichnet diese Episode den außergewöhnlichen Weg einer Britin nach, die Generationen von Menschen begeistert hat. Dabei hätte vieles ganz anders kommen können. Obwohl Julie Andrews am Broadway als Eliza Doolittle in My Fair Lady gefeiert wurde, erhielt sie die Hauptrolle in der Verfilmung nicht. Stattdessen machte Walt Disney sie mit Mary Poppins über Nacht zum Weltstar. Es folgten ein Oscar, internationale Berühmtheit und mit The Sound of Music einer der erfolgreichsten Filme der Kinogeschichte. Doch auch schwere Rückschläge, darunter der Verlust ihrer legendären Singstimme, konnten ihren Lebensmut und ihre Ausstrahlung nicht brechen. Wie wurde aus einem englischen Mädchen aus Walton-on-Thames eine der größten Filmikonen des 20. Jahrhunderts? Warum prägen Mary Poppins und The Sound of Music bis heute das Bild Großbritanniens in aller Welt? Und weshalb berührt Julie Andrews auch Jahrzehnte nach ihren größten Erfolgen noch immer Millionen Menschen? WhatsApp: Du kannst Alexander und Claus direkt auf ihre Handys Nachrichten schicken! Welche Ecke Englands sollten die beiden mal besuchen? Zu welchen Themen wünschst Du Dir mehr Folgen? Warst Du schon mal in Great Britain und magst ein paar Fotos mit Claus und Alexander teilen? Probiere es gleich aus: +49 8152 989770 - einfach diese Nummer einspeichern und schon kannst Du BRITPOD per WhatsApp erreichen. BRITPOD – England at its best. Ein ALL EARS ON YOU Original Podcast. Quellen: Youtube: "The Julie Andrews Archive"

Dana and Tom with 5x Club Member, Sarah Duncan, discuss the comedy, History of the World: Part I (1981) for its 45th anniversary: written and directed by Mel Brooks, cinematography by Woody Omens, music by John Morris, editing by John C. Howard, starring Mel Brooks, Dom DeLuise, Madeline Kahn, Harvey Korman, and Cloris Leachman.Plot Summary: History of the World, Part I is a wild comedy that makes fun of famous moments in world history. Mel Brooks plays several different characters as the movie jumps from the Stone Age to the Roman Empire and the French Revolution. Through songs, jokes, and ridiculous situations, the movie pokes fun at politics, religion, and human behavior. Its fast-moving style and silly humor have made it a cult comedy favorite.Guest:Sarah Duncan - Sister of Tom, Daughter of Dana@thenomadicarchaeologist on IGPrevious Episodes: Zodiac, My Fair Lady, The Artist, Inglourious Basterds, The Great Dictator, Forrest Gump, Mr. Smith Goes to Washington, Knives Out, All Quiet on the Western Front (1930), The GeneralChapters:00:00 Introduction, Cast, and Background for History of the World, Part I04:01 Welcome Back, Sarah Duncan06:09 Relationship(s) with History of the World08:39 How Has History of the World's Comedy Aged?13:48 The Borscht Belt16:43 Why There is No One Else Like Mel Brooks23:44 Plot Summary for History of the World24:27 What is History of the World About?29:05 Did You Know?32:11 First Break32:54 What's Happening with Sarah Duncan?33:18 Best Performance(s)38:09 Best Scene(s)42:11 Second Break43:10 In Memoriam43:42 Best/Funniest Lines46:23 The Stanley Rubric - Legacy49:37 The Stanley Rubric - Impact/Significance52:19 The Stanley Rubric - Novelty55:34 The Stanley Rubric - Classicness58:59 The Stanley Rubric - Rewatchability01:01:54 The Stanley Rubric - Audience Score and Final Total01:03:03 Thank You to Sarah and Remaining Thoughts01:12:00 CreditsYou can also find this episode in full video on YouTube.You can now follow us on Instagram, Twitter, Bluesky, Threads, YouTube, or TikTok (@gmoatpodcast).For more on the episode, go to: https://www.ronnyduncanstudios.com/post/history-of-the-world-part-i-1981-ft-sarah-duncanFor the entire rankings list so far, go to: https://www.ronnyduncanstudios.com/post/greatest-movie-of-all-time-listKeywords:Mel Brooks, History of the World Part 1, comedy, film legacy, behind the scenes, classic movies, satire, film analysisRonny Duncan Studios

Odelia Dizel-Cubuca (Six / The Lion King) co-hosts The West End Frame Show!Odelia joins Andrew Tomlins (West End Frame's Editor) to discuss Redcliffe by Jordan Luke Gage (Southwark Playhouse Borough) as well as the latest news about Chess, Oh Mary, Sting's The Last Ship, My Fair Lady and more. Most recently, Odelia was the alternate for Anne Boleyn and Catherine Parr in the West End production of Six The Musical (Vaudeville Theatre). As a child, Odelia made her West End debut as Young Nala in The Lion King (Lyceum Theatre). Odelia's other theatre credits include: Andrea in Once On This Island (Southwark Playhouse, BTA), featured soloist in Magic at the Musicals (Royal Albert Hall), Sebastian in The Little Mermaid (Mountview), Sister Chantelle in Bare (Mountview) and swing in Cursed Child (Palace Theatre). Follow Odelia on Instagram/TikTok: @odelia.dcThis podcast is hosted by Andrew Tomlins. @AndrewTomlins32 Thanks for listening!Email: andrew@westendframe.co.ukVisit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

Nineteen Sixty-Four was a huge year for cinema, especially for movie musicals. Mary Poppins and My Fair Lady went one and two at the annual box office, with the French film The Umbrellas of Cherbourg and The Beatles' first film, A Hard Day's Night, becoming breakout hits. But for his birth year pick, Rum Daddy didn't play along with the band. He went with Bond. James Bond. Yes, the third outing for the British superspy landed in third place at the '64 box office, cementing the budding franchise's blockbuster status. Starring Sean Connery as Ian Fleming's secret agent once again, the film established many of the series' standards, including the pre-title action sequence and the "now pay attention, 007," briefing by Desmond Llewelyn's Q, followed by the introduction of many gadgets and the iconic Aston Martin DB-5. And then there's the titular villain, played by Gert Fröbe, who can't quite help explaining his entire evil plan to the hero and his silent-but-imposing henchman, Oddjob, who has invented weaponized headwear. And, of course, we must have a Bond girl, or four, toplined by Honor Blackman as the improbably named Pussy Galore. But does Rum Daddy have the Midas Touch? Is this not only the best film from the year he was born, but could it also be the best Bond movie ever? Join us as we paint the town gold with 1964's Goldfinger!   For more geeky podcasts visit GonnaGeek.com    You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com    You can write to Rum Daddy directly: rumdaddylegends@gmail.com    You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com    Show Music:Danger Storm by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by/4.0/  

Melissa Errico is a Tony-nominated actress, singer, recording artist, and writer. She is known for her iconic Broadway musical roles such as Eliza Doolittle in My Fair Lady and the title role in One Touch of Venus. She is also recognized from her roles on TV series such as Billions, The Jim Gaffigan Show, Blue Bloods, The Good Wife, Law & Order, A Gifted Man, Ed, and Miss Match opposite Alicia Silverstone. In addition to her work on stage and screen, Errico is highly regarded for her recordings of musical theater classics, including albums of songs by Stephen Sondheim and Michel Legrand. Her 2018 album “Sondheim Sublime” was described by the Wall Street Journal as “the best all-Sondheim album ever recorded”. In a review for her 2024 album “Sondheim in the City”, the New York Times described Errio as “one of Sondheim's deepest-hearted yet lightest-touch interpreters.” Errico’s interpretation of Legrand’s music is equally highly praised, so much so that she was asked to write his eulogy for the Times and was the only American singer invited to perform at Legrand’s memorial at Le Grand Rex in Paris. In recent years, Errico has become a contributing writer to The New York Times and served on the National Endowment for the Arts. See omnystudio.com/listener for privacy information.

In today's episode of The Quiz, it's a Saturday cinema special! We are rolling out the red carpet to test your knowledge of Hollywood legends, sci-fi masterpieces, and the pioneers of the silver screen. Golden Age Icons: We begin with the leading lady who defined elegance in the 1960s. Can you name the actress who captivated audiences in both Breakfast at Tiffany's and My Fair Lady? Digital Breakthroughs: Behind the CGI and the "Precious," there is a legendary performance. We're looking for the actor who pioneered motion-capture as the voice and soul of Gollum. Character Actor Royalty: Finally, we look at the family ties of Hollywood. Can you identify the talented first cousin of George Clooney who made his mark in RoboCop and Traffic? Play. Share. Listen, with YouTuber GloZell Green. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Pitlochry Festival Theatre in Scotland, is about to open its 75th anniversary season, its first since star of stage and screen Alan Cumming took over as Artistic Director. BTG Editor David Chadderton spoke to Sam Hardie, Associate Director at the theatre, who is directing a revival of Iain Heggie's Wiping My Mother's Arse, and to playwright Douglas Maxwell, whose new play Inexperience will open in June, about the new season and the ways in which the new artistic director and his predecessor, Elizabeth Newman, changed the theatre's focus. Douglas also shares the best piece of advice he was ever given about playwriting that he thinks about every day, which came from Iain Heggie. Pitlochry Festival Theatre's 75th anniversary season opens on 23 May 2026 with a revival of the musical Once directed by John Tiffany, followed by Finn Den Hertog's production of Shakespeare's Lear starring Maureen Beattie, a revival of 2024 Edinburgh Fringe hit A History of Paper, Beckett's Happy Days starring Siobhán Redmond directed by Roxana Silbert, The Prime of Miss Jean Brodie directed by Vicky Featherstone and My Fair Lady directed by Maria Friedman with Alan Cumming as Professor Higgins. In the Studio, Douglas Maxwell's Inexperience opens on 13 June, followed by I Can Die Too by Frances Ruffelle, Sally George and Alan Cumming, Wiping My Mother's Arse by Iain Heggie (directed by Sam Hardie) and I'll Be Seeing You by Martin Sherman.

Send us Fan MailAfter nearly a decade since her West End debut in Les Miserables, Amara Okereke has solidified her standing as one of the most exciting performers of her generation. Now making her RSC debut, Amara sat down with us to talk about taking on the role of Ariel opposite Kenneth Branagh's Prospero in Sir Richard Eyre's new production of The Tempest.  Having already played some of the UK's most prestigious and largest stages including the London Coliseum, Sheffield Crucible and Chichester Festival Theatre, Amara tells us about adapting to playing larger houses as she prepares to tackle the Royal Shakespeare Theatre.In this new interview with Amara Okereke, we talk about her transition from musical theatre to straight plays and her ongoing evolution as a performer. After playing some of the most coveted roles like Eliza Doolittle in My Fair Lady and Laurey in Oklahoma!, Amara has since taken on roles like Stella in A Streetcar Named Desire and took on the lead role in Pulse at the King's Head Theatre. We hear her talk about her desire to keep exploring new characters that challenge her as she continues to evolve as a performer and as a person. She tells us about the mentor / muse relationship between Prospero and Ariel before also sharing her admiration for career role models she's worked with like Janie Dee and Elena Shaddow. Our conversations offers a candid look at the craft of an actress who refuses to be pigeonholed, offering a masterclass in staying authentic while stepping into the formidable weight of a theatrical legacy.The Tempest runs at the Royal Shakespeare Theatre until 20 June.

We're keying in to this monumental jazz piano talent as part of his centenary--astonishing takes on songs from Fiorello!, West Side Story, The New Moon, My Fair Lady and so much more.

This Special Collections episode is called Broadway - The Performers.  Each episode of Special Collections focuses on a particular common thread that ties together some of my guests. In this episode, that common thread is Broadway. Each of the guests featured here is an accomplished and acclaimed performer in one or more Broadway productions. Broadway is one of the great storytelling traditions in the world — where music, lyrics, story, choreography, and performance come together to create powerful emotional experiences. What connects each of the artists in this collection is not only their Broadway experience, but their love of performing — and their deep connection to the Broadway tradition. Here are the six performers who are profiled in this episode: ⸻ Shoshana Bean - two-time Tony Award–nominated actress. “Hell's Kitchen”, “Mr. Saturday Night”, “Wicked”, “Waitress”, “Hairspray”.  Melissa Errico - Tony Award nominee whose Broadway credits include “My Fair Lady” and “Les Miserables”. Sam Harris - Cy Coleman's “The Life”, Tommy Tune's “Grease”, “The Producers”, “Jesus Christ Superstar”.  Ann Hampton Callaway - “Swing”. BroadwayWorld's “Celebrity of the Year”.   Here's Ann singing “Pick Yourself Up,” another classic song from Swing Time. Darius de Haas - “Kiss Of The Spider Woman”, “Rent”, “The Marvelous Mrs. Maisel”.   Lucie Arnaz - “They're Playing Our Song”, “The Jazz Singer”. Follow Your Dream. —-------- Stay tuned for another Special Collections episode soon.      

