Podcasts about Orson

This week, I received an interesting question from Orson in Thailand about using HRV as a fighter.After coaching fighters and analyzing performance data for over 15 years, I'll share something counterintuitive:Some of your best training sessions might happen on days when your HRV scores suggest otherwise.Here's what the research and practical experience shows:Recovery Scores Are Signals, Not Stop Signs* Low HRV indicates an increased stress load* High HRV suggests parasympathetic dominance* Neither absolutely dictates training intensityKEY MOMENTSFollow along using these quick timestamps:00:00 HRV Monitoring For Fighters00:12 Understanding Different HRV Systems00:59 Low HRV Scores: Why You Can Still Train Hard01:20 The Four-Week Training Cycle Explained01:59 Balancing Data With How You Feel02:27 High-Intensity Weeks: Managing The Red Flags02:53 Stop Micromanaging Your HRV Scores03:19 The Bigger Picture: Beyond Daily Readings04:02 When Multiple Red Flags Really Matter04:21 Making Smart Training AdjustmentsFurther notes and resources at https://heatrick.com/2025/06/13/when-to-ignore-your-hrv-score-and-why/

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

Jedha, Kyber, Erso. Mal and Jo return to recap the final three episodes of ‘Andor' Season 2. They break down Dedra's fate, Kleya and Luthen's backstory, the build-up to ‘Rogue One', and more. (00:00) Intro (04:32) Opening Snapshot (20:40) Lonni Shares the Endgame (57:41) Dedra and Axis Face Off (01:20:51) Panic at the ISB (01:25:26) Luthen and Kleya: An Origin Story (01:53:01) Kleya Hits the Hospital (01:58:58) Heart Begins His Hunt (02:04:23) Dedra Faces Krennic (02:15:42) Kleya Signals for Help (02:28:34) Orson and Lio! (02:34:57) Mission Kleypossible (02:46:28) The Not-So-Safehouse (02:52:46) The Yavin Push Begins (03:06:25) Reflections and Remembrances (03:15:58) “One Single Thing Will Break the Siege” (03:21:53) The Road to Rogue (03:35:06) The End Hosts: Mallory Rubin and Joanna Robinson Producers: Steve Ahlman and Carlos Chiriboga Social: Jomi Adeniran Additional Production Support: Arjuna Ramgopal Learn more about your ad choices. Visit podcastchoices.com/adchoices

durée : 00:50:20 - Affaires sensibles - par : Fabrice Drouelle, Franck COGNARD - Aujourd'hui dans Affaires Sensibles, la Guerre des Mondes, d'Orson Welles. Ou l'histoire d'une panique généralisée qui, en fait, n'a pas eu lieu. - réalisé par : David Leprince

Today, we're thrilled to welcome Pat Finn back to Orson, Indiana! You know him as Bill Norwood, but Neil Flynn knows him as his buddy from Chicago. Pat helps us break down episode 211, "Taking Back the House," and he's a filled with great stories - from meeting Neil on a baseball diamond, to crossing paths at his audition, to his favorite episode (which, of course, features Neil). Plus we listen to a voicemail from someone whose life spookily mirrors every aspect of Sue Heck's!WE HAVE MERCH! Get yours at: https://www.bonfire.com/middling! Whether you want the famed yellow Cross-Country hoodie, a crew-neck sweatshirt, or a t-shirt... we got you! They also come in a variety of colors and are so, so comfy. This merch a symbol of our shared love for the show and our podcast community. And we hope you love it as much as we do.Want extended episodes and video? That's all happening at Patreon.com/MiddlingPod. You can subscribe monthly or purchase one off episodes!Wanna chat with us?! Click HERE to leave us a voicemail with your questions or comments. You could just hear it on the podcast...All that and much more, so let's get to Middling! Hosted on Acast. See acast.com/privacy for more information.

In this episode of the Square Round Table Podcast, we dive deep into Season 2 of the Star Wars series 'Andor.' We discuss our thoughts on the pacing, character arcs, and historical relevance of the storyline, particularly focusing on the first six episodes. We examine the political intrigue, character motivations, and potential future developments, speculating on appearances from significant Star Wars characters. If you're a fan of Star Wars and love to hear in-depth analyses about its series, this episode is for you!

