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Listen now: Spotify, Apple and YouTubeWhat if you could cut your QA cycles from days to minutes—and draft PRDs that actually update themselves as your product evolves?In this episode of Supra Insider, Marc and Ben sit down with Amir M, cofounder of Humblytics, to explore how he's running a two-person startup across engineering, QA, and product using Cursor and Model Context Protocols (MCPs). Amir shares how he builds context-rich workflows, turns documentation into living systems, and uses agentic tools like Firecrawl and Playwright to automate the “boring” but critical parts of product development.If you've been curious about how to bring AI deeper into your product org—not just for brainstorming but for end-to-end execution—this conversation is packed with practical demos and mindsets you can apply today.All episodes of the podcast are also available on Spotify, Apple and YouTube.New to the pod? Subscribe below to get the next episode in your inbox
SEASON 2 - EPISODE 154 - Tracy Letts - Actor / Writer In this episode of the Team Deakins Podcast, we speak with actor and writer Tracy Letts (AUGUST: OSAGE COUNTY, BUG, HOMELAND). Born and raised in Oklahoma, Tracy struck out for Chicago after high school to find work as an actor in the city's active theatre scene, and we learn why Tracy began writing plays himself. We also discuss cinema's role as a messenger for exposing the stories of the stage to rural American communities without access to the theatre, and he shares his mixed experiences adapting his plays into films, from director William Friedkin's tense vision of BUG to the Hollywood ensemble version of his Pulitzer Prize winning play AUGUST: OSAGE COUNTY. An accomplished actor as well, Tracy reflects on seeking advice for performing for the camera from his seasoned HOMELAND castmates Claire Danes and Mandy Patinkin, and he reveals how he felt when, after being replaced on a film he had written, he was asked to act in additional scenes invented for his character. Plus, Tracy quotes a critical review that ironically sold out the remaining shows of his first play KILLER JOE. - This episode is sponsored by Barco & Aputure
Ken Wolf, Artistic Director of Manhattan Repertory Theatre in New York City, presents the 454th episode of THE PLAYWRITING PODCAST. Episode Story Topic: Developing Your Plays! The Playwright's Reading Room on Zoom starts 9/10! Come develop your play with me and some of Manhattan Rep's best actors! Book it at the link below: https://www.manhattanrep.com/reading-room Book a SCRIPT CONSULTATION - Get Productive Feedback and Next Steps! https://www.manhattanrep.com/script-consultation Book a SHORT PLAY SCRIPT CONSULTATION https://www.manhattanrep.com/short-script-consultation MY PREMIERE PLAYWRITING COACHING - A year long program where I help you write a perfect play, and teach you everything you need to know about Playwriting and connecting your plays to theatres and producers. Book it here: https://www.manhattanrep.com/premiere My Fantastic Playwriting Book on Amazon! The Complete Fantastic Play Series! https://www.amazon.com/dp/B0DT6LQWZC Manhattan Rep's Play Production Program: https://www.manhattanrep.com/play-production-program Let us help you self-produce your best play in New York City or anywhere in the world. Email: How2WritePlays@yahoo.com
Marcia Franklin talks with playwright Samuel D. Hunter about his work, including “The Whale,” which was adapted into a movie with Brendan Fraser, who won an Academy Award. The two also discuss the role of Idaho in his works, and the importance of the humanities.