Theme is: best picture winners. You thought Oscars season was over? NEVER! We're looking back at two previous and beloved best picture winners in Hollywood history. Zac watches the only X rated movie to win the prestigious award with MIDNIGHT COWBOY (1969) and Amanda goes from stage to big screen with MY FAIR LADY (1964) Follow Blindspotters 'cross plat': On Instagram: @blindspotterspod On Twitter: @blindspotters On Bluesky: @blindspotters On Letterboxd: Zac Pacleb, Amanda Luberto Zac's Substack: Love and Attention

This magical arranger turned his genius to the Broadway canon with timeless results. Listen to Sinatra, Jobim, Sammy Davis, Jr., DianA Krall, Streisand and more in thrilling versions of songs from Fiddler on the Roof, Kismet, Zorba, My Fair Lady and more.

With The Devil Wears Prada back on the big screen, we've been completely fixated on Andy's transformation from “frumpy” assistant to head-to-toe haute couture. It has sent us straight down a rabbit hole of the greatest makeover sequences cinema has ever given us.Because here's the thing. Yes, they're a little problematic, unhinged in their logic, and we are not even slightly sorry about how much we love them.We're breaking down the most monumental movie makeovers, why they've aged the way they have, and why we completely lose our minds every time the dramatic music plays and the transformation is revealed. Speaking of iconic makeover scenes, listen to our Brutally Honest Review of Clueless here. THE END BITS Find and follow us on socials: Instagram: https://www.instagram.com/thespillpodcast/ TikTok: https://www.tiktok.com/@thespillpod Facebook: https://www.facebook.com/thespillpodcast/ Read all the latest entertainment news on Mamamia: https://mamamia.com.au/entertainment/ Support Independent Women’s Media: https://www.mamamia.com.au/subscribe/ Your subscription helps us continue to tell the stories that matter to women. SUBSCRIPTION GIVEAWAY:Win a $2,000 Bed Threads voucher. Subscribe to Mamamia here before April 30 to be automatically entered. Current subscriber? You're already in the draw. T&Cs apply. Want to join the conversation? Have feedback or a topic you want us to discuss? Send us a voice message or email us at thespill@mamamia.com.au and we’ll get back to you ASAP! Executive Producer: Monisha Iswaran Audio & Video Producer: Michael Kean Mamamia acknowledges the traditional owners of the land on which we have recorded this podcast. From Mama Mia. Welcome to this spill your daily pop culture fixed. I'm Laura Brodneck and I'm Tita Previs, and we have a very special episode for you today, one that I have been dying to do for so long because this is a special interest area of mind. So I'm so glad you're here for my moment that I got to share with you. We are doing the best movie makeover scenes that yes, might be seen as problematic, but we desperately love them. I love them. What do you think they're problematic? Well? I think well, I'm just gonna take my feminist hat off and put it in the corner. I'm gonna actually put it outside the studio, pick it up later on the way out, because I guess these like these movie makeover montages that have become such a big part of in particular romantic comedies. One is obviously we're both going to share our favorite ones. We don't know what the other person's going to say, but I'm assuming you don't have any men on your list, because I don't have any men on my lise. 00:53Speaker 2 You do, I do, But how rare is that it's rare, And that's why exactly exactly exactly. 01:00Speaker 1 So all the makeover scenes in movies, especially wrong cooms, always happen to women, and they always famously go one way. More men should be having makeups. Yeah, let's make it see men, I know. But if you rubits have tried to do that, has it really landed? I just mad it every day? Yeah, oh yeah, yeah, absolutely real mount the Street, let's make them over. I think it's a famous shell queer right. Well, these makeovers always go one way, so that's I think that's where the kind of problematic issue has come over the years is that the woman always comes out, she's always like tenned, she always has like a ton of makeup on, she gets her glasses taken off, even if see without them, always wearing like skimpier clothing. Like it's a very like kind of like sexualized bombshell kind of look that every woman gets made over to in these movies in order to kind of achieve the life that she wants. So if you look at it through that lens, slightly problematic. But we're not doing that today because movie makeover scenes have made up the broke of pop culture for so long, and there's so many movies that are made around these scenes or these ideas, and they were always the scenes that we used in marketing so famously in Suddenly thirty they had like done the script and shot half the movie, and the studio was like looking at the dailies and looking at the script and they're like, you have to put a makeover montage in here for the trailer. Otherwise formula is otherwise we can't sell this movie. What the hell are you doing. So the reason we're doing this today, I do have a reason for this before we get into our picks, is that it is The Devil Wears prior to two week. Yeah, the movie is actually coming out this week on the thirtieth of April, and the first movie has an incredible makeover moment which Andy goes into the fashion closet with nigelnic He pulls a poncho for which we never wear it see her wear. And then that is such a catalyst for the film because it's how we see her lean into her career and how she gets taken seriously, and that we have that incredible montage of all the different looks that she wears down the streets, different coats and hats into the office. You have a favorite one. 03:01Speaker 3 From that montage, all of the looks are always so good, and I think because you do have that contrast for like her own style at the start to all of those looks, like you can't just pick one, and then from there on out it just gets like better and better. 03:15Speaker 1 The fun better and better and better. 03:16Speaker 3 Yeah. 03:16Speaker 1 From that makeover montage we first see her like the green coat means the winner, but also the brown snakeskin coat when she walks into the building, which is how I want to be dressing this season. So off the back of the Devil Wears prior to two cinemas April thirty, we're gonna be sharing with each other our favorite movie makeover moments. Do you want to kick us off? So we haven't shared yet. I don't know what you're gonna say. It's going to be surprise. I'm interesting how a man weaseled his way in there, so like a man. It's like, we have one thing and it's been overly sexualized and made over in movies and then men want to take it away from us. 03:47Speaker 3 So I'm staying on the Anne Hathaway train. 03:49Speaker 2 Oh yeah, and I'm going with Princess Darry It wouldn't be Yes Complete the Makeover Podcast EP if we didn't have this one in there, I feel like it. It's so iconic unless you're living under a rock. Everybody has seen Princess Staris. It's one of my favorite movies growing up. And we follow Mia Thermopolis played by Anne Hathaway, and she finds out that she's actually a princess, which is what I thought was gonna happen to me. I'm still waiting for a letter behind estranged relative in her country. And she pretty much undergoes this whole transformation on her path to becoming a princess, and they enlist a stylists. 04:27Speaker 1 She pretty much just. 04:28Speaker 2 Takes her glasses off, straightens her hair and like has her nails done. 04:32Speaker 1 Like there's really not much more to it. Oh see. I actually think out of all the movie makeover is this one they actually go through quite a drug etiquette, has the etiquette training and that whole thing. But also I think they actually do quite change, Like she looks drastically different. Some makeover segne like you just took off her glasses and put a lipstick on, whereas this one it's like completely like her hair because I think she's got like a crazy wig on when she is playing Mia in the early movies. The glass has always changed things, but the makeup is so intense, the skin sort of stuff. 05:00Speaker 2 How she they pluck her eyebrows, They're like really like whacking those off. But again on the slightly problematic end, because it did really like reinforce you know, curly like frizzy hair being like a little bit messy and untamed, and like, I deep dove into Reddit and there are so many people on the Internet who you know, said how much it really affected them and it led them to like chronically straighten their hair for like ten years. 05:25Speaker 1 Okay, I didn't know there was like the dark side of the Princess Diaries. 05:28Speaker 3 We have Minisha producer Nisha in the studio. 05:31Speaker 2 Who was saying that this had a little bit of an impact on her and her. 05:34Speaker 1 And she never curled her hair again. Wow, No, she has curly hair. She straightens it. No, No, I know, is that right? 05:42Speaker 3 She's nodding, She's she's no. 05:44Speaker 1 I didn't realize that your hair looked like that. Because of the wrath of Anne Hathaway. Wow and Hathaways actually come out recently. Anne Hathaway's commented on Yeah public apology. 05:56Speaker 2 She recently spoke to people off the back of the recent press she's been dewey and shared her one regret from her time on the film. So her natural hair is actually straight, so they had to create that contrast for that makeover scene, that moment, so they gave me a really curly hair. And you know, she has regrets around people thinking that they were saying curly hair is unattractive, which is obviously terrible, and like she says, it was an unintended side effect. It was just in order to make it easier and post and you know, have that massive transformation moment. But it's so significant that it's actually something. Now in twenty twenty six, she's had to come out and dress. 06:32Speaker 1 Oh and no, And can I just say, you don't need to apologize. Do you have curly hair? You'r okay, no, we don't get it. I would love curly hair because I cut my hair all the time because I have dead straight, flat hair. Yeah, And I always feel like I'm the same the unattractive thing. And I would love to have people like especially like in rom com there's some wrong comms, like in How Lose a Guy? In Ten Days, where Kate Hudson's character Andy famously has straight hair, yes, but as she falls in love, her hair goes curly. Have you sadnything online of like girls in love have curly hair? 06:58Speaker 2 Yeah? 06:58Speaker 1 I have, yeah, And I was like, obviously I've been in love because my hair is straight, straight, So you can literally find anything. I'm just gonna say, Anne Hathaway, you don't apologize for that. It's okay. We don't speak on behalf of the curly girls. We well, no, no, I think that that's the fault of the movie, not Anne Hathaway. Yes, yes, And I also think that out of all the things that we have to sort of look at, that that one's okay. I'm not disregarding the feelings of curly head girls. I just don't think Anne Hathaway personally should take on that emotional birth. 07:24Speaker 3 No, it's not for her. She can we forgive you, Anne, it's not you. 07:27Speaker 1 We don't have to five. But that is such a pivotal moment, that scene, because everything about that movie plays and to wish fulfillment, and that is like also the biggest wish for filment as an adult but also as a teenager. That you're just kind of one step away from looking beautiful, that someone could take you in a room and they could do all these things. And also then her life does open up in this crazy way. Yes, because she's become a princess, but also because she looks like this ideal beauty, she becomes popular. Yeah, everybody likes her. The guy shet to like her, and are they're really careful to caveat that he always liked her. 08:00Speaker 2 Yeah, and it wasn't the makeover. Yeah, I was actually really don't do that as much watching it last night. And she just ignores him for like the whole first part of the movie. 08:09Speaker 3 He literally is like, you're attractive, and she just doesn't even like. 08:12Speaker 1 Well, that's the whole thing of these movies, too, is that they pedal this thing that everyone's secretly beautiful they just don't know it. And for a lot of us, and they put me in that category. No, fine, that's fine, there's no there's no little trick of like, if she just took her glasses off, or if she just took her hair out, she would be so beautiful and she just doesn't know it. 08:30Speaker 3 Yeah, I don't wear glasses. What's the next straight. 08:33Speaker 1 I wear my hair on every day. There's no way a man can take out my ponytail, and I'll instantly be beautiful. What is left? So good? Okay, before we move on to my next one. Are you excited for Princess Diaries three? Or you're upset about it? People different came. I'm excited because Princess Diary is too wildly a great movie. All the sequels out there, I think they're both great. 08:52Speaker 2 I think Anne is great, and if she wants to be involved in it, I know she'll want to do it right. 08:57Speaker 1 So super excited. 08:58Speaker 2 It's such a part of my child would I watched that movie rinse and repeat, rinse and repeat. 09:03Speaker 1 It was one of those ones I was always. 09:04Speaker 2 Watching, even the nos Soldier, like, even if it's not better than one and two, I'm here for it. 09:12Speaker 1 Okay, So the movie Makeover I'm going to talk about now. I picked because it has my favorite reveal like When You Had. It has everything it has, like the big reveal, the reaction, the build up, the song, the song choice and maker. I realize every nearly every makeover Picked has an iconic song that sort of had new life in it because of the movie moment and this is an iconic comedy from the year two thousand, a great year for m comms. Miss Congeniality. Oh oh my god. 09:42Speaker 3 I can't what but like I would have been really really young. 09:46Speaker 1 Okay, you need to watch this is just movies. I just assumed everyone has seen I didn't. I didn't see it. I was like in not pro I was probably in high school. I did even know. Anyway, I didn't see the movies, but I just remember what. It's one of those ones where I just remember, like I know of it. I mean, we're probably had on a VHS and I just watched it over and over and over again. Oh my god. It holds up so well. I mean, no, it's problematic as hell, but that's fine. That's fine. But our feminist is outside. Actually yeah, it's actually out the window. I've thrown it. No, no, it's not problematic, and like, there's actually nothing so super bad in it. They'll just be little things. But anyway, as a movie, ten out of ten holds it so well. You need to watch it. You'll love it. Don't watch the sequel. Okay, the sequel's frodden. Sandra Bullock went through Who is the lead of this movie, Sandra Brook went through a time where she made two really regrettable sequels, Speed Too. I don't watch that. I never watch I've loved Speed Speed. Yeah. The second one, she's on a boat, and even she was like, that was a mistake because the boat. They're like, the boat's going so fast because the boat can go anywhere, because it's a cruise ship. It can't go the world. Yeah, it's fine. And Miss Congenality Too not great, but Miss Congeniality a perfect movie. So Sandra Bullet plays an FBI agent called Graasy Heart, and she's like really schlubby and gross, like yeah, that's the perfect kind of word for her. She wears like an ill fitting, like cheap suit which is always like crinkled, food stained. She's got really frizzed. They really frizzed her hair hair same thing. She's just hair like and she looks terrible. And so there's been a threat against the Miss USA pageant. So a lot of it set in a beauty pageant, and they need someone to go undercover in the pageant as a beauty queen to like stop the threat. And they go. They have this computer program that they go through all the women the FBI, and it renders them what they would look like, which is a bit weird down to think of what they would look like like, what their bodies would look like. And Sandra looks gracy heart is the only one when they like, they think she's like, they think she's ugly, even though it makes a deep fake of them. And I was like, wow, that technology came true twenty years later and we used it for evil. Yeah, and then because not all the boys and Benjamin Bratt plays like one of the FBI agents, true who's like the hot sexy guy friends. It's a real Benjamin Bratt moment in the early two thousands. You might not know because you're a child, but he was like the romantic lead in so many movies and Julia Roberts was madly in love with him and they were getting married and it was a whole thing. So that, yes, this is peak Benjamin Bratt era. That moment passed, We're still in peak Sandra Bullock era, so that moment is still here. So she is the only one that can go under cover, but they're just like, look at her. She's so ugly and she's a mess. And she is also she's like an ultimate tomboy and she doesn't want to do it. So that's the difference too, is that in this movie she is so against she's scene, whereas a lot of other movies women are like, yes, please give me a makeover, which is also fine. So they bring in Michael Caine. Michael Caine one of it. Do you know who my yes is? Okay, you literally shocked, but I'm just thinking of him giving a makeover. Yeah, no, I know, that's why and one of the most like he's such an esteemed serious yea, but he And the thing is this cast. It's like Benjamin Bratt, Sandra Bullock, Candice Bergen, Michael Caine, William Shatner, like all of these incredible actors in this movie. And this is why romcoms works so well then, because this was a huge studio release with all these like Oscar factors, Like we was just a throw away. It wasn't like a throwaway watches on a Friday night in Netflix and forget about it. They like approached this like it was Shakespeare, like these people exactly. They approached it like it was Shakespeare. And that is the way to make a romantic comedy. Anyway. So Gracie Heart then has to they have to bring in Michael Kaine's character, who is like a deportment expert like etiquette, also trains people for the pageants. He's also like a pageant cope, and he is revolted by Gracie Heart when he meets her, absolutely revolted. And the fun thing about it is like nobody just so like he's just literally like this, what is like a cow. She's disgusting, And Sandra Bullock is so good like her physical comedy. Like the first scene is they're meeting together having lunch in a restaurant and he is just looking at her with this intense disgust on his face in a way that only Michael Caine can and she's like ripping into this food and all swapping down her face like with her frizzy with her frizzy hair, the ultimate cry. And Sandra Bullock said that she really leant into really wanting to make Gracy like as unattractive as she could so that the makeover scene paid off. So she was really behind the scenes pushing like no, let's have food in her teeth when like when we first meet her, like let's have like her clothes be kind of really disheveled, like she she walks around really hunched over. And Sandra Bilok also said that it was so funny because it only took like less than an hour in the makeup chair to make her look like Gracy pre makeover, but then she had to spend like three or four hours in the makeup chair for Gracie afterwards, just to even in the scenes where she's just walking around just to look like a normal woman. Yeah, and I was like, I love that. Even Sandra Bulok is like, it takes four hours to make me look like a natural Sandra Bok. So the stakes of this maker is so high because the FBI is involved. They're like, how do we make this ugly woman beautiful? So they get this like literal warehouse, like a huge warehouse, and it's full of like the tanners, the waxes, the beauty maker everywhere is this place. I know, I want to grab me out. Well, this is like that, Like it's so funny because it's like this is what it takes a woman look beautiful. It's like we have the whole FBI army making literally taking over what looks like an army base. That's so fair, like this huge bunker and they go in there and they have to like wax her and tan her and all this stuff, and she's hating and you never see it. And then you see Benjamin Bratt and his like crew on the outside with the plane like waiting to fly her to the pageant to like get her in, like where is she? Where is she? And all of a sudden, the big bunker door like slides open and Mustang Sally starts playing I Got It and it's just the best. It's one of the best movie music moments in history. And it's a cover of Mustang Sally. So they did a cover of it, and Sandra Bullock played the tambourine, I think because she's like just want to be involved, yeah, just wants to be part of it. So and there's a slow motions shot and then Sandra Bullock as Gracie Hart walks out. You have to, I mean, don't watch this until you watch the movie because a bigger moment. Again, it's so sexist but so good. I love it so much. And the camera pans up super slowly over her body and she all of a sudden, she's tan, she's shiny, she's wearing a purple mini dress. Love her hair of course straight, it's straight straight, it's straight straight as an ironing board, like literally not a hair out of place, and her hair's all glowy. And Benjamin Brat, like his character, I'm just using his knee because that's how people are. It just rips his sunglasses off in and his jaw drops open and everyone around him is like, oh my god. And she's strutting and then she just falls straight over. And before that she has an iconic line about like I haven't done this, I haven't eaten doped mess with me, and then she just topples over because she can't walk in heels. She's so real for that. Yeah, and it's just such a huge moment. And obviously, like later on when her and Benjamin Brad's characters fall in love, it's very much they fall in love because like their personalities, but it's also because she's super hot now. 16:51Speaker 3 Yes, because she had the purple dress, and then she has to. 16:53Speaker 1 Go through the Miss America pageant, right, which is again it's so the comedy is just so. 17:00Speaker 3 She's great, like it's funny. 