Watch on Philo! - Philo.tv/DTHWe meet a little girl named Jyn. Her family is in hiding. One day, the bad guy Orson shows up to tell Jyn's dad, Galen, that they need him to come back and finish the Death Star. Galen's like, “I wouldn't be any use—I'm just a sad sack ever since my wife died.” Suddenly, his wife comes running out of the field—so really bad timing, honestly. She has a gun and she's like, “You'll never take him!” Orson's like, “I'm taking you all.” She shoots him. They shoot her. Orson tells his guys to go find the child, but Jyn is really good at hide-and-seek. She waits in the secret spot until a dude named Saw shows up. It's clear they know each other.Fast forward some time—Jyn is now an adult and in a holding cell. Meanwhile, a cargo pilot named Bodhi shows up and claims to Saw that he wants to join the Rebels.Jyn is being transferred with other prisoners when Rebel forces suddenly break in and free them, led by Cassian Andor. Together, they fight stormtroopers and escape.They take a reprogrammed Imperial droid named K-2SO and head somewhere else, where they encounter more stormtroopers who are gathering crystals to power the Death Star.They're about to get captured, but a blind spiritual warrior named Chirrut Îmwe and his mercenary friend Baze Malbus help them out. This allows Jyn to make contact with Saw, who is holding Bodhi. She sees a message in which Galen reveals that he secretly built a vulnerability into the Death Star. The schematics are stored in an Imperial data vault.Onboard the Death Star, Orson orders a test strike on the moon where the gang is. Jyn and her group take Bodhi and flee, but Saw stays behind and dies.Orson gets an atta boy from his higher-up.Bodhi leads the group to Galen's Imperial research facility. Rebel bombers attack the site. Galen is wounded and dies in Jyn's arms before she escapes with the group on a stolen Imperial cargo shuttle.Orson is summoned by Darth Vader—he's back, baby!—to explain the attack. Orson's like, “Now that you've seen my work, maybe introduce me to the Emperor?” Vader force-chokes him and says, “Get back to work and don't cause any more trouble.”Jyn proposes a mission to steal the Death Star schematics, but the Alliance Council thinks there's no chance of success. Frustrated by their inaction, Jyn's group leads a small squad of volunteers—Bodhi dubs them “Rogue One.” Jyn, Cassian, and K-2SO infiltrate the Imperial base while the others create a diversion with a space battle.The Alliance eventually joins the fight, sending their fleet. Jyn gets the schematics but is ambushed by Orson, who is shot and wounded by Cassian. Jyn transmits the schematics to the Rebel command ship just before the Death Star fires a beam that destroys the base—and them.The Rebel fleet tries to escape, but many ships are intercepted by Darth Vader. He boards the command ship and wrecks everyone in an attempt to recover the plans, but a smaller ship escapes with them. Princess Leia declares that the schematics will provide hope for the Rebellion—some might even call it a new hope.

A dramatic SundayFirst a look at this day in History.Then Suspense, originally broadcast April 13, 1944, 81 years ago, The Marvelous Barrastro starring Orson Welles.  A great story with Orson doing his usual magnificent job playing two roles in two different Italian dialects!Followed by The Radio Guild, originally broadcast April 13, 1940, 85 years ago, Ineffable Essence Of Nothing.  A Fantasy for Radio.   A man walks through an enchanted doorway into his own future.Then Freedom USA starring Tyrone Power, originally broadcast April 13, 1952, 73 years ago, The Man Who Committed Suicide.  There is possible fraud and collusion in the "defense effort." Senator Dean Edwards is heading a Senate investigating committee to look into the matter. Followed by The CBS Radio Workshop, originally broadcast April 13, 1956, 69 years ago, Jacobs Hands. A story about a farm hand who discovers he has the power to heal. Christopher Isherwood, the co-author with Aldous Huxley, narrates the play with Vic Perrin and Virginia Gregg starring.Finally Lum and Abner, originally broadcast April 13, 1942, 83 years ago, Prize for Best Suggestion.  The boys decide the prize for the best suggestion of what to do with the $10,000 should go to old man Quincy; let's build a toll bridge in Pine Ridge!Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html

I love the stories of individuals in D&C 30-36.  The one in D&C 34 with young Orson Pratt is relevant to anyone who is new to the faith and has just been called to serve, but is not sure what to share.If you'd like to view the video that goes with this podcast, click here