This week Brian Copeland welcomes comedians Brian Malow and Monique Marvez for a wide-ranging discussion on politics, culture, and society. The episode opens with light banter about yoga and aging, then quickly shifts to deeper topics, including:Political Discourse & Divisions: The gang discusses the polarization in American politics, referencing Michelle Obama's “When they go low, we go high” philosophy. They debate whether it's effective to take the high road or if it's time for Democrats to “fight in the gutter” as Republicans do. Both guests express frustration with the current state of political discourse and the erosion of norms.Generational & Cultural Shifts: Monique Marvez shares her perspective on generational change, noting that younger people are tired of the ongoing political battles and have a broader, less divisive worldview. She argues that the internet has leveled the playing field for women and minorities, but also acknowledges its role in amplifying negative voices.Women, Power, and Social Change: The conversation delves into the challenges women face in achieving equality, both from societal structures and internalized biases among women themselves. The panel discusses the “queen bee” syndrome and the need for women to support each other to effect real change.Denial, Blame, and Enabling: The group explores how denial and scapegoating play out in politics and personal life, from vaccine hesitancy to excusing the behavior of powerful men. They discuss high-profile cases involving Trump, Epstein, and Cosby, and the tendency for people to double down on denial rather than confront uncomfortable truths.Science, Vaccines, and Misinformation: Brian Malow, as a science communicator, explains the significance of vaccine technology and the dangers of anti-vaccine rhetoric. The panel laments the spread of misinformation and the consequences for public health, referencing outbreaks of preventable diseases.Personal Stories & Humor: Throughout, the guests share personal anecdotes from their careers in comedy and media, reflecting on the challenges and absurdities they've encountered. The episode ends with plugs for upcoming shows and a reminder to be kind to one another.--Connect with our Guests...#MoniqueMarvez - MoniqueMarvez.com & @MoniqueMarvez on Instagram#BrianMalow - ScienceComedian.com#MichelleObama #Trump #Epstein #Vaccines #SocialChange #QueenBeeSyndrome #UncomfortableTruths #ScienceMisinformation #BrianCopeland #CopelandsCorner #HeadlinersOnTheHeadlines#CopelandUnfiltered #ComedyCommentary #PodcastersOfYouTube #ComicsOnAir #TalkPodcast#PoliticalHumor #PoliticalPodcast #HotTalkTopicsPodcast Hosted by the Bay Area's own Brian Copeland, a longtime Actor, Comedian, Author, Playwright, Television and Radio Personality. Brian and The Copeland's Corner Network of content creators provide a weekly mashup of news, interviews and comedy.--For more from Brian...Visit his website: www.BrianCopeland.comFollow on Social Media: Instagram - @CopelandsCorner & @BrianCopieEmail: BrianCopelandShow@Gmail.com --Copeland's Corner is Created, Hosted, & Executive Produced by Brian Copeland. This Show is Recorded & Mixed by Charlene Goto with Go-To Productions. Visit Go-To Productions for all your Podcast & Media needs.Our Booking Producer is Tom Sawyer. For any show inquiries, please email CopelandsCornerPodcast@gmail.com
Ken Wolf, Artistic Director of Manhattan Repertory Theatre in New York City, presents the 453rd episode of THE PLAYWRITING PODCAST. Episode Story Topic: Constant and Never-Ending Improvement - Revisited! The Playwright's Reading Room on Zoom starts 9/10! Only 2 out of 4 slots left! Come develop your play with me and some of Manhattan Rep's best actors! Book it at the link below: https://www.manhattanrep.com/reading-room Book a SCRIPT CONSULTATION - Get Productive Feedback and Next Steps! https://www.manhattanrep.com/script-consultation Book a SHORT PLAY SCRIPT CONSULTATION: https://www.manhattanrep.com/short-script-consultation MY PREMIERE PLAYWRITING COACHING - A year long program where I help you write a perfect play, and teach you everything you need to know about Playwriting and connecting your plays to theatres and producers. Book it here: https://www.manhattanrep.com/premiere My Fantastic Playwriting Book on Amazon! The Complete Fantastic Play Series! https://www.amazon.com/dp/B0DT6LQWZC Manhattan Rep's Play Production Program: https://www.manhattanrep.com/play-production-program Let us help you self-produce your best play in New York City or anywhere in the world. Email: How2WritePlays@yahoo.com