17:03Speaker 1 I think that's the role she should have won. An Oscar for I know they don't like to give oscars to comedy actresses, but there's so many good one liners that she delivers, and her physical comedy is so good. Oh my god, you're gonna love it. Okay, you're gonna love it. I've watch it. I can't believe I was sole jealous of you. They get your torch it for the first time. 17:18Speaker 2 I think I've watched a lot of things, but when I'm under the age of ten, like. 17:23Speaker 1 I just feel like that's a movie that gets referenced all the time, that's still in the conversation. So I would sort of believe that more for movies that fall out of the conversation, but that's still at anyway, you get to watch it, so please and report back on your next on the next time you're on the pod. But yeah, that to me, that stands out as the biggest reveal of a make over and the biggest and also the fact that a lot of other makeover scenes are just like, I don't know, we can get one stylist in someone's bedroom and we're just like, but this is like, no, no, this is an industrial fispiration to make a normal woman look like the ideal of a woman. And you know what, I love it so much, this congeniality. If anyone else has watched it? All right? 18:01Speaker 3 Next on my list another movie that I rinsed to death. 18:04Speaker 2 I used to sit in front of my TV with the lyrics book because it is spoiler a musical. 18:09Speaker 1 Okay it's grace, Oh okay, yes, I love my god. Watching this as a kid, all I wanted to do was be a sexy Sandy And I'm so far from all of that. But all I wanted to do was wear leather pants and strut around. Yeah, which would I worked for me? 18:24Speaker 2 Carnival, Yeah, they're all like thirty years old as well, exactly, so many like I don't know about you, but I again, watch that movie as a kid, over and over again, all of the references straight over my head. 18:36Speaker 1 Didn't realize what a hickey from Kinnicky was now, didn't realize about the whole like having sex in the back of the cars, didn't realize that a pregnancy scarab was what she was worried about. Literally, no idea, just like the songs really exactly. And you know what, like kids watch sexy movies. 18:51Speaker 2 So my dad loves Grease yeah, so that's how I was like introduced to me. 18:54Speaker 3 So we always watch it when I was younger. 18:56Speaker 2 But I think it has one of the most iconic transformation make overs but also a little bit controversial. So obviously we follow the lives of Danny played by John Travolta, and then we have the lovely Olivia Newton John as Sandy, who's like this very clean cut, cutesy good girl, and Danny's this bad boy, like grease up completely opposite. 19:18Speaker 1 World ultimate like Romeo and Juliet story, like they come from different worlds. How could they ever be together? Could they ever? 19:25Speaker 3 We'll tell you how. 19:27Speaker 2 All it takes is a pair of leather pants and a red lip, according to sandrew D. So she walks out in the final like scene sequence, they've you know, had a little bit of push and pull this whole time. 19:38Speaker 1 So they both go to. 19:39Speaker 2 These I don't want to say extreme lengths because all Danny does to change himself for Sandy's put on like a little lettermon jacket, like a little nit jacket. That's all he does, which I feel shows the extent of effort that like men are going to change for us. 19:51Speaker 1 Yes, that's so true. There's such a good lesson in Greece that modern women. 19:55Speaker 2 Yeah, yeah, yeah, And then obviously Sandy shows up in these insane leather pants. It's beautiful, like off the shoulder, black top, red lip, she's got this bold like curly hair, actually doing it for. 20:07Speaker 1 The color girl God. So actually it's a so debunked. We have been raised our whole lives to think that Grease is actually anti feminist, because it's feminist. The initial kind of message that we took away from the movie was this movie is telling us you have to change yourself for a man, and that's bad. But actually, what we've uncovered today is that it's actually a feminist plot because she's saying curly hair can actually curly hair is. But while curly, did you ever have Like I used to be obsessed with grease And then I got my mum to get me these like old school not even get me. I think they were my moms from like when she was a kid, these like old school hot rollers, And I would hot roll to look like Sandy, and I thought it looked so chic when I was like eleven, and looking back now, I did look like a poodle. Yeah, that was me. With the red lip. Yes, it never worked really for me. 20:50Speaker 2 It's giving dancers steadfast, but I gave it, gave it a go. 20:54Speaker 1 I still do it red lip. I still do black leather and a red but you rock a red lip. I'm just I'm just sandy on the Yes, we. 21:00Speaker 2 All have a little bit of sty but yeah, I think it definitely is a little bit of. 21:03Speaker 1 A feminist like move. 21:04Speaker 2 A lot of people can say, you know, she's changing for Danny, but I think what we see is, you know, she's like leaning into her confidence and like it's like a bold yea. 21:12Speaker 1 Well, because you can take it either way, you can take it. You're right that she's becoming who she wants to be. But that's the thing feminists like, these makeover scenes are always wrapped up and like, no, she's empowering herself, and it's like no, no, no, she's dressing for the male gaze and that's fine. 21:27Speaker 3 Who she chose to do it, but only. 21:30Speaker 1 Because she felt desperate that he would leave her. But again, who amongst us hasn't dressed for the male kase? Exactly? 21:35Speaker 2 Guilty, It's a time and a place exactly. 21:41Speaker 1 Right, is exactly. But again, I just can't hold that in my head. When I watch gree it's like I'm aware that it's there. I'm aware of this idea and it's a different time, and it's got the best like mic drop moment of like like literally like the whole carnival turns to her and then she has that iconic clim when she has tell me about it. Stud. So also she's smoking. 22:02Speaker 3 She doesn't know how to smoke. 22:03Speaker 1 But she's doing it. I'm looking friends, how do I put it? That's just a good moment. Oh my god, Olivia Neton John is so good. So again, it's sexualizing dressing from man, it's sexualizing like like smoking and like that bad girl. But I don't even care because you know what, smoking does look sexy on screen? It does. Don't do it, don't do it. 22:20Speaker 3 But sometimes it looks chic on the screen. 22:22Speaker 1 Yeah, it always always looks cheek on screen. 22:25Speaker 2 Now, they do have this like fairy tale ending they get into a convertible when they fly off into the sky. 22:29Speaker 3 But there are actually a lot of fan theories. 22:32Speaker 1 Are you gonna say that they're dead? 22:36Speaker 2 So basically there are theories that when they fly off into the sky that they actually passed away and that Sandy actually died from the very first scene where they're first on the beach, because Danny when he's singing someer love and there's a line where he said, you know, she almost drowned. 22:54Speaker 1 I saved her. 22:55Speaker 2 So it turns out, according to this theory, that she in fact drowned, and then we enter this like homo fantasy for the entirety of the whole film, and that's how they're flying off in the end. 23:09Speaker 1 I have heard that theory that this is all Sandy's, Like, this all happened in the moment she died, and this is what living through like living through those moments is that she fantasized going to school with Danny and then falling in love and stuff. But it's very intense and also like none of the screenwriters have said that's true. But I love I love when like a theory for like a really old school movie like this just takes it takes. 23:29Speaker 3 Over a life of its own, like people run rampant with it. 23:33Speaker 2 I hate to disappoint anyone that thinks they're dead, but the creator has since come out and said. 23:38Speaker 1 That that's absolutely it's not the case. They're not dead. 23:41Speaker 2 Also, there's so many like fantasy moments in the film I just love to grab on exactly. 23:46Speaker 1 Well, I guess I just want to explain why the calf flies at the end. It's not even a good theory though, the calf flies at the end because it's a movie and things happen in movie music and that's fine. But no, that's a great make over scene. Love that, And it does go to show that if you're having problems relationship, if you put on a pair of black leather pants, they will go away. 24:03Speaker 2 Oh and apparently they had to show them onto her body so tight. 24:06Speaker 3 It's so tight their vintage Yeah, oh love. 24:09Speaker 1 Okay, the next one I'm going to bring up is the most realistic movie makeover I have ever seen, so in a way that it's actually quite a feminist makeover. Again, not that that matters, we're putting that out the window. Bring the hat back in dress. No, no, the hat's on the doorn on. It's not all the way back in the room dress for the male gaze. It's fine in a movie, But this one I always think is like a beautiful way of watching, like seeing a makeover happen really really slowly, and having it be part of the character's evolution in a way that just feels so real. And this makeover scene is from the two thousand and two classic My Big Fat Greek Wedding. Oh have you seen it? Yeah? No I haven't. Yeah, what a great movie? 24:50Speaker 2 Right? 24:50Speaker 1 The is not to speak The first one is the first one I would say is a perfect movie. So in this if anyone hasn't seen it. Nina the Dallas, who also wrote and produced and created the movie, plays Tula and John Corbett our favorite rom com boyfriend. John Corbet's just in every room. Yeah, they just throw him in and he always. 25:11Speaker 2 Works once they get one good one. I feel like it just becomes a role like everyone's boyfriend. 25:16Speaker 1 He just has that vibe and like movies have been like and parts of been like created and written for him, like him playing Aiden Sex and the City. They created like a lot of that role for him. And also the rom com starring Kate Hudson Raising Helen. Have you seen that? Oh you should watch it? Really got it to listen, where she plays a model agent who her sister passes away and she has to like raise her children. John Corbett plays her love interest in that, and I remember like listening to director being like, well, but why would she fall it? Because she's like this beautiful New York like styler that everyone loves. Why would she fall in love with the high school principle like we have to give him something? And then they looked at him like he's John Corbett. Yeah, that's his thing. That's it. We don't have to add anything. Fine, And when you watch the movie, you're like, yeah, I get it. So John Corbett plays Ian Miller and so the story is actually have such a vivid memory of seeing this movie for the first time because it's one of those movie experiences that stays in my head forever because it came out when I was like just starting high school and one of my really good friends in high school is Greek, and so they held like a screening, like the Greek community in Townsville, like the Greek Community Center held a screening as like a fundraising thing, and so we all went to that, and yeah, it was the best way to see it because there's a whole cinema full of Greek people and so they were screaming the joke person and it was just like the vibe was so high. Also, like the characters in this speak Greek, and so they would say a joke and they would all laugh, and then the subtitles will pop up and then like the non Greek s bea because we would all laugh and we're like, oh, we got it now, Like that is really funny. So I Sultays remember it as being like this really joyful experience. So Tula is like an adult. They sort of say her age, like she's like probably in her late twenties, but like in the like you know, Greek household, like super old, unmarried, no children, a pariah of a family, if you will. And she works in like the restaurant, and like she lives with her parents, and her life is so small and everyone's just like she's so frumpy, and you know, all that sort of stuff. And then slowly over time she decides to start kind of changing her life, not on a huge scale, in a way that feels so beautiful relatable in terms of like she goes and takes some computer courses at like a community college, and she's and she then gets a job outside of the family, so she kind. 27:26Speaker 2 Of a second coming of Age's definitely. 27:30Speaker 1 Was really small looking at her parents house and she goes to work in another family business where she's like out you know, by herself in the office. And during all this she gives herself like a little makeover that's peppered through this montage, but it's more so like she'll just wear like instead of wearing like the overly frumpy clothes she was wearing, she just buys herself like a nice dress and a matching cardigan, and then you see her like try and like like do her eyebrows and she puts like just a little bit of lipstick on and like she's like and again the frizzy hair is the frizzy hazel thing, but she does straightened, but it's not pinned straight. She just kind of smooths it and stulls like she put rollers in it. And it's this beautiful, quiet, little makeover that she just does to herself. 28:11Speaker 2 And I think that's what makes it, Yeah, that it's something that she found in herself and like exploring your like your own identity and like finding who you are verse like having the FBI coming it. 28:22Speaker 1 Yeah, exactly. When you put the two makeover scenes here that I brought up, it's like one is like, yeah, fifty people in like a government funded bunker trying to make Sandra Bullock look like a woman. And then the other one is just a woman at home in her childhood bedroom, just putting on a little bit of lipstick like Tula, just like you know, and she puts on a card again, and the thing is it just changed all of a sudden, she just feels like herself. And I think this is why it's one of my favorite movie makeovers, is that she hasn't done this too, Like she hasn't met Ian Miller yet, so she hasn't done this for a man. She hasn't even done it with the idea that she could possibly meet a man, because she's still working in like the family business. It's more so that as she kind of got a little bit of education and stepped outside of like the tightness of her family, left her bedroom and just kind of fell like, well, likely she's just prings so much time there. Now she's out in about the world, and all of a sudden, she just becomes the person that she wanted to be. Like it feels like it feels like it's actually the only movie makeover I can think of where it feels like it's just for the Carroc. 29:17Speaker 3 And it's happened before they've met the guy. 29:19Speaker 1 And it's not serving the plot, Like, no one's saying like you have to have makeover so you can be the price of the princes. You could be the prompt get the guy exactly. This is just for her and it's so beautiful and so small and quiet, and she doesn't look She looks different at the end of the movie than she does at the start, but not drastically drastically different. She does take her glasses off on my context is that scene of her trying to contacts. Had to put that in there, exact, had to get it in there. So basically it's like less frizzy hair, no contacts, a cardigan, and some nice lipstick, but not as extreme as other makeovers. And so then she's so happy because she's educated herself. She's working in an office and then Ian Miller played by John Corbett just happens to walk by and sees her get stuck in the headset headset. She tries to get up, and he goes into a travel agent and they chat and they just have this beautiful like courtship courtship is the correct word, where they fall in love but then when they get engaged, huge controversy. He's not Greek and her family unaccepted him. This movie has if anyone hasn't seen it, I cannot recommend it enough because the one liners are so good, Like when they get engaged and she takes him over to her big family gathering. He's like family dinner, like five people, She's like, no, fifty five and they say, like, he doesn't eat meat. I like to put that line in here. It's so good, and just like the lead up to their wedding and everything, and I just like even with her wedding, like she looks gorgeous, but it's never this idea of it. She has to be like overly made up. She looks like a completely different person. So I just think if there's like one movie makeover scene that kind of really changes that formula and makes it like part of the story. It's my big, fat, great wedding and tulla And you know, sometimes okay to put on a nice cardigan and some lipstick and go work in the family travel agency and you'll meet John Corbett. That is quite and that's a lesson. Sometimes it's okay to do all do all those things. Yeah, well, I think the biggest thing is she gets a macover while she goes to community college and gets an education. As we know, that is the thing that will say she three exactly so maybe fair great wording. Love it so much? 31:15Speaker 2 All right, we've come to the man, the man make Yes, it's crazy stupid love. 31:22Speaker 1 Oh my god, yes, okay. 31:24Speaker 2 Steve Carell, he plays col Cow's life is falling apart. His wife has left him. He's trying to get back out into dating. He's hopeless. He's quite a bit of a dig. He's in a bar and he runs into this really cool womanizer obviously played by none other than Ryan Gosling because who else. 31:42Speaker 1 Could and the best supporting actor his abs. Oh my god, they should be in the credits one hundred and they get a whole scene with Emma Stone's character dedicated and not only did he work out for months to get them, but they had like special makeup artists, like because you again, those makeup artists have to come in and do the shading and the bronzing and like draw them on. But they're also just there. They're almost too much like when she sees it, when when like Emmaston's character season and she's like, those are photoshops. I don't think I want to be with someone with apps like that A good look up close and just see them just from just to know what the muscles would look like. But I don't need to feel like that's a violation. 32:19Speaker 3 But for those who are watching the bar is imagining. 32:22Speaker 1 Feeling that's going to put me on a watch list somewhere. But yes, we have a male makeover. 32:30Speaker 2 Isn't interesting like flip on the script of like what we usually expect because it's the woman kind of going through the midlife crisis here where she's had an affair and now the man is like having this like makeover off the back of it. So he goes on this like there's like this three minute makeover montage where they like change all of his outfits. He's learning how to like speak to women, getting all the tips and then putting into the practice. 32:54Speaker 1 It's just like not something you expect either. 32:56Speaker 2 For like Steve Carell, he does it so well because he's just not someone you expect to be like hitting up the ladies in a bar. 33:03Speaker 1 Yeah, it's like that is so true that he gets a makeover. But the reason I didn't come into my head when we're talking aout makeover is is that even though he does get a makeover, it's nowhere near his extreme as some of these other makeover scenes with women. I guess with men, there's only so much you can do once you sort of wax them because their hair of shorts is not that curly. You can't have that. You don't have the curly plotline. And I guess that he didn't have glos. They should have put him in glasses. He did look very like dad because then they could no, he does look different. Like it's a good makeover scene, but I'm just saying it doesn't have like the kind of and they don't have a montage, right, that's a mistake they should have had. They do like a full musical montage. 