Section 30 - Historical Background: Following the second conference of the Church at Fayette, the Lord provided revelations to several new converts who were anxious to know what God would have them do. This revelation was to three of the Whitmer brothers, David, Peter Jr. and John. Recap: David Whitmer, one of the three witnesses, is admonished for fearing man more than God and for not giving heed to the Spirit. Therefore he is to remain home and ponder upon his situation. Peter is called on a mission to the Lamanites with Oliver Cowdery, who will be the senior in the companionship. John was called on a mission to declare the gospel within the area and was counselled not to fear man. Section 31 - Historical Background: Thomas B Marsh was a recent convert from Massachusetts who was baptized in August 1830 by David Whitmer. In September he attended the conference in Fayette and received this personal revelation from Joseph. Recap: The Lord is pleased with the dedication of Thomas B Marsh and he is promised blessings for him and his family. He is called on a mission to people whose hearts will be opened by God. Branches of the church will be established by Thomas. He is not assigned to a specific area but is to follow the Spirit where to go and preach. Section 32 - Historical Background: Parley P Pratt was a former minister who read the Book of Mormon and knew it was true. He was baptized in early September, 1830. He immediately went to his brother Orson who immediately accepted the gospel. Within a month Parley received this revelation along with Ziba Peterson. Recap: Parley was called on a mission to the Lamanites along with Oliver Cowdery and Peter Whitmer. Ziba Peterson was also called to join them. They are reassured that God will be in their midst. Section 33 - Historical Background: Ezra Thayre and Northrop Sweet were mediocre members and lacked in zeal, yet asked for this revelation pertaining to their purpose. Recap: Ezra and Northrop are called to preach. The Lord encourages them go forth and open their mouths. Faith, repentance, baptism by water and fire constitutes the rock of the restored church. They are to use the Book of Mormon as their manual. Section 34 - Historical Background: At the age of 19, Orson Pratt was introduced to the gospel by his brother Parley. He immediately embraced the doctrine and was baptized. He traveled to Fayette to meet the Prophet Joseph and received this revelation. Recap: Christ is a light which the wicked don't comprehend. Orson is called to preach to the wicked before Christ comes again, which will be quickly. Section 35 - Historical Background: Sidney Rigdon was a Baptist minister who became discouraged and moved to the Campbellite church. He was introduced to the Book of Mormon and after 2 weeks was baptized. After meeting Joseph he received this personal revelation, including the commandment to be Joseph's scribe. As a result of Sidney's fulfillment of this revelation, we have much of the recorded Doctrine and Covenants. Recap: Sidney Rigdon, like John the Baptist, has prepared the way for the Lord. God calls upon the weak and unlearned to respond to His call. The Lord testifies to Sidney of the prophetic calling of Joseph. Sidney is to watch over Joseph and support him. He is commanded to be Joseph's scribe and forsake him not. Section 36 - Historical Background: Edward Partridge arrived in Fayette with Sidney Rigdon and wanted to meet Joseph to decide for himself if he was a prophet. When Sidney introduced him the spirit immediately confirmed to Edward that Joseph was indeed a prophet of God. Edward desired immediate baptism but Joseph needed rest and baptized him the following day. Sidney asked Joseph for the Lord's guidance and the following revelation was given for Edward (see Section 35 for Sidney's revelation). Recap: Sidney Rigdon is instructed to lay hands upon Edward and confirm him a member and give him the gift of the Holy Ghost. Edward is then called to preach the Gospel, as are all those who desire to be sent forth with a singleness of heart.

Comedy on a WednesdayFirst a look at the events of the dayThen Fibber McGee and Molly, originally broadcast April 2, 1946, 79 years ago, Car Ignition Lock.  Fibber is working on his "McGee Protecto Rejecto Ignition Lock."Followed by The Great Gildersleeve starring Willard Waterman, originally broadcast April 2, 1952, 73 years ago, Colorful Past. Is Gildersleeve really William Cosgrove? Cosgrove's wife is in town, and she insists that Gildersleeve is her husband!Then The Charlie McCarthy Show, originally broadcast April 2, 1944, 81 years ago, with guest Orson Welles. Followed by George Burns and Gracie Allen, originally broadcast April 2, 1945, 80 years ago, Gracie needs a fur coat.  George decides to go rabbit hunting. Finally, Lum and Abner, originally broadcast April 2, 1942, 83 years ago, Ways to Spend The Money.   What to do with the $10,000 left by Diogenes? How about an art museum? An elevator?Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day

This episode was originally released on 5/1/2018. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes beginning with this episode on the birth of radio. ___________ In Breaking Walls Episode 79, we present a detailed look at Orson Welles' radio career through the end of 1941. Highlights: • Beginnings in Illinois and China — How they helped shape Orson • The Todd Seminary School — His first exposure to theater and Radio • Connections and Early Breaks — How his mentor Roger Hill, Thornton Wilder, Alexander Woollcott, and Katharine Cornell helped Orson get to Broadway • Orson meets John Houseman and Archibald MacLeish, and first appears on the March of Time • 1935-1937 — From the March of Time to the Columbia Workshop, and how Irvin Reis taught Orson how to create for radio • How the US Government shaped the opportunity for Orson to write, direct, and star in Les Misérables on the Mutual Broadcasting System in 1937
 • The Shadow Knows! — Agnes Moorehead and Orson Welles' one season on The Shadow • The birth of the Mercury Theater on the Air as First Person singular. • How it's success led to the most infamous night in radio in October of 1938 • Mainstream success with Campbell's Soups • Orson goes to Hollywood, and signs the greatest autonomous film contract in history at 24 • Citizen Kane — How William Randolph Hearst and RKO shaped the film • Lady Esther Presents — Orson comes back to radio in the autumn of 1941 • Pearl Harbor Day and collaborating with Norman Corwin • Joseph Cotton introduces Orson to Rita Hayworth The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers The reading material used in today's episode was: • Citizen Welles: A Biography of Orson Welles by Frank Brady • This is Orson Welles by Welles and Peter Bogdanovich • The Encyclopedia of Old-Time Radio by John Dunning • Discovering Orson Welles by Jonathan Rosenbaum Other materials included: • http://www.wellesnet.com - an incredibly comprehensive website on Orson's career • Orson Welles on the Air, 1938-1946 at https://orsonwelles.indiana.edu • The Radio Preservation Task Force also has a great Facebook group headed by Josh Shepperd Selected Interviews in this episode were: • Orson Welles with Dick Cavett, Johnny Carson, and Huw Wheldon, • Agnes Moorehead and Alan Reed were with radio Hall of Fame Member Chuck Schaden, who interviewed over 200 members of the radio community during his 39 year career. Chuck's interviews can be streamed for free at SpeakingofRadio.com. • William Robson was with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio in January of 1976 and Kenny Delmare was with John Dunning in 1983. Those interviews can be found at the Old Time Radio Researcher's Group at Otrrlibrary.org • William Herz was with Walden Hughes and John and Larry Gassman in 2013 for their program on the Yesterday USA Radio Network, which you can visit at http://www.yesterdayusa.com.