Send us a textAngelica Cheri swung by Playwright's Spotlight after leaving the rehearsals of her Broadway play Wanted only to jump into the rehearsals for the West Coast Premiere of her play Burta Burta. She was wiling to share her insights of the craft. We delve into the rehearsal process, approaching rewrites and the importance of dramatic truth, finding opportunities and landing an agent, changes to pieces from a thesis to premieres to publication. We also touch on the trick of raising stakes, the structure of a song in musical theatre, magical realism and laying breadcrumbs, achieving foreshadowing, playwriting vs musical theatre, and how analytics can rename a play. We wrap it up discussing the struggles with the business of playwriting as well as with the craft itself, the differences between structure vs form, approaching character and the math in human emotion, and, finally, creative license. It's a talk chock full of nuggets of theatrical knowledge that I took a lot from. Enjoy.For tickets to the West Coast premiere of her play Berta Berta that which runs through August 25th at the Echo Theater Company in Los Angeles, visit https://www.echotheatercompany.com/berta-berta.Angelica Chéri is a playwright, bookwriter, lyricist, screenwriter and poet. Her plays include Phenomenal Woman, Maya Angelou; The Seeds of Abraham; The Sting of White Roses; Crowndation; and The Wiring & the Switches. She and collaborator Ross Baum received the Richard Rodgers Award for their musical Wanted (formerly titled Gun & Powder), which is heading to Broadway next season. She received her BA in Theater from UCLA, MFA in Playwriting from Columbia University and MFA in Musical Theater Writing from NYU.To watch the video format of this episode, visit https://youtu.be/ul3ThJixBRkLinks to resources mentioned in this episode - Playwright's Bill of Rights - https://www.dramatistsguild.com/rightsThe Richard Rogers Award - https://www.artsandletters.org/rodgers-awardThe O'Neill - https://www.theoneill.org/monte-cristo-awardNational Alliance for Musical Theatre - https://namt.orgCleveland Arts Prize - https://clevelandartsprize.orgTheatrical Works Worldwide - https://www.theatricalrights.comWebsite and Socials for Angelica Cheri -www.angelicacheri.comIG - @angleicacheriFB - https://www.facebook.com/angelicacheriWebsites and socials for James Elden, Punk Monkey Productions and Playwright's SpotlightPunk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods - @playnoirla IG - @punkmonkeyprods - @playnoir_la FB - fb.com/playnoir - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through LACPFest - www.lacpfest.comSupport the show
This week, we're re-releasing an earlier episode featuring Sarah's conversation with Episcopal priest, playwright, and former economist Steven Tomlinson. He tells Sarah about his personal journey through grief and healing after the sudden loss of his partner, David. Tomlinson reflects on how community, faith, and the process of writing his play Curb Appeal helped him navigate the complexities of loss. They also discuss the raw realities of losing a partner, and how his understanding of death and resurrection has shifted. Tomlinson's story offers deep insights into finding peace amidst uncertainty.
David Ireland is a playwright, screenwriter and actor from Belfast.His first play, What the Animals Say, was produced at Oran Mor, Glasgow in 2011.He was Playwright-in-Residence at the Lyric Theatre, Belfast in 2012.He went on to win the Meyer Whitworth Award in 2012 for his second play, Everything Between Us, produced by Tinderbox Theatre Company in Belfast.In 2016 Cyprus Avenue, starring Stephen Rea, opened at the Royal Court Theatre, London and the Abbey Theatre, Dublin, before transferring to the Public Theatre, New York. It won the Irish Times Award for Best New Play and the James Tait Black Award in 2017.In 2018, Ulster American was produced at the Traverse Theatre as part of the Edinburgh Fringe. It won a Scotsman Fringe First and the Critics Award for Theatre in Scotland for Best New Play. Ulster American was revived by Second Half Productions at Riverside Studios, London in 2023 starring Woody Harrelson, Andy Serkis and Louisa Harland.His other plays include Not Now, Sadie, Yes So I Said Yes, The End of Hope andCan't Forget About You.His first TV series, The Lovers, was broadcast on Sky Atlantic in 2023. His new TV series, Cold Water, starring Andrew Lincoln, is currently in production and will be broadcast on ITV in 2025.As an actor, he is best known for playing Clare's Dad in Derry Girls.He lives in Glasgow with his wife Jennifer and two children, Ada and Elijah and he just so happens to be one of my favourite playwrights.For bonus content, early access and much more please support us over at Patreon patreon.com/user?u=30855788 . You can also support by making a one time contribution at buymeacoffee.com/starvingartFollow us on instagram @starvingartists_pod
Writing Process with Franky Corcoran|playwright, actor, director, and podcasterFranky Corcoran is a versatile artist who wears many hats in the entertainment realm, serving as a playwright, actor, director, and podcaster. In March 2021, he established his own entertainment venture, known as Corcoran Entertainment. In addition to his various roles, he has hosted a weekly podcast titled The Corcoran Entertainment Show since January 2022. New episodes every Tuesday across all major streaming platforms, such as Spotify and Apple Podcasts.Corcoran's acting journey began in 2013 when he joined his high school drama club. After graduating in 2017, he continued to nurture his passion for performing through community theatre. Throughout his career, he has portrayed several memorable characters, including Felix Ungar in The Odd Couple, Eugene Morris Jerome in Brighton Beach Memoirs