33:41Speaker 2 There wasn't a musical montage, but they do go through like a number of like designer clothes. There's a really funny quote where like Ryan Gosling's character is looking Steve Crorer up and down and he's like, are you Steve Jobs the founder of Apple? No, then you can't wear those to his shoes And basically the whole goal is like for Steve Carell's character to be better than the gap. 34:00Speaker 1 Oh my god. And I have a vivid memory of him like being really repulsed by his wallet and again not thinking of wallet be part of a makeover. But I guess for a guy, especially it is and the fact that it has Velcrow and I think it was like I was a kid while watching at the time, or I was like, oh my, Walter has Velcrow's cute. And I also wasn't the sexy man out in the streets. But if I wanted to be, I had the wrong wallet. Is a little bit of an egg. 34:22Speaker 2 What would you do if you were on a date with a man without he's got coins? 34:26Speaker 1 They're like jingling around. Well, oh my god, would I break up with a man if he had a Velcrow wallet? Something to think about on this if you're on the Sydney dating scene, kind of say that potentially that's gonna happen, and that's not even the worst thing. 34:38Speaker 2 Yeah, I don't think I would break up with him if they had. I wouldn't either I have a wallet for their birthday, Yeah, I. 34:44Speaker 1 Would, just especially because every time you do the rip with a Velcrow wallet, it's so loud and intense. It is it's an announcement. Yeah, and you're just like I'm opening my velcro point and there's no Yeah, that's some folded in here, and you're trying to like pull like straighten the money out because it's been folded in there. 35:00Speaker 2 Actually still have yours exactly exactly. 35:02Speaker 1 Well, I think I am one of the last team in the world who has a wallet that I. 35:05Speaker 2 Lost my wallet and now I've lost all my cards, like I get all scattered around the house. 35:09Speaker 1 Okay, no, no, no, you need it just PSA. Everyone gives me so much shit for having a wallet, but when we can, I just tell you. When someone needs a physical card or something, who do they turn to me? Who's got a wallet? It's got an emergency hair tie in it, it's got emergency cash in there. 35:21Speaker 2 So basically, get rid of your wallet if you don't want anyone to ask you for anything, yeah, exactly. 35:25Speaker 1 Or if you're going through a makeover, exactly exactly. If you're going through a makeover, that's the first thing change. Yeah. 35:30Speaker 2 I just love crazy stupid love, though obviously follows the lives of like lots of different love stories that are all like interconnected, but at the heart of it, it's like Steve's Carrell's character. Yeah, and like everything that he goes through. 35:43Speaker 3 But yeah, I love that movie. 35:44Speaker 1 It was so good. Emily and I talked about that in an episode little while ago when were actually talking about plot twists because it has who hasn't seen it, although I assuming most of you has. It has a great plot twist that is someone expected but just works so well for these characters. Oh love, Yeah, you don't spoil it for like the two people are there who haven't seen it. Okay, last time I'm going to bring up and I had to go back to nineteen ninety nine. Cool, and I just remember again watching this movie on a loop as a kid again as a kid on a VHK guest. Before you say that, oh, I'm actually I wonder if you've I mean, I hope you've seen this. Otherwise I'm going to be super disappointed. It's the nineteen ninety nine teen classic. She's all that. 36:22Speaker 2 No. 36:24Speaker 1 I know should be this surprise every time, but like, this is a classic movie. I thought you're going to say Clueless. Then, Oh, I had Clues on my list, but we talked about Clueless so many times. Yeah, we have a whole brutally honest review on it, so that's got an important makeover seeing it too. You've never seen you know what I know of it, Okay, and like that's the weird thing to me. Can I say you know of it, but you've never watched it. 36:46Speaker 3 I think a lot of it is like what my parents like fed me at that time. 36:50Speaker 1 You're an adult woman now who lives alone with your own TV. You can make your own choice. I'm just saying so many times I went home and I'm like, oh, I wish I had a new, great movie to watch. But the hard thing about me and my job, I've seen every movie. I literally have seen every movie. It's so hard for me to sit down and find a movie that I haven't seen that this is not fair, but I really want to watch. And then you're spoilt for choice. You could sit down a fry night. There's so many. 37:13Speaker 2 Movie hours an hour, and I got in my adult life too, it's valuable, like I've things to look forward to exactly. 37:19Speaker 1 You would love this again. This out of all the movies on my list, this is probably kind of the most problematic. 37:24Speaker 3 Okay. 37:24Speaker 1 It's also like using a woman for like a nefarious reason over like sexualizing her and there's a slight sprinkling of sexual assault end. But it's a classic. So she's all that. It came out in nineteen ninety nine and it stars Rachel Lee Cook. Do you know that name? Blasphemy? Rachel Lee Cook was in the late nineties, only two thousands. I'm a icnic girl. She started so many big movies. Also, Josing the Pussycats was a movie that was torn apart and I think did wreck her career. I think, but now we look back at it and see it for the masterpiece that it is. So she plays Laney Bogs. What a name? I don't know. They were like, you know what, this girl's gonna be unpopular and ugly, and we're gonna give her name's gonna be Laney Bogs, and that's going to explain exactly why. 38:07Speaker 3 Laneye b would be cute. 38:08Speaker 1 Yeah, they don't call it that. And so Lanny Blogs is she's an artist at school, and she was like and she kind of just looks away at paintings all this sort of stuff, and she dresses like an absolute hobo. So they went to because Rachel Lee Cook is a really like a classically beautiful kind of pixy looking woman, and so they really had to go to town to make her unattractive. So they've dressed her in like really oversized, paint slatted clothes. People don't want women to be comfortable, no, exactly, and you know what, she is so comfortable. That's what I take away from her, Like, and she's wearing about fifteen and before she gets her makeover, she's wearing about fifteen layers of clothes in all scenes, like she'll have like a pair of like old pants on and like a long top over that, and then like a singler and then that's very inn now and like an exactly ahead of her time. So Laney Bogs is the most unpopular nerd at school and they have have he do the classic thing of like the first time we really see her, she just falls over. Girls in rom coms always falling over. Sometimes they're so hot and beautiful that they fall over because like I'm so clumsy, and sometimes it's to show they're a nerd. But and then like feeling around exactly well exactly, and she and she wears really big glass okay of course, and straight hair but pulled back in a low ponytail I'm not a sleek ponytail like a I do anything to my ponytail. But the glasses is the real thing. So she So she's the ugly girl at school. And then we have Freddy Prince Junior and this is peak Freddy Prince Junior era. Don't I mean, I don't want to say his air is completely over, but like this was peak, Like he was the wrong com leader and so many things. Playing Zach Syla and he is like the sports storry. I know, Lany Bogs Zach Syler. You know he wrote on this movie m Night Shamalan before he did six Cents. Yeah, like I know, well, you could just be a skipper for high It's like hash. It's like haw Shonda Rhimes wrote the classic Britney Spears movie Crossroads. 40:05Speaker 2 Job. 40:05Speaker 1 Yeah, before you have your big break, you just write the scripts that are out there. So Mna Scharmalan is like I can just imagine he had like the sixth cent script on one screen and like the other and between them. So Zach is like the actual like the jock of the school, the king. Everyone loves him. They're all seniors in their final year of high school and they're coming up to prom and again a very old school like American high school thing is like the prom is always like the climax of the movie, like everything's leading towards that. The rest of his cast is like a who's Who of the nineties. We have Matthew Lillard as Brock Hudson. He's like a reality stuff. Paul Walker, the late Paul Walker again peak kind of his like era playing Dean. And then Jodi Lynn O'Keefe. I don't know if you know that name, but you would know her face. She is in every kind of she's She wanted to be on the Vampire Diaries and stuff later on, but she was in a lot of these early like teen movies, always as like kind of the high school mean girl, the beautiful high school young girl. So Zach and Taylor have been Taylor Vaughan have been together, and they're like they're going to be prom king and queen. That's their thing. Only Taylor meets Matthew Lylard's character, who is old of them out of high school, a reality TV start on the real world. In the real world, Ye dumps Zach for him, and it's like anarchy in the school that the couple has broken up and that Taylor has dumped Zach, and then everyone feels sorry for Zach. And he was like, I can have any girl I want. This is not romantically he meant to fall in love with him, and you kind of do, but he's like, I can have any girl I want. He's like, I could make a girl like that. So this movie is actually based on Pigmalion, which is a play in a book that then went on to inspire the Audrey Hepburnt movie My Fair Lady. So this is a play. Do you know there was a moment in time there where like Clueless is based on Emma and She's the Man, Yeah, And She's the Man is based on Twelfth Night, and as we discovered another podcast the other day, Bridge Jone's Diaries Pride and Prejudice. So this was a big moment in time where, like all of these teens, the biggest thing you could do for box office gold was to remake these classic literature as a teen rooman, now we make movies from last year, and now we'll just remake anything that's out there in the world. So Zach is like, I can make any woman. I can make her the popular girl. And so Paul Walker's character makes him a bet. He's like, Okay, I'm going to bet you that you can't make like a girl that I pick in this school into the prom queen. And Zach's like, pick someone. And that's of course when Lanye makes her entrance, comes up the stairs. She's making fifty layers of clothing. She's got fifty bags eye and she like immediately falls to the floor. And he was like, and then I'm just gonna say Paul Walker because it's two, so you know who I'm talking about. Paul Walker goes her and Freddie Prince Junior. Zach is like, Lady Box, absolutely not. He's like, like, the subtext is she's the ugliest woman I've ever seen. So then he has to the subjects of all these exactly, and then Zach's like, well, I'm gonna have to do this now. So then Zach has to go and try and befriend laany Bogs. And it's so funny when he like keeps trying because he's used to. He's the star of the school, he's the sports star. Everyone loves him. He's so charming. So he kind of goes over to her, like later that night he goes up and to her where she's working, where she's wearing this like huge, full lawful hat because she works in like service industry and he's like never worked a day in his life, and he's like kind of like hey, and she just has no time of day for him, and so funny because she's like, look, I'm not smart, and he's like what this is kind of like a good kind of like twist of that classic like dumb jock smart girl being ugly. She's like, I'm not smart. I know I look smart because I got the subtext is because she's got wearing glasses. I know I look smart, but I'm not. And I can't choot. I can't chewt to you. She's like, I can't. I know you're probably failing school, but I can't help you. I can't choot you. I just I look smart, but i'm not. He's like that is oh no. Then he's like, oh I'm smart. I'm like the third top of that class. I don't need tutoring, thank you so much. So he's smart. So he is smart, yeah, because he's like his whole subject is like his parents like you're going to like this fancy school and you're gonna do this, You're gonna do that. He's like, he can't pick anything of his life. Smart boy, I know, sucks. And so then he starts to befriend her, and like slowly over time, starts to sort of like make her over and teach her how to be cool. And the makeover scene is so so important because up until this he has no like sexual interest in her because she's got glasses, you know, of course, and he can't tell, Yeah, he can't tell because it's pulled back, and he can't tell that she's got a tiny hot body because she keeps falling over and oversized and she falling over so she has a muscle issue. It's all happened. So he's like, he's like, I'm gonna make her gorgeous, but I have no interest in her. And then he brings over his older sister, Mac played by Anna Papquin, and Anna Pumpquin is only in this movie for a short moment, but she makes She comes into this sassy older girl from college, his sister. And then there's this party at school and so Mac takes Laney upstairs and they have this moment where and this moment has been parodied so many times, most famously in Not Another Teen Movie, where all she does is pull out the ponytail and she's like, and you're beautiful. But they at this moment too where lady talks about the fact that her mom died when she was little and so she's been raising her little brother and looking after her dad, and she's like, I just never had a mom to like teach me this stuff, because Mac is like, in the nicest way possible, your eyebrows are disgusting, let's pluck them, Like why don't you wear makeup? And she's like, well, I didn't have anyone to teach me, which is lovely also so young, like yeah, yeah, Well she's a senior in high school and she's never plucked her eyebrows, which isn't the craziest thing at all, but the movie does make you think like her life has been severely stunted because of this. So this college student cuts her hair so instead of having and again usually they add hair in, so this is also maybe not even like a flipping the script, but at the time they so she has this like long, kind of straight, like scraggly hair, they cut it into a super super chic boss she does yeah, yeah, exactly, cuts her head perfectly, plucks her eyebrows, takes the glasses off, apparently does like a huge tan and stuff. And then we have a staircase, and all we haven't had a staircase moment so far as you know, all good movie makeover scenes really need a staircase. That's the moment. So Zach's downstairs, he's waiting to take it as party. He's expecting Lady Bogs to come like like his sister's just gonna like put some lipstick on her and she's gonna come frumpy down the stairs. All of a sudden, the camera pans up the stairs and a slow plan and you see a foot come down in a red high heel, and then the classic song kiss Me by Sixpence none the Richer, also from Dawson's Creek. I kind of tell you how this movie. This song is like this soundtrack of my entire teenage years. And every time I play it now, I actually, that song's too powerful. I have to be careful when I play it because if I play it with the street oh passion stranger, like I can't. That song's too powerful. It's just like it just makes you right, because it's a soundtrack to all the big romantic moments in our lives as that we watched on screen and not participation saying I don't have that many referends. No, no, no, I've never had a romantic tree that song, but it makes me think of a time where like it's signaled this like cue a social cue tea. Yeah, it's like this subconscious like dog whistle of like I'm about to fall in love for the first time, and as a woman in her late FERI I still feel that. And so the camera pans up kiss Me starts to play, and then you see Lannie for the first time post makeover, and she is an absolute bombshell. She's wearing a tiny red mini dress, one of the most iconic dresses in film. I would say, she's got this beautiful, not over the top makeup, like not a red lip or anything, just like beautiful, smoldering, bronzy makeup, a beautiful chic Bob and Zach like loses his mind, he cannot believe it. We look on and Freddie Princeton up give that man at the Academy Award. He just he's like, oh my god, this is the most stunning woman I've ever seen. This is simple manner exactly. You put in a red little as in my early twenties, I had so many little red party dresses because all I wanted to do was dressed like Lannie. I was just waiting for a stair I was waiting for a staircase, and I've never lived in a house with staircase. How will I make my entrance? So she's walking down the stairs, the song's playing, it's so beautiful, and then she falls face first down the stairs. Well, she grabs the because she walked in Heels's true. It's actually like a quite a it's quite dangerous. Yeah, she's trying to do a slow walk down the stairs in heels, the first time she's ever worn heels. It's actually quite the moment. So the spell is like broken because she has to grab the railing and he has to help her, and everyone's like ooh, and he's like ill and he's like, oh, I remember how before? Yeah, I don't know. But falling when you're hot and following your ugly too true. When she fell when she was ugly disgusting. When she falls and she's hot, he's like, pretty well, help you yeah, pretty brifect. Yeah, it's so funny. And before before she comes down the standcase, Anna Patlin's character Mac does a little introduction. She's like, and they try to I think they're aware there that like, giving this teenage girl a bombshell makeover might send the wrong message. They try to dilute it, but it doesn't work. That's what I was thinking, is. 48:54Speaker 2 That putting it like a young girl in like red dress, red heel. 48:57Speaker 1 A sexy red dress for a man that's trying to win a bet with her. Yeah, there's a lot. It's all trying to make grimacing for anyone who cuts. So Mac tries to sort of dilute the message. So she comes down before Lane and she goes introducing the not improved but different. It's kind of what she says Lady Bogs. She's like, not improved but different because she's trying to be like, no, she was good before, and I'm like, guys, she wasn't good before. That's the part of the whole the movie. That's the premise of this exactly. And so as it goes on, she does dress better, but she doesn't like overly change how she dresses. And then she wears this like black glittery dress to the prom, and she does look nice, but it's the whole thing because she goes with Paul Walker's character and then he tries to sexually assault her and then Zack Syla saves her and then they fall in love and have a gorgeous kiss and then there's a huge dance number. There's the best dance number that it's a lot happens. That's a lot that poor girl. Yeah, yeah, she goes through a lot. Well, she finds out before the prom that it's a bet, and she has this moment where she yells act She's like, all of a sudden, this turns into like it does turn into a Shakespearean drama. It's not based on Shakespeare, but the vibe. She's like, am I bet, am I bet? Am my fucking bet And he just looks at her asi and he goes yes. And then oh my god, burn it into my soul that moment because you just like I remember as a kid, like nearly crying. I'm like, yeah, it's over, Like they'll liver be in love now where they do spoiler alert end up in love. She should be like, thank you for the makeover. Yeah, exactly. Now everyone at school wants me because they realized I'm not I could make a man. Yes, that's the sequel, so that in my head is well. There's a remake with Addison Ray called He's All That. Whether I've watched that, but I don't that. 50:34Speaker 3 I think I don't remember it because I had to burn it out. 50:36Speaker 1 That is a burable movie. Okay, that movie is blaspheming. They tried to flip the script by making it a girl making over a guy, which I'm all for, but the movie itself is terrible. So I can't believe. You can't not You cannot live in a world where you've watched He's All That and not She's All That. I know when one is a one is an abomination and one is a classic teen movie. So you've done that wrong. I'm sorry. So She's All That one of the teen movies that still lives in my head is one of the best makeovers ever. And again, don't listen to that song, just like on the Fly, Oh it's too dangerous, dangerous, use it responsibly. 51:12Speaker 2 Thanks so much for listening to the spill today. Don't forget to follow us on socials. 51:16Speaker 1 We've popped. 51:16Speaker 2 The link in the show notes will be back in your feed bright and early tomorrow with morning tea. 51:21Speaker 3 Ash London has all of the entertainment headlines. 51:24Speaker 1 To start your day. 51:25Speaker 2 The Spill is produced by Minishi Sworn with video production by Michael Keane. 51:29Speaker 1 Bye ByeBecome a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