Borges called CITIZEN KANE a "labyrinth with no center" but it was the center of the labyrinth that was Orson Welles, and our final destination in the second half of this tour of the magician's career, after we pass through TOUCH OF EVIL (1958), THE TRIAL (1962), THE IMMORTAL STORY (1968), F FOR FAKE (1975), and THE OTHER SIDE OF THE WIND (2018)... and realize that in his flaws, if not his greatness, Orson Welles was a lot like us.   With Darius Csiky of 8pl8s podcast   For the full 2 hour episode, and twice as many overall, subscribe to the show at patreon.com/filthyarmenian -- you'll also get regular "smoke break" reports on topics of the day and exclusive access to our coveted live events.    Follow us on X/insta @filthyarmenian

Orson Scott Card is the author of Ender's Game, one of the most influential science fiction novels ever written, and its sequel Speaker for the Dead, among other bestselling works. Ender's Game is widely read in schools across the US and has been included in some educational curricula. In our conversation, we explore: His approach to creating page-turners: Why telling users what's coming beats clever "hooks"  His method of ensuring the reader understands his writing (great for design teams)  His unique perspective to character development that could help with customer interviews  The one trick Orson uses for getting real feedback This episode teaches product teams how to apply storytelling principles to build more engaging, intuitive products. Whether you're working on marketing, user experience, or team leadership, Orson Scott Card's insights on crafting immersive narratives that respect both audience and reality offer valuable lessons for anyone building products people love (and pay for). Enjoy this episode? Rate it and leave a review. It really helps others find the podcast.Learn more about Kristen and Irrational Labs ⁠here⁠.

A Dangerous SaturdayFirst a look at the events of the dayThen The Lives of Harry Lime starring Orson Welles, originally broadcast February 1, 1952, 73 years ago, The Dark Enchantress.  A young lady in the Algerian casbah needs the help of Harry Lime.Followed by Ceiling Unlimited, originally broadcast February 1, 1943, 82 years ago, The Future. The program starts with a scene set at La Guardia airport...three years in the future. "President Roosevelt" is briefly heard honoring Colin Kelly. Orson reads a statement written by the Archbishop of Canterbury, as quoted in an ad by Pan Am in Time magazine. He "nominates" the sound effect of an airplane engine as a flag for the future...a trumpet call announcing tomorrow!  Then Escape, originally broadcast February 1, 1953, 72 years ago, A Study in Wax starring William Conrad.   Two men are stuck in an Arctic cabin for six months. When the radio stops working, they start getting on each other's nerves. Tragedy follows. Followed by Mr, District Attorney starring David Brian, originally broadcast January 30, 1953, 72 years ago, The Case of the Man with the Gold Teeth.  While holding up a check cashing service, a bandit kills a clerk and fatally smashes a car during his getaway. The killer has some very noticeable gold teeth. Then Lum and Abner, originally broadcast February 1, 1944, 81 years ago, Lum Hires Customers. Lum has hired a bunch of hairy hillbillies to stand in line in front of his barbershop so people will think his shop is busy. This was not his brightest idea!Finally, Claudia, originally broadcast February 1, 1949, 76 years ago, Schoolhouse Plans.   A visit to the site for the new schoolhouse. Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day

Avec le Père Orson

Un pequeño especial del gato Naranjo más famoso... Garfield.... y la Granja de Orson.

Support Breaking Walls at https://www.patreon.com/thewallbreakers It's a little after midnight on the morning of Monday January 9th. We're at P.J. Clarke's on the corner of 55th street and 3rd avenue, getting warm the best way we know how. The weather is nasty outside. It's about fifteen degrees with freezing rain and gale force winds. Clarke's is a bar from another time. It's wonderfully trapped in nostalgia—all burnished wood and chased mirrors. Orson Welles is opening King Lear at The City Center to good reviews. The years in Europe did him well, but he's happy to be back in New York. Welles is in the back with none other than Frank Sinatra. They've known each other since the 1930s, and since they both missed each other's fortieth birthdays last year, we're celebrating. Joining us is Jilly Rizzo and Bill Stern. The next round of drinks is on me. That's Daniel Levazzo. He bought the bar from the Clarke family a few years ago. Hey Dan, three Jacks straight up, a negroni for Orson, and I'll have Hendricks on the rocks. You want something? Hey Dan, let me borrow your phone, I've got to file my story. Hello Operator, give me CBS at 485 Madison Avenue please. (Beat) Yes I know what time it is. I'm a producer there. (Beat) Put me through. (Beat) Thank you. Some things never change. Hello Cindy, it's Scully. Is Ed Murrow still there? (Beat) Could you put me through to him? (Beat) Thank you. (Beat) Hey Ed, It's James Scully. I'm glad I caught you. Bill Paley's got you burning the midnight oil huh? (Beat) I did. Orson was good. I'm a P.J. Clarke's with him and Sinatra right now. Bill Stern's here too. You want to swing by? I'll get Dan Levazzo to break out the moonshine. (Beat) With those two? We'll be here a while. (Beat) Ha! Ok I'll see you soon. Ed Murrow's a good man. The gang will be happy to see him. Dan, Do me a favor, turn the TV up for a second. The Tonight Show with Steve Allen is just finishing on NBC-TV and there's a little news item on the tube before programming signs off. Everyone is talking about Grace Kelly's engagement to Prince Rainier III of Monaco. It was announced in Philadelphia on January 5th and their party is going to be at the Waldorf-Astoria Hotel here in New York. Grace and Rainier went their separate ways on Saturday. She's going back to Hollywood to keep working on High Society. The only thing is, one of her co-stars is Sinatra, and he'll be in no mood to fly to the coast tomorrow. That's not the only talk of love and marriage going on around New York City. Look at that Sunday Daily News cover. Heiress Juliette Wehle stood up her husband-to-be on their wedding day. She supposedly slipped away at 2AM wearing just a negligee to elope with another man. Don't worry, it's not a roving producer from CBS. The twenty-year-old heiress later returned home, unmarried. Excuse me, I'm missing out on the fun. Oh, before I go, I should say that the story of a woman jilting one man for another is ironically a centerpiece in the upcoming plot within Yours Truly Johnny Dollar's “The Todd Matter.” The first episode will air later tonight at 8:15PM over CBS radio. And remember, it stars Bob Bailey.

Support Breaking Walls at https://www.patreon.com/thewallbreakers It's a cold, rainy Sunday evening on January 8th, 1956. We're heading south on Riverside Drive in Manhattan's Upper West Side. On the air is NBC's Monitor with a New World Today discussion about the differences in American life in the past twenty years. The United States is changing. Psychiatry is on the rise as the cold war rages onward. The internal Red Scare has subsided, but Secretary of State John Foster Dulles said this week that the U.S. won't stop testing nuclear weapons, despite pleas from Pope Pius XII on Christmas Day. While nuclear fears are understandable, the U.S. government thinks the USSR's presence in emerging nations means they can't be trusted to follow suit and stop their own testing. In Ecuador today, five evangelical American Christian missionaries were speared to death by members of the Huaorani people after attempting to introduce Christianity to them. Meanwhile, Algeria is in the midst of a war for Independence between France and the Algerian National Liberation Front. It began in November of 1954 and by now it's considered the world's only active war of note. It's a complex conflict characterized by guerrilla warfare and the use of torture. Gunsmoke is far and away radio's highest-rated dramatic show. It airs on CBS Sunday evenings with a Saturday afternoon repeat broadcast. The combined rating of 6.5 means somewhere between six and seven million people are still tuning in from their homes. When factoring in car and transistor radios, nearly ten million people are listening. CBS remains the home for the top-rated prime-time shows. Our Miss Brooks is pulling a rating of 4.3, and both Edgar Bergen and Two For The Money are pulling a 3.9. Meanwhile, on daytime radio, CBS has the twelve highest-rated programs. So where am I heading? I'm a roving CBS producer. I've worked on both coasts, including with Norman MacDonell on Gunsmoke in Hollywood, but last year programming directors Guy Della Choppa and Howard Barnes sent me back home to New York. I'm heading to the City Center at 131 West 55th street. I'm to cover a preview of Shakespeare's King Lear starring Orson Welles. It features Viveca Lindfors and Geraldine Fitzgerald and begins at 8:30PM. I helped with Welles' Omnibus production of Lear on CBS-TV in October 1953. I had drinks with him last week. He kept raving about two things: Carl Perkins' new hit, “Blue Suede Shoes,” and friend Jack Johnstone's production of Yours Truly, Johnny Dollar. Johnstone directed Welles' Almanac series from the west coast during World War II. I phoned Jack yesterday. He had this to say. Jack was sure to mention that this week's upcoming Dollar story would take place in New York. If all goes well, Orson might be interested in returning to network radio in some capacity. Welles is once again a father. His daughter Beatrice was born last November 13th. He's been looking for more stable projects and wants to get dinner after the performance. Lear doesn't officially open until Thursday the 12th. The City Center was built as The Mecca Temple and opened in 1923. It's part of a small section of galleries, apartments, and performing spaces, but development is possibly encroaching. Last April, The Mayor's Slum Clearance Committee, chaired by Robert Moses, was approved to designate the area just west in Lincoln Square for urban renewal. The residents, many of them Hispanic, have been protesting the decision, but Robert Moses usually gets his way.