This week we sipped A to Z Wineworks Pinot Noir and watched Season 2 Episode 12: “Turnaround”. Cory learns “you dance with the one that brought you” in this Pygmalion-inspired episode about a Sadie Hawkins-style “Turnaround” school dance. This is the one where Shawn and Cory give a Swedish-American girl a makeover (a la “She's All That” or “Pretty Woman” or “My Fair Lady”) to make her “cool” so Cory, her date, can be cool-by-association—because according to Eric, the caliber of girl who asks you to the Turnaround determines who you are forever. We laughed, we unpacked gender norms, and we learned that “smorgasbord” is a Swedish word. Skol! 

Released in 1964, Mary Poppins was a landmark production for Walt Disney Studios, blending live-action with groundbreaking animation in a way that felt genuinely magical at the time—and still holds up remarkably well today. Directed by Robert Stevenson and starring Julie Andrews in her film debut alongside Dick Van Dyke, the film was based on P.L. Travers' beloved book series. Despite Travers' well-documented scepticism toward Disney's adaptation, the production moved forward with an ambitious vision, supported by the Sherman Brothers' now-iconic musical score. With a budget of around $6 million, it became one of Disney's most successful releases of the era.The film was both a critical and commercial triumph, earning 13 Academy Award nominations and winning five, including Best Actress for Julie Andrews. Its combination of technical innovation, memorable songs, and family-friendly storytelling helped cement its place as one of Disney's defining classics. Over the decades, Mary Poppins has remained a cultural touchstone, influencing generations of musicals and continuing to charm audiences well beyond its original theatrical run.Trailer Guy Plot SynopsisIn a world where порядок is everything… one household is about to be turned completely upside down.When the Banks family finds itself in desperate need of a new nanny, the wind changes—and with it arrives a mysterious figure who is anything but ordinary. With a snap of her fingers and a smile that hides more than it reveals, she brings colour, chaos, and just a hint of the impossible into their rigid world.From gravity-defying adventures to streets that come alive with song, the ordinary becomes extraordinary. But as laughter echoes and rules begin to bend… one question remains: is this magical visitor here to fix the family—or change them forever?Fun FactsJulie Andrews made her film debut as Mary Poppins after being passed over for My Fair Lady—a decision that famously backfired for the studio.Dick Van Dyke's Cockney accent is often cited as one of the most infamous accents in film history.Walt Disney personally pursued the rights to the Mary Poppins books for over 20 years before securing them.The film combines live-action and animation using sodium vapor process technology, a cutting-edge technique at the time.The Sherman Brothers wrote over 30 songs for the film, though only a selection made the final cut.“Supercalifragilisticexpialidocious” became one of the most recognisable songs in cinema history despite initial doubts about its appeal.P.L. Travers reportedly cried at the premiere—but not for the reasons Disney had hoped.The chalk-drawing sequence required intricate special effects and precise choreography to blend animation with live actors.The film was the highest-grossing movie of 1964 in the United States.Julie Andrews won the Academy Award for Best Actress for this role, beating out Audrey Hepburn in My Fair Lady.Support the ShowSupport the Show If you enjoy the show and would like to support us, we have a Patreon ⁠⁠⁠here⁠⁠⁠.If you're listening on Apple Podcasts or Spotify, leaving us a 5-star review (and a short comment) really helps more people discover the show. It's quick, free, and makes a huge difference.Referral links also help out the show if you were going to sign up:⁠⁠⁠NordVPN⁠⁠⁠⁠⁠⁠NordPass⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠

Christine Andreas is a multiple award winning singer, actress and 2x Tony Award nominee. On Broadway she played Eliza Doolittle in the 20th Anniversary production of My Fair Lady for which she received the Theatre World Award. She received a Tony Award nomination for Oklahoma. Other shows include The Scarlet Pimpernel, La Cage Au Folles and The Light in The Piazza. As a singer she has performed at Cafe Carlyle and 54 Below and with major symphonies around the world. Her latest CD is a tribute to Edith Piaf. And on television her credits include Law & Order SVU, The Cosby Show, and playing Ava Gardner in “Mia, Child Of Hollywood”. My featured song is “Ma Petite Fleur” from the album Spring Dance by my band Project Grand Slam. Spotify link. —----------------------------------------------------------- The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for All Episodes  Click here for Guest List  Click here for Guest Groupings  Click here for Guest Voices Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH CHRISTINE:www.christineandreas.com —--------------------------------------- ROBERT'S NEWEST RELEASE:“MI CACHIMBER ALL STARS” is the new, expanded version of Robert's single, “Mi Cachimber”, which he wrote for his father. Featuring Camila Cortina on Rhodes and Xito Lovell on trombone in addition to Benny Benack III and Dave Smith on flugelhorn, and Project Grand Slam's rhythm section. CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- ROBERT'S RECENT RELEASE: “MA PETITE FLEUR STRING QUARTET” is Robert's recent release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars. CLICK HERE FOR YOUTUBE LINK CLICK HERE FOR ALL LINKS —--------------------------------------- Audio production: Jimmy RavenscroftKymera Films   Connect with the Follow Your Dream Podcast: Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com   Follow Robert's band, Project Grand Slam, and his music: Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com    

Hoy nos visita la dramaturga y directora Natalia Menéndez. Nos presenta 'Malquerida', una versión contemporánea de la obra clásica La Malquerida de Jacinto Benavente. También celebramos los 70 años de My Fair Lady con Enrique Mejías. Y en nuestra sección de ciencia con Xaviera Torres hablamos de primavera y ciencia: ¿Adónde volverán las oscuras golondrinas?...Escuchar audio

This week on Ladies of London, Martha hosts a My Fair Lady themed party in the hopes of having everyone get along, only to start more fights between Mark, Margot and Kimi. Enjoy!Follow me on social media, find links to merch, Patreon and more here! Hosted on Acast. See acast.com/privacy for more information.

On today's episode, we discuss how “non‑producers bossing producers around” shows up in current news, starting with New York City's mayor floating a 20‑mph citywide speed limit that the crew argues would effectively outlaw cars by gridlocking already‑crowded streets. Using memories of the old 55‑mph interstate cap and a My Fair Lady traffic scene, they explain why slower speeds can actually worsen congestion and suspect the real motive is revenue from tickets in a failing “socialist experiment.” From there, they turn to America's Strategic Petroleum Reserve, outlining how Biden's drawdowns left inventory under 60% and may have damaged one of four salt‑dome sites, while Trump now plans to refill by trading 1 million barrels out today for 1.2 million back later at equal or better quality. They see that 20% futures “bonus” as savvy insider‑style dealing on behalf of U.S. taxpayers, contrasting it with earlier sales that let China buy cheap U.S. crude on the open market. The conversation also hits the current Middle East war, with signs it may be winding down despite mixed messaging from lower‑level propaganda voices and 4,500 Marines posturing near key islands. In a lighter closing segment, they joke about NASA's Artemis mission finally giving Americans a direct look at the so‑called dark side of the moon, debate who would dare ride a government rocket, and have Dwayne explain tidal locking, 28‑day lunar “days,” and why one lunar hemisphere always faces Earth even though both see sunlight. Don't miss it!

The families gather for a game night, and shenanigans ensue. Henry pays a visit to Edmund's future home, which sparks some feelings in Fanny and Mary. Sir Thomas catches on to Henry's intentions with Fanny and decides to throw a ball. Mary gives Fanny an unexpected gift.Topics discussed include falling in love for the bit, Molly's competitive side, whether Henry can change, predictions for William's hotness, Sir Thomas's Pinterest board, our first male pre-proposal POV, and team Hanny vs. team Fanmund.Patron Study Questions this week come from Avi. Topics discussed include William's cross being modeled off a gift Jane Austen received from her own brother.Becca's Study Questions: Topics discussed include Sir Thomas's interest in Henry and throwing a ball, the discussion of Edmund's estate, Edmund's internal monologue, the purpose of the ball, and why Mary gave Fanny her chain.Funniest Quote: “No, I never inquire. But I told a man mending a hedge that it was Thornton Lacey, and he agreed to it.”Questions moving forward: Who will dance with each other at the ball?Who wins the chapters? Sir Thomas!Glossary of Terms and Phrases:Avarice (n): extreme greed for wealth or material gain.Glossary of People, Places, and Things: Ten Things I Hate About You, She's All That, Pygmalion, My Fair Lady, Cruel Intentions, Catan, Heated RivalryNext Episode: Mansfield Park Volume II Chapters 9-10Our show art was created by Torrence Browne, and our audio is produced by Graham Cook. For bios and transcripts, check out our website at podandprejudice.com. Pod and Prejudice is transcribed by speechdocs.com. To support the show, check out our Patreon! Check out our merch at https://podandprejudice.dashery.com.Instagram: @podandprejudiceTwitter: @podandprejudiceFacebook: Pod and PrejudiceYoutube: Pod and PrejudiceMerch store: https://podandprejudice.dashery.com/

Neil Tennant co-wrote a musical at Primary School and soon decided that “learning other people's songs was hard work compared with making up your own”. He's chosen some from the Pet Shop Boys' 40-year catalogue, hits and obscurities, in ‘One Hundred Lyrics and a Poem', just out in paperback, and added fascinating notes about their context and composition. This very funny and revealing conversation lands on the following … ... the first song he ever wrote … auditioning for Rocket Records in 1975 … does songwriting have rules? … how Chris Lowe tamed his inner “musical snob” … rap, Brecht-Weill, Betjeman, Noel Coward, My Fair Lady and the art of “speak-singing” … the decades of lyrics stored in our brains … the Songwriting Bootcamp that produced What Have I Done To Deserve This? … the essence of melancholy (and the chord that expresses it) … “the sound of words is often more important than the sense” … whether Dylan deserved the Nobel Prize for Literature … West End Girls and whether to rap in English or American … the writing of King's Cross, Cricket Wife, Odd Man Out and I Made My Excuses And Left … “Robert Maxwell stole my pension!” … and the “geology of my life” in diaries that one day might make a memoir. Order ‘One Hundred Lyrics And a Poem' here: https://www.faber.co.uk/product/9780571397891-one-hundred-lyrics-and-a-poem/ And ‘Pet Shop Boys: Volume' here: https://shop.petshopboys.co.uk/gb/pet-shop-boys-volume/9780500027479.htmlHelp us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Neil Tennant co-wrote a musical at Primary School and soon decided that “learning other people's songs was hard work compared with making up your own”. He's chosen some from the Pet Shop Boys' 40-year catalogue, hits and obscurities, in ‘One Hundred Lyrics and a Poem', just out in paperback, and added fascinating notes about their context and composition. This very funny and revealing conversation lands on the following … ... the first song he ever wrote … auditioning for Rocket Records in 1975 … does songwriting have rules? … how Chris Lowe tamed his inner “musical snob” … rap, Brecht-Weill, Betjeman, Noel Coward, My Fair Lady and the art of “speak-singing” … the decades of lyrics stored in our brains … the Songwriting Bootcamp that produced What Have I Done To Deserve This? … the essence of melancholy (and the chord that expresses it) … “the sound of words is often more important than the sense” … whether Dylan deserved the Nobel Prize for Literature … West End Girls and whether to rap in English or American … the writing of King's Cross, Cricket Wife, Odd Man Out and I Made My Excuses And Left … “Robert Maxwell stole my pension!” … and the “geology of my life” in diaries that one day might make a memoir. Order ‘One Hundred Lyrics And a Poem' here: https://www.faber.co.uk/product/9780571397891-one-hundred-lyrics-and-a-poem/ And ‘Pet Shop Boys: Volume' here: https://shop.petshopboys.co.uk/gb/pet-shop-boys-volume/9780500027479.htmlHelp us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Neil Tennant co-wrote a musical at Primary School and soon decided that “learning other people's songs was hard work compared with making up your own”. He's chosen some from the Pet Shop Boys' 40-year catalogue, hits and obscurities, in ‘One Hundred Lyrics and a Poem', just out in paperback, and added fascinating notes about their context and composition. This very funny and revealing conversation lands on the following … ... the first song he ever wrote … auditioning for Rocket Records in 1975 … does songwriting have rules? … how Chris Lowe tamed his inner “musical snob” … rap, Brecht-Weill, Betjeman, Noel Coward, My Fair Lady and the art of “speak-singing” … the decades of lyrics stored in our brains … the Songwriting Bootcamp that produced What Have I Done To Deserve This? … the essence of melancholy (and the chord that expresses it) … “the sound of words is often more important than the sense” … whether Dylan deserved the Nobel Prize for Literature … West End Girls and whether to rap in English or American … the writing of King's Cross, Cricket Wife, Odd Man Out and I Made My Excuses And Left … “Robert Maxwell stole my pension!” … and the “geology of my life” in diaries that one day might make a memoir. Order ‘One Hundred Lyrics And a Poem' here: https://www.faber.co.uk/product/9780571397891-one-hundred-lyrics-and-a-poem/ And ‘Pet Shop Boys: Volume' here: https://shop.petshopboys.co.uk/gb/pet-shop-boys-volume/9780500027479.htmlHelp us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

La OCU alerta que cuatro de cada diez hogares en España tienen problemas para comprar carne o pescado, mientras se prevén más subidas en la cesta de la compra. Internacionalmente, Japón, Francia y Australia rechazan la propuesta estadounidense de una misión en el estrecho de Ormuz ante la situación con Irán. En Castilla y León, PP, PSOE y VOX suben escaños; el PP gobernará con el probable apoyo de VOX, y Podemos pierde representación. Los Óscar coronan a "Todo a la vez en todas partes" como Mejor Película, Dirección y Actor de Reparto (Ke Huy Quan). La película española "Robot Dreams" no logra premio, mientras "El chico y la garza" es la Mejor Película de Animación. Una oyente plantea su dilema sobre recoger paquetes de vecinos y se comparte una emotiva historia de un piloto con su hija controladora. Además, en '¡Buenos días, Javi y Mar!', Jimeno juega a los jeroglíficos auditivos con películas como "My Fair Lady" o "Los intocables".