Four aspiring cooks gather at Pandora's Oven to compete for the position of celebrity chef Butch Orson's protege and sous chef. Enjoy the premiere of Season 4: Yes, Chef! Today's competition will not only determine the character's fate but also which player will accompany Chef Orson for the rest of the season in a wild adventure of culinary combat and refried revenge. Yes, Chef was played on the beta version of Mischief our upcoming roleplay-first TTRPG! Available now at patreon.com/drimbus Visit Our Website: https://www.drimbus.com Cast Amanda Fernandez-Acosta (Kilana Golds) Hannah Schooner (Heather Morelli)(Editing) Michael Pisani (Charlie Twinkerton) Nick Benetatos (Butch Orson) Nicholas Palazzo (Shef Sheffe) Giancarlo Herrera (BG)(Sound Design) ------ Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:50:02 - Les Nuits de France Culture - par : Philippe Garbit, Christine Goémé, Albane Penaranda - réalisation : Virginie Mourthé

"The Middle" is an ABC sitcom that aired from 2009 to 2018. The show revolves around the Heck family, who live in the fictional town of Orson, Indiana. It focuses on the family as they navigate life's ups and downs. From financial challenges to school problems, "The Middle" captures the essence of a middle-class American family. "The Middle" was praised for its relatable portrayal of family life. It developed a loyal fan base over its nine-season run and is often remembered for its heartwarming and realistic depiction of the struggles and triumphs of an ordinary family. Will this one land well with the S1E1 boys or will they want to fly straight to the end? Listen as they deep dive the show's pilot episode. Starring: Patricia Heaton, Neil Flynn, Charlie McDermott, Eden Sher, Atticus Shaffer, Chris Kattan, & Brian Doyle-Murray www.S1E1POD.com MERCH Instagram & X (Twitter): @S1E1Pod

An inexperienced crew of administrators aspiring to be field operators are assigned to a distant star system, where they encounter a sentient nebula. Genre: Science Fiction   Excerpt: The newly appointed Captain Dorus gazed at his new crew, each one interviewed and hand-picked by him. The not-so-hotshot pilot, Orson, who retired early after she was nearly killed flying into a star during a practice maneuver. The experienced engineer, Rekha, whose tendency to tinker a little too much got her booted off the first four ships she was assigned to. A doctor, Shade, who had no specialty because she kept getting distracted by new discoveries. And the actor, Kellu, whose purpose there no one—including himself—quite understood.   What's the Writing Prompt that inspired the story?No prompt.  This idea came to me this morning, inspired by a binge-watch session of a show I once enjoyed (“Legends of Tomorrow,” Season 3).  I've always loved the idea of a ragtag crew onboard a spaceship having adventures and doing stuff together and…stuff.   MY FIRST BOOK IS OUT!Ever wonder how I've gotten all these hundreds of stories written?  I have a method. And I talk all about it in my book called Fictioneer's Field Guide: A Game Plan for Writing Short Stories. It's now available as an eBook, paperback, and hardcover. The book title takes you straight to the book on Amazon. Or you can visit my Store page: STORYFEATHER STORE (Hint: The Store page has a sign-up form for my email newsletter, where you can be a renegade by getting tales of my fictioneering mischief and writing tips from me for free.)   CREDITSStory: “The Renegade D.O.R.K.S.” Copyright © 2019 by Nila L. Patel Narration, Episode Art, Editing, and Production:  Nila L. Patel Music: “Trip-Hop Lounge Abstract Background” by Digital Emotions (Intro/Outro) Music by ANDREW SITKOV* “Abstract Vision #2” “Among the Stars” “Unknown Terrain” “Abstract Vision #7” “Abstract Vision #4” “Another World” “Dark Side” “First Contact” “Abstract Vision #1” “Space Discoveries”   Music by NICHOLAS JEUDY (Dark Fantasy Studio)* “Particle voyager” “Stars above” “Pursuit”   *These tracks were part of a music and sound effects bundles I purchased from Humble Bundle and sourced from GameDev Market.   Music by Nicholas Jeudy and Andrew Sitkov is licensed from GameDev Market Sound effects from AudioJungle and GameDevMarket Vocal effects created with Audacity Changes made to the musical tracks?  Just cropping of some to align with my narration.   Find more music by Digital_Emotions at audiojungle.net Find more music by Andrew Sitkov and Nicholas Jeudy at gamedevmarket.net Find more stories by Nila at storyfeather.com   Episode Art Description: Digital drawing. Partial view of the bridge of a ship from a low angle, showing three people from the waist up. Foreground right, a woman looking up and to the left with mouth parted. Center background, a man with hands resting on a wide flat panel and looking right. Background left, a woman with arms stretched out to another panel, looking down at the panel. A porthole on the ceiling shows a view of space.  Three support struts extend away from the porthole. The rectangular image is made square with a border at top and bottom. The border contains a vertical textured pattern with colors from the image. Watermark of “Storyfeather” along support strut near the middle figure's head.

The Daisies can't wait to discuss the reunion episodes of MAFS UK season 9. They question whether Kieran is as much of a nice boy as he claims, celebrate Orson's declaration about who would have been his dream wife, and try to get to the bottom of the beef between Sionnain and Ryan. They also chat about the chaotic rematch between Polly and Adam, and, of course, THAT comment from Luke!Watch the full episode on YouTube here: https://youtu.be/shxGMBR_ApwFollow and DM us on Instagram @doingthemafs or email daisygrantproductions@gmail.comClick here to sign up to our PATREON!

Avec Frère Orson

Peter Filichia, James Marino and Michael Portantiere talk about Maybe Happy Ending, King Lear @ The Shed, A Wonderful World: The Louis Armstrong Musical, La Bohème @ the Met Opera, Orson's Shadow @ Theater for the New City, and Second Stage Theater's production of Walden Helen J Shen, Darren Criss read more The post This Week on Broadway for November 17, 2024: Maybe Happy Ending appeared first on BroadwayRadio.

Miscellaneous Orson related Clips ||02:20 The New York Herald Tribune Forum - False Issues and the American Presidency || October 18, 1944 11:24 Orson Welles Almanac | Lear Voice Auditions (no Orson) || September 4, 194522:45 Mercury Wonder Show | Intermission from a theater production by Orson (no Orson) THIS CLIP IS A REPEAT from an earlier post: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#orsonwelles #oldtimeradio #otr #radioclassics #citizenkane #oldtimeradioclassics #classicradio #mercurytheatre #duaneotr:::: :

Joe Geisner discusses the lost Orson & Parley Pratt diaries and we'll dive deep into the Parley Pratt murder, just prior to the Mountain Meadows Massacre. What other important documents are lost to history? Check out our conversation... https://youtu.be/SPDD1UUjdlI Don't miss our other conversations with Joe! https://gospeltangents.com/people/joe-geisner/ Copyright © 2024 Gospel Tangents All Rights Reserved Except for book reviews, no content may be reproduced without written permission. transcript to follow Copyright © 2024 Gospel Tangents All Rights Reserved Except for book reviews, no content may be reproduced without written permission.

Word is Orson timed the Martian invasion to happen when people tuned away from Charlie McCarthy & Edgar Bergen's #1 radio show. This recreates that using the shows from October 30, 1938.

Joe Geisner discusses the lost Orson & Parley Pratt diaries and we'll dive deep into the Parley Pratt murder, just prior to the Mountain Meadows Massacre. What other important documents are lost to history? Check out our conversation... https://youtu.be/9CWjWywz6EU Don't miss our other conversations with Joe! https://gospeltangents.com/people/joe-geisner/ Copyright © 2024 Gospel Tangents All Rights Reserved Except for book reviews, no content may be reproduced without written permission. transcript to follow Copyright © 2024 Gospel Tangents All Rights Reserved Except for book reviews, no content may be reproduced without written permission.

durée : 01:04:59 - Les Nuits de France Culture - par : Mathilde Wagman - L'émission "Mégahertz" dans "Radio panique", racontait l'histoire de l'adaptation radiophonique par Orson Welles du roman "La guerre des mondes" en 1938 et posait cette question avec Pierre Lagrange : "La guerre des mondes a-t-elle eu lieu ?" - réalisation : Virginie Mourthé - invités : Pierre Lagrange Sociologue, chercheur associé au Laboratoire Interdisciplinaire d'Études sur les réflexivités (LIER-EHESS); Orson Welles Acteur, réalisateur, producteur et scénariste

Bible Reading: Romans 15:1-7; Galatians 6:2"What happened to Ezra?" Laura asked as she worked with her brother in the garden. "Why doesn't he come over anymore?" "I don't know," said Orson. He settled back on his heels. "Ezra changed a lot when his parents got divorced. He started hanging with another group of kids, so I don't see him that much anymore.""But you still see him at church, right?" asked Laura."Not really," said Orson. "He hasn't come in a long time." He sighed and started pulling weeds again. "Whatever. I'm not going to go out of my way to be friends with him if he's not interested.""Watch what you're doing!" Laura exclaimed. "That's one of Mom's lavender plants you're trying to pull up.""But it's dead," said Orson. "And stuck too. I can't get it out."Laura knelt beside him. "Look. It's not really dead. There's a little green on it down here." She pointed to a little sprout. "And it's stuck because lavender plants put their roots down deep.""Well, if it isn't dead, then why does it look like this?" said Orson.Laura shrugged. "It had a hard winter, I guess. We'll just have to take special care of it now." She grinned. "Mom would say it needs TLC--tender, loving care."Orson sat and stared at the plant until Laura finally nudged him. "Hey, get back to work!"Orson wiped his forehead. "I was just thinking--maybe Ezra needs TLC too. He's had a rough time lately, so maybe I should be taking special care of him.""I think you're right," said Laura. "It sounds like he needs a friend to stick with him through everything he's going through." She yanked a weed out of the ground. "One of the ways God shows His love to us is through our friends, remember? Pastor Jennings talked about that. He said Jesus is the most faithful friend of all, and since we know Him and have His Spirit in us, we can be faithful friends too." "Yeah," said Orson. "I'll tell Ezra I miss seeing him around. Maybe I'll see if he wants to come over after school tomorrow." He repacked dirt around the base of the lavender plant, taking care to be mindful of the little green sprout. "And I'll pray for him too."–Barbara J. WestbergHow About You?Do you have a friend who's going through a tough situation? Are you unsure how to respond or wondering if they still want to be friends? Don't give up on them--let them know you'll be there for them no matter what. Your faithful friendship can remind them how much Jesus loves them and that He understands their pain. Pray for your friend, and trust God to help you show them His tender, loving care.Today's Key Verse:Encourage those who are timid. Take tender care of those who are weak. Be patient with everyone. (NLT) (1 Thessalonians 5:14)Today's Key Thought:Show TLC to others