Our month of Oscar-winning radio detectives continues with Rex Harrison, winner of the Best Actor prize for My Fair Lady and the debonair sleuth of The Private Files of Rex Saunders. We'll hear Rex as Rex in "When You Play a Game With Death" (audition recording from April 13, 1951), "A Shocking Still Life" (originally aired on NBC on May 9, 1951), "Diamonds Can Be Done to Death" (originally aired on NBC on May 16, 1951), and "A Murder Deep in A Killer's Mind" (originally aired on NBC on June 20, 1951).

To honor its 70th anniversary, I'm featuring the music of MY FAIR LADY.

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Migdalia Cruz: Award-Winning Playwright Migdalia Cruz, an award-winning playwright and the translator/adaptor of Shakespeare's “Macbeth” at the Magic Theatre, in conversation with host Richard Wolinsky, discussing her play, her career, and her ideas about the nature of theatre. Migdalia Cruz is best known for her plays “Featherless Angels” and “Miriam's Flowers” studied playwrighting with the legendary Irene Fornes before embarking on her own career. With fifty plays under her belt, she has been produced in numerous venues around the United States. She has also translated plays from Spanish. Growing up in the South Bronx, to Puerto Rican parents, she originally planned to study math but found that theatre was her real calling. Her focus is on social justice, and presenting voices of those who rarely have voices in the American arts. “Macbeth,” the Scottish play, has been reset in New York in the 1970s, and in Brooklyn for this production. The three witches become a major element of the play, and here both Macbeth and Lady Macbeth are played by women. The interview was recorded by computer on March 3, 2026.   Review of “Paranormal Activity” at ACT Toni Rember (Geary) Theatre through March 22, 2026.   Review of “All My Sons” by Arthur Miller at Berkeley Rep Roda Theatre through March 22, 2026.     Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. Some venues operate Tuesday – Sunday; others for shorter periods each week. All times Pacific Time. Closing dates are sometimes extended. Book Stores Bay Area Book Festival  See website for highlights from the 110th Annual Bay Area Book Festival, May 31 – June 1, 2025. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.  Monthly Event Calendar. BookShop West Portal. Monthly Event Calendar. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Green Apple Books. Events calendar. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actors Ensemble of Berkeley.  See website for readings and events. Actor's Reading Collective (ARC).  See website for upcoming productions. African American Art & Culture Complex. See website for calendar. American Conservatory Theatre  Paranormal Activity, Feb. 19 – March 15, Toni Rembe. Awesome Theatre Company. See website for information. BATS Improv Improvised theatre. See website for schedule. BATS Bayfront Theatre, Fort Mason Center, San Francisco. Berkeley Playhouse. Once, February 20 – March 22.  Berkeley Rep. How Shakespeare Saved My Life written and performed by Jacob Ming-Trent .January 23 – March 1, Peets Theatre. All My Sons by Arthur Miller, Feb. 20 – March 29, Roda Theatre. Berkeley Shakespeare Company See website for upcoming productions. Brava Theatre Center: See calendar for events listings. BroadwaySF: The Notebook, February 10 – March 1, Orpheum. See website for complete listings for the Orpheum, Golden Gate and Curran Theaters. note: BroadwaySF is now ATG Tickets. Broadway San Jose:  The Book of Mormon, March 6-8. Beetlejuice, March 31 – April 5. Les Miserables, April 29 – May 3. Back to the Future, June 2 – 7. The Sound of Music, July 21-26, Center REP: Lost in Yonkers by Neil Simon, March 29 – April 19. Central Stage. See website for upcoming productions, 5221 Central Avenue, Richmond Central Works After Happy by Patricia Milton, Feb. 28 – March 29. Cinnabar Theatre. The Christians by Lucas Hnath, April 10-26, The Secret Garden, June 12 – 28. Club Fugazi. Dear San Francisco, ongoing. Closed Monday and Tuesday. Contra Costa Civic Theatre A Chorus Line, June 6 – 21, 2026. See website for other events and concerts. Golden Thread  See website for upcoming events and productions. Hillbarn Theatre: Songs for a New World, music and lyrics by Jason Robert Brown, March 5 -22. Lorraine Hansberry Theatre. 2026 season: Sistahfriend by Phaedra Tillery-Boughton, Magic Theatre, May 15-17; African Stew by Dr. Lisa B. Thompson, Sept. 10-27. Magic Theatre; Soulful Christmas, December, Magic Theatre. Los Altos Stage Company. Treasure Island, A New Adventure by By A.J. Allegra, James Bartelle and Alex Martinez Wallace, March 13-22.. Lower Bottom Playaz  See website for upcoming productions. Magic Theatre. Macbeth, a new version by Migdalia Cruz. March 18 – April 5. Marin Shakespeare Company: One for All Solo Festival, hosted and curated by Josh Kornbluth, March 6-22. See website for schedule. Marin Theatre:  60th Anniversary Gala, April 19. Pictures from Home by Sharr White, May 7-31. Masquers Playhouse, Point Richmond. Improbable Fiction by Alan Aykbourn, Feb. 6 – March 1. Mission Cultural Center for Latino Arts Closed. SF Chronicle gift article. New Conservatory Theatre Center (NCTC)  Gods and Monsters based on the novel by Christopher Bram, written and adapted by Tom Mullen, March 6 – April 5. New Performance Traditions.  See website for upcoming schedule Oakland Theater Project. Assassins, March 29 – April 5. The House of Bernarda Alba by by Federico Garcia Lorca, adapted by Chay Yew, May 22 – June 7. The Fre by Taylor Mac, June 18-28. Odd Salon: Upcoming events in San Francisco & New York, and streaming. Palace of Fine Arts Theater.  See website for event listings. Pear Theater. My Fair Lady, Feb 20 – March 8. See website for staged readings and other events. Playful People Productions. The One-Act Play That Goes Wrong, March 6 – 22. Presidio Theatre. See website for complete schedule of events and performances. The Children's Theatre Association of San Francisco (CTA) presents Once Upon a Mattress, January 24 – February 28. Ray of Light: Mean Girls. May 2026. Ross Valley Players: See website for New Works Sunday night readings and other events. San Francisco Playhouse. M. Butterfly by David Henry Hwang. February 6 – March 14.. SFBATCO.  See website for streaming and in- theater shows. San Francisco Shakespeare Festival. Shakespeare on Tour: Julius Caesar, through May. See website for more information. San Jose Stage Company: See website for events and upcoming season Shotgun Players.  The Goat, or Who Is Sylvia by Edward Albee, March 21 – April 19. South Bay Musical Theatre:  On The Twentieth Century, April 19-20. SPARC: See website for upcoming events. Stagebridge: See website for events and productions. Storytime every 4th Saturday. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Lunatico  See website for upcoming productions.. Theatre Rhino  Left Field, written and directed by John Fisher, February 19 – March 15. Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. TheatreWorks Silicon Valley Primary Trust by Eboni Booth, March 4 – 29, Lucie Stern Theatre, Palo Alto. Word for Word.  See website for upcoming productions. Misc. Listings: BAMPFA: On View calendar for Berkeley Art Museum and Pacific Film Archive. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2025 Season. Dance Mission Theatre. On stage events calendar. Fort Mason Center. Events calendar.Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Gay Men's Chorus. See schedule for upcoming SFGMC performances. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. League of Livestream Theatre: See website for streaming plays. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org   . The post Bookwaves/Artwaves – March 12, 2026: Playwright Migdalia Cruz, Adaptation/Translation, “Macbeth” appeared first on KPFA.

Listen. Stay with us on this one. This week, Rachael and Ansel are joined by local actor Robb Krueger to talk about George Bernard Shaw's play Pygmalion and its musical adaptation My Fair Lady, neither of which has anything to do with Sherlock Holmes.... or do they?Contact the pod! Linktree at: https://linktr.ee/sherlocksayspod?fbclid=PAAaalIOau9IFlX3ixKFo3lsvmq6U1pYn8m3cf7N6aOqkqUGCljCO0R00KZ3E

Dana and Tom with 5x Club Member, Sarah Duncan (Sister of Tom, Daughter of Dana), discuss the silent action comedy, The General (1926) for its 99th anniversary: written and directed by Buster Keaton with Clyde Bruckman, Al Boasberg, and Charles Smith, cinematography by Devereaux Jennings and Bert Haines, music by William P. Perry, editing by Buster Keaton and Sherman Kell, starring Buster Keaton and Marion Mack.Plot Summary: The General is a silent comedy set during the American Civil War, starring Buster Keaton as Johnnie Gray, a devoted railroad engineer who cares more about his locomotive, called The General, than anything else. When Union spies steal his train, Johnnie sets off on a daring chase through enemy territory, using quick thinking, physical comedy, and sheer determination to get it back. Along the way, Johnnie also tries to prove his courage to his sweetheart Annabelle Lee, played by Marion Mack, after being rejected by the Confederate Army.Guest:Sarah Duncan - Sister of Tom, Daughter of Dana@thenomadicarchaeologist on IGPrevious Episodes: Zodiac, My Fair Lady, The Artist, Inglourious Basterds, The Great Dictator, Forrest Gump, Mr. Smith Goes to Washington, Knives Out, All Quiet on the Western Front (1930)Chapters:00:00 Introduction, Cast, and Background for The General05:16 Welcome Back, Sarah Duncan06:35 Relationship(s) with The General13:08 Buster Keaton - Best Silent Era Action Star?17:30 Plot Summary for The General18:14 What is The General About?21:27 Did You Know?25:44 First Break26:35 What's Happening with Sarah Duncan27:21 Best Performance(s)33:27 Best Scene(s)38:34 Second Break39:13 In Memoriam41:29 Best/Funniest Lines42:40 The Stanley Rubric - Legacy47:47 The Stanley Rubric - Impact/Significance52:05 The Stanley Rubric - Novelty57:50 The Stanley Rubric - Classicness01:03:59 The Stanley Rubric - Rewatchability01:07:01 The Stanley Rubric - Audience Score and Final Total01:08:50 Remaining Questions for The General01:11:51 Thank You to Sarah and Remaining Thoughts01:16:18 CreditsYou can also catch this episode in full video on YouTube.You can now...

Amidst an already exciting year of theatregoing in the United Kingdom, Mickey-Jo and his stagey fiancé @AeronJames are talking through some of their most anticipated plays and musicals in 2026.In and beyond the West End, from return engagements of Inter Alia and Cyrano de Bergerac, to new productions of The Greatest Showman and The Unlikely Pilgrimage of Harold Fry as well as regional revivals of My Fair Lady, Once, and more.Check out their respective recommendations and don't forget to share yours in the comments!•00:00 | introduction02:06 | Musicals in London10:21 | Plays in London18:26 | Off-West End shows26:44 | Regional Productions37:12 | conclusionAbout Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 95,000 subscribers. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. Instagram/TikTok/X: @MickeyJoTheatre Hosted on Acast. See acast.com/privacy for more information.

Nothing but class--an hour with one of the smoothest singers of the 1960s:  Matt Monro as he does Broadway tunes from My Fair Lady, Golden Boy, Cats, and many more.