Bible Reading: Romans 15:1-7; Galatians 6:2"What happened to Ezra?" Laura asked as she worked with her brother in the garden. "Why doesn't he come over anymore?" "I don't know," said Orson. He settled back on his heels. "Ezra changed a lot when his parents got divorced. He started hanging with another group of kids, so I don't see him that much anymore.""But you still see him at church, right?" asked Laura."Not really," said Orson. "He hasn't come in a long time." He sighed and started pulling weeds again. "Whatever. I'm not going to go out of my way to be friends with him if he's not interested.""Watch what you're doing!" Laura exclaimed. "That's one of Mom's lavender plants you're trying to pull up.""But it's dead," said Orson. "And stuck too. I can't get it out."Laura knelt beside him. "Look. It's not really dead. There's a little green on it down here." She pointed to a little sprout. "And it's stuck because lavender plants put their roots down deep.""Well, if it isn't dead, then why does it look like this?" said Orson.Laura shrugged. "It had a hard winter, I guess. We'll just have to take special care of it now." She grinned. "Mom would say it needs TLC--tender, loving care."Orson sat and stared at the plant until Laura finally nudged him. "Hey, get back to work!"Orson wiped his forehead. "I was just thinking--maybe Ezra needs TLC too. He's had a rough time lately, so maybe I should be taking special care of him.""I think you're right," said Laura. "It sounds like he needs a friend to stick with him through everything he's going through." She yanked a weed out of the ground. "One of the ways God shows His love to us is through our friends, remember? Pastor Jennings talked about that. He said Jesus is the most faithful friend of all, and since we know Him and have His Spirit in us, we can be faithful friends too." "Yeah," said Orson. "I'll tell Ezra I miss seeing him around. Maybe I'll see if he wants to come over after school tomorrow." He repacked dirt around the base of the lavender plant, taking care to be mindful of the little green sprout. "And I'll pray for him too."–Barbara J. WestbergHow About You?Do you have a friend who's going through a tough situation? Are you unsure how to respond or wondering if they still want to be friends? Don't give up on them--let them know you'll be there for them no matter what. Your faithful friendship can remind them how much Jesus loves them and that He understands their pain. Pray for your friend, and trust God to help you show them His tender, loving care.Today's Key Verse:Encourage those who are timid. Take tender care of those who are weak. Be patient with everyone. (NLT) (1 Thessalonians 5:14)Today's Key Thought:Show TLC to others

Christmas has come early! Eden and Brock recap episode 110, “Christmas,” discussing how Brad's storyline wraps up and then answer a fan question about how they spent their first Middle paycheck. And costume designer, Julia Caston, joins the chat. She shares behind-the-scenes insights on dressing your favorite family from Orson.All that and much more, so let's get to Middling!Want bonus content? Go to Patreon.com/MiddlingPodEmail us your burning question for Eden & Brock -- or share what The Middle means to you. MiddlingPod@gmail.com

In this episode, Jason Larkins interviews Orson Sykes, owner of Twist and Shout. Orson shares his journey from being a gymnast to building Twist and Shout into the powerhouse they are today. He discusses the early days of the allstar cheerleading industry and the challenges they faced. Orson also talks about their first win at the NCA and highlights the importance of mentorship and the impact it has had on his career. Scoresheet 101 for PARENTS- July 17th Scoresheet 202 for COACHES- July 18th Get Your Let's Talk Cheer Podcast T-Shirt Jason's On-Demand Coaches Training Videos⁠⁠⁠⁠⁠ ⁠⁠⁠Code of Points Cheatsheet FREE⁠⁠⁠ ⁠⁠⁠Video Reviews⁠⁠⁠ ⭐️ Support Our Sponsors⭐️ Pop Drops (Banners, Backdrops, Floor Skirts, etc)- https://popdrops.biz/ The Cheer Expo- TheCheerExpo.com Jason's Book Recommendations- ⁠⁠⁠Amazon Affiliate Link⁠⁠⁠ Next Generation Gym Owners- ⁠⁠⁠https://nextgenowners.com⁠⁠⁠⁠⁠ Tumbl Trak- ⁠⁠⁠https://www.tumbltrak.com/?aff=181⁠⁠⁠