Join Tyler as he revisits his high school days by reviewing My Fair Lady as well as the other Oscar nominated films Mary Poppins Becket Dr. Strangelove Zorba the Greek  

Nick welcomes the legendary Liz Robertson to MusicalTalk for a wide-ranging and intimate conversation spanning a remarkable life in musical theatre. Marking the 70th anniversary of My Fair Lady, Liz reflects on her experiences with the show and explores why it continues to charm, challenge and resonate with audiences seven decades on. From working alongside the incomparable Rudolf Nureyev to sharing life with lyricist Alan Jay Lerner, Liz offers candid insights into artistry, discipline, love, and legacy. Together, Nick and Liz consider the fascinating ways in which life imitates art – and art, in turn, imitates life.

Since 1944, the Golden Globes have offered an alternative to the Oscars and the Emmys. Giving us a boozier, looser take on the best in both TV and movies, the Globes have at their best championed less-obvious projects, and given early wins to actors and creators who would go on to be some of the entertainment industry's biggest stars. Of particular interest is the Best Film Musical or Comedy category, which has celebrated some of the less stodgy, but still incredibly well made, films that might not make the cut for the prestige-obsessed Academy Awards. So join us for one of our 2026 Patreon-sponsored episodes as the Great Pop Culture Debate attempts to name the Best Golden Globe Winner for Best Motion Picture, Musical or Comedy.Movies discussed: The Sound of Music (1965), The Lion King (1994), West Side Story (1961), Beauty and the Beast (1991), Mrs. Doubtfire (1993), Chicago (2002), Some Like It Hot (1959), The Graduate (1967), Cabaret (1972), Romancing the Stone (1984), Moulin Rouge! (2001), Almost Famous (2000), My Fair Lady (1964), Tootsie (1982), Working Girl (1988), Lady Bird (2017)Join host Eric Rezsnyak, Patreon sponsor Steve Nikoloff, and GPCD panelists Karissa Kloss and Kevin Dillon as they discuss and debate 16 of the most celebrated Globe-winning films.EPISODE CREDITSHost: Eric RezsnyakPanelists: Karissa Kloss, Kevin DillonPatreon Sponsor: Stephan NikloloffProducer: Bob ErlenbackEditor: Eric RezsnyakTheme Music: “Dance to My Tune” by Marc Torch#goldenglobes #goldenglobe #awards #awardshow #bestfilm #comedy #musical #comedyfilms #musicalfilms #thesoundofmusic #somelikeithot #workinggirl #tootsie #mrsdoubtfire #almostfamous #romancingthestone #beautyandthebeast #thelionking #chicago #cabaret #thegraduate #moulinrouge #ladybird #podcastSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

durée : 01:28:36 - Concert : " Love Life ", une comédie musicale inédite de Kurt Weill et Alan Jay Lerner - par : Laurent Valière - Comme chaque début d'année, 42e rue vous offre son concert du Nouvel An ! Aujourd'hui, une comédie musicale jamais enregistrée "Love Life", la première comédie musicale concept dès 1947, la collaboration entre Kurt Weill et Alan Jay Lerner, l'auteur de "My Fair Lady". - réalisé par : Céline Parfenoff Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Mit zwölf Jahren sieht sie Franco Zeffirellis «La Traviata» im Fernsehen. Tief beeindruckt beschliesst sie, Opernsängerin zu werden. Während des Studiums erleidet sie nach einer unsachgemässen Intubation ein Stimmbandödem. Sie lehnt eine Operation ab und wählt den Weg der langsamen Heilung. Während anderthalb Jahren spricht und singt sie kaum. 1995 debütiert Damrau als Eliza in «My Fair Lady» in Würzburg. Bald darauf erobert sie als Königin der Nacht in Mozarts «Zauberflöte» die grossen Bühnen - von Wien bis New York. Kritiker loben ihre Technik und Bühnenpräsenz. Damrau gilt als Diva ohne Allüren. Als sie 2013 als Violetta in Verdis «Traviata» an der Mailänder Scala auf der Bühne steht, ist ihr Mädchentraum wahr geworden. Die Süddeutsche Zeitung schreibt, Damrau habe die höchste Stufe des Operngesangs erreicht: die Callas Stufe. Wie die Mutter zweier Söhne Bühne und Familie vereint, warum die Königin der Nacht zu ihren Lieblingsrollen zählt und weshalb sie sich als Bühnentier sieht, erzählt Diana Damrau in «Musik für einen Gast» bei Simon Leu. Die Musiktitel: - Giuseppe Verdi: La Traviata: 1. Act, E'strano (Maria Callas / Coro Cetra / Orchestra Sinfonica di Torina de la Rai / Gabriele Santina, Leitung) - Edvard Grieg: «Morgenstimmung», aus Peer Gynt (Berliner Philharmoniker / Herbert von Karajan, Leitung) - Wolfgang Amadeus Mozart: «Der Hölle Rache kocht in meinem Herzen», Arie der Königin der Nacht, aus «Die Zauberflöte» (Edda Moser, Sopran / Bayerisches Staatsorchester München / Wolfgang Sawallisch, Leitung) - Michael Jackson: Thriller - Richard Strauss: «Die Zeit, die ist ein sonderbar Ding». Arie der Marschallin aus «Der Rosenkavalier» (Philharmonia Orchestra / Elisabeth Schwarzkopf, Sopran / Otto Edelmann, Bass / Herbert von Karajan, Leitung) Der Einspieler: Wolfgang Amadeus Mozart: «O zittre nicht, mein lieber Sohn - Zum Leiden bin ich auserkoren». Rezitativ und Arie der Königin der Nacht, aus «Die Zauberflöte» (Diana Damrau, Sopran / Cercle de l'Harmonie / Jérémie Rhorer, Leitung)

Hour 3 of the Day After Christmas Best Of Conway mixes heart, humor, and classic Conway confusion. Tim starts with a jaw-dropping story about an elderly couple hit with an $8,000 water bill, sparking disbelief and outrage.Things turn sentimental and funny as Tim remembers a beloved radio bit with his dad, playing his father’s echo — a true Conway family classic. The chaos returns when Tim recounts his early-morning misadventures at CVS and Starbucks, proving nothing good happens before sunrise.The hour wraps with a perfect Conway mishap: Tim tells the story of buying the wrong tickets and ending up at My Fair Lady instead of Wicked.Unexpected bills, legendary radio memories, everyday disasters, and Broadway confusion — the perfect way to wrap the Best Of.

RMR 0346: Join your hosts, Chad Robinson, Dustin Melbardis, Lizzy Haynes for the Retro Movie Roundtable as they revisit It's a My Fair Lady (1964) [G] Genre: Musical, Drama, Family, Romance, Comedy   Starring: Audrey Hepburn, Rex Harrison, Stanley Holloway, Wilfrid Hyde-White, Gladys Cooper, Jeremy Brett, Theodore Bikel, Mona Washbourne, Isobel Elsom, John Holland            Directed by: George Cukor Recorded on 2025-12-03

Pascal Archer is the Principal Clarinetist of several orchestras including the Princeton Symphony Orchestra. He's played with several Broadway Shows including Sweeney Todd, Mary Poppins, South Pacific, On the Town, Fiddler on the Roof and My Fair Lady. He is also the founder of Exponential Ensemble, a mixed chamber music group that creates educational programs and commissions new works connecting music with math, science and literacy.My featured song is “Ma Petite Fleur String Quartet”, my latest release. Spotify link.—-----------------------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH PASCAL:www.exponentialensemble.com—----------------------------------------ROBERT'S LATEST SINGLE:“MA PETITE FLEUR STRING QUARTET” is Robert's latest release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars.CLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—---------------------------------------ROBERT'S RECENT SINGLE“MI CACHIMBER” is Robert's recent single. It's Robert's tribute to his father who played the trumpet and loved Latin music.. Featuring world class guest artists Benny Benack III and Dave Smith on flugelhornCLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—--------------------------------------ROBERT'S LATEST ALBUM:“WHAT'S UP!” is Robert's latest compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com  

Launch your holidays by celebrating a beloved model of a modern major comedic opera! On his 21st birthday, a dashing young pirate apprentice prepares to finally be freed from servitude. Arriving back on land for the first time, he plans to live a dutiful and honorable adulthood. But there's a snag - check his birth certificate! A bevy of local beauties, conscientious pirates and their King, a wily and witty old waiting woman, an incompetent madcap Major General, a troop of troglodyte policemen, and a parade of ingenious paradoxes all portend to make Quintessence your delightful winter destination! NOV 19, 2025 - JAN 4, 2026ABOUT TREVOR MARTINTrevor Martin is a versatile actor, singer, and musician currently based in NYC. Described as a “classically-trained baritone, perfect for the Golden Age of musical theater,” Trevor has made a comfortable home both in the operatic and musical theater genres. He was winner of the prestigious Lotte Lenya Competition sponsored by the Kurt Weill Foundation in 2019, and was selected as a quarterfinalist for the American Traditions Competition for 2021.Most recently, Trevor performed in two back-to-back productions of My Fair Lady as Henry Higgins — one with Union Avenue Opera, and the other at Ivoryton Playhouse. Earlier this year, he made his role debut as Dan Goodman in Next to Normal with Revival Theatre Company and as Nick/Low Righteous Brother in Beautiful at Riverside Theatre. Last year he performed the role of Thomas Andrews in Titanic with North Shore Music Theatre and in two back-to-back productions of Carousel as Billy Bigelow — one with Intermountain Opera Bozeman, and the other at The Wick Theatre in Boca Raton, FL. He opened the Global Tour of Jack O'Brien's production of The Sound of Music as Captain Von Trapp in 2022 and 2023 and made his Indianapolis Symphony Orchestra debut as Commander Harbison in their concert performance of South Pacific, as well as covering Nathan Gunn as Emile and Nick Adams as Lt. Cable.Chapters00:00 Introduction to the Podcast and Guests02:26 Exploring the Joy of Performing Pirates of Penzance05:58 Trevor's Journey from Music to Theater08:38 Thematic Elements of Pirates of Penzance11:32 The Humor and Social Commentary in the Show15:43 Rehearsal Dynamics and Cast Interactions18:55 Audience Reactions and Engagement24:29 The Impact of Live Theater in a Digital Age29:13 Trevor's Future Projects and Experiences in PhiladelphiaFOR TICKETS AND INFORMATION: https://www.quintessencetheatre.org/pirates

Welcome to Part 2 of the two-part Special Episode introducing my new release, “MA PETITE FLEUR STRING QUARTET”. This work transforms my jazz ballad into a lush classical string quartet piece. The work has been praised by a host of Classical Music Stars, all of whom are listed below. In Part 1 yesterday we listened to this new work. In Part 2 today we're going to introduce the incredible musicians who brought this piece to life.David Shenton is the genius arranger behind this work. David is an English pianist, violinist, composer and arranger. He started playing the violin at age 7 and he's composed hundreds of works from small piano pieces to full-length operas. Violinist Katie Thomas is a soloist, chamber musician, studio violinist and concert-mistress. She's played on Grammy winning albums and also recorded with artists like Rosanne Cash, The O'Jays, Jimmy Fallon and the animation series “Dragons”. Violinist Erica Dicker works in a wide variety of musical settings in both notated and improvised music. She is a member of the electro-acoustic trio Vaster Than Empires. She is also a founding member of the horn-trio Kylwyria. And she's known for her work with composer and multi-instrumentalist Anthony Braxton.J.J. Johnson has been the violist at Radio City Music Hall. His Broadway musical experience has included On The Town, Cats, Fiddler On The Roof, An American In Paris, Wicked, My Fair Lady, and Sunset Boulevard. He has also appeared on the Late Show with David Letterman. Dave Eggar is a Rock Star cellist who recently was a guest on the podcast. He's a 5x Grammy nominee. He's worked with Paul Simon, John Legend, Norah Jones, Foreigner, Josh Groban and Train. And it's his cello that opens Coldplay's massive hit "Viva La Vida".CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS----------------------------------------------------------Praised by:Steven Beck - Concert PianistJeffrey Biegel - Concert PianistMarina Chiche - Concert ViolinistJoAnn Falletta - Conductor, Buffalo PhilharmonicYolanda Kondonassis - Concert HarpistShawn Okpebholo - ComposerAmit Peled - Concert CellistLucas Richman - Conductor, Bangor SymphonyLlewellyn Sanchez-Werner - Concert PianistJason Vieaux, Classical Guitarist—-----------------------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcastClick here for Robert's “Dream Inspire” App—----------------------------------------ROBERT'S NEW “DREAM INSPIRE” APPYour personalized Coach to Motivate, Pursue and Succeed at Your DreamCLICK HERE—----------------------------------------ROBERT'S LATEST SINGLE:“MI CACHIMBER” is Robert's latest single. It's Robert's tribute to his father who played the trumpet and loved Latin music.. Featuring world class guest artists Benny Benack III and Dave Smith on flugelhornCLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—--------------------------------------ROBERT'S LATEST ALBUM:“WHAT'S UP!” is Robert's latest compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

To celebrate our 600th episode, we're highlighting my favorite songs from my favorite shows--Broadway winners, every one, from On the Twentieth Century, Show Boat, My Fair Lady, Sweeney Todd, and more.