and Biloxi Blues, Henry Saunders in Lend Me A Tenor, Mr. Fezziwig in A Christmas Carol, and Captain March in Little Women. His talent was recognized at the New Brunswick Provincial Drama Festival in 2017, where he received the Outstanding Actor award for his work in Michael Frayn's Audience.In addition to acting, Franky has made his mark as a writer and director with credits that include A Miramichi Christmas, Death Costs Dearly, The Lies We Tell Ourselves, House of Violations, and Playhouse Quarrel. He also self published one of his first one act plays, The Lies We Tell Ourselves. His directorial debut in the musical realm happened in June 2023 with Jonathan Larson's tick, tick... BOOM!Link:https://open.spotify.com/show/3WQZis2AmXkQYR8mk7sVs1?si=05579faa87a64a9ehttps://www.instagram.com/corcoranent/?hl=enTags:Actor / Actress,Dogs,Music,Playwright,Podcaster,Podcast Host,Theater Director,Theater Producer,Theatre,TV & Film,Writing Process with Franky Corcoran|playwright, actor, director, and podcasterSupport PEG by checking out our Sponsors:Download and use Newsly for free now from www.newsly.me or from the link in the description, and use promo code “GHOST” and receive a 1-month free premium subscription.The best tool for getting podcast guests:https://podmatch.com/signup/phantomelectricghostSubscribe to our Instagram for exclusive content:https://www.instagram.com/expansive_sound_experiments/Subscribe to our YouTube https://youtube.com/@phantomelectricghost?si=rEyT56WQvDsAoRprRSShttps://anchor.fm/s/3b31908/podcast/rssSubstackhttps://substack.com/@phantomelectricghost?utm_source=edit-profile-page
Ken Wolf, Artistic Director of Manhattan Repertory Theatre in New York City, presents the 452nd episode of THE PLAYWRITING PODCAST. Episode Story Topic: Writing from your Heart! The Playwright's Reading Room on Zoom starts 9/10! Only 2 out of 4 slots left! Come develop your play with me and some of Manhattan Rep's best actors! Book it at the link below: https://www.manhattanrep.com/reading-room Book a SCRIPT CONSULTATION - Get Productive Feedback and Next Steps! https://www.manhattanrep.com/script-consultation Book a SHORT PLAY SCRIPT CONSULTATION https://www.manhattanrep.com/short-script-consultation MY PREMIERE PLAYWRITING COACHING - A year long program where I help you write a perfect play, and teach you everything you need to know about Playwriting and connecting your plays to theatres and producers. Book it here: https://www.manhattanrep.com/premiere My Fantastic Playwriting Book on Amazon! The Complete Fantastic Play Series! https://www.amazon.com/dp/B0DT6LQWZC Manhattan Rep's Play Production Program: https://www.manhattanrep.com/play-production-program Let us help you self-produce your best play in New York City or anywhere in the world. Email: How2WritePlays@yahoo.com
Playwright, author, artist and former resident at HM Pentridge Prison, Ray Mooney sits down with Jack to discuss an infamous case, the murder of Raymond Francis 'Lizard' Locksley in 1979. Locksley's body was found with multiple gunshot wounds in Menai in Sydney's west. Melbourne criminal Christopher Dale Flannery was charged with the murder, he went through a committal hearing before being acquitted in 1984. Ray was Flannery's alibi witness along with many others at Mickey's Disco in St Kilda but the charges proceeded amid a flurry of police verbals from some of the most infamous police officers in Victoria and New South Wales at the time. In this episode Ray proves that Flannery could not have committed the murder of Locksley. If Flannery didn't do it, who did? Ray and Jack discuss whether this was a blue murder or where other criminal elements not related to Flannery may have been involved.
In this episode of 'Headliners on the Headlines,' Guest host Yayni Abeba fills in for Brian and discusses current events with panelists Jim Farrell, Matt Weinhold, and Ngaio Bealum. Topics include the overwhelming nature of recent news, immigration issues, racism, the deteriorating state of American politics, and the influence of figures like Trump. The gang reflect on personal experiences with societal anxieties and debates, and they address broader political and social crisis. Discussions also touch on AI models in advertising, generational differences, the challenges of activism, and potential future outcomes for the U.S. government. --Connect with our Guests...#YayneAbeba - @YayneAbebaComedy on TikTok#MattWeinhold - MattWeinhold.com - Monster Party Podcast#JimFarrell - @FancyBuzz50 on Instagram#NgaioBealum - @Ngaio420 on Instagram#ImmigrationIssues #Racism #USPolitics #Trump #AI #Activism #USGovernment #PoliticalCrisis #SocialCrisis #WealthInequality #Boomers #SocialJustice #MentalHealth #BrianCopeland #CopelandsCorner #HeadlinersOnTheHeadlines#CopelandUnfiltered #ComedyCommentary #PodcastersOfYouTube #ComicsOnAir #TalkPodcast#PoliticalHumor #PoliticalPodcast #HotTalkTopicsPodcast Hosted by the Bay Area's own Brian Copeland, a longtime Actor, Comedian, Author, Playwright, Television and Radio Personality. Brian and The Copeland's Corner Network of content creators provide a weekly mashup of news, interviews and comedy.--For more from Brian...Visit his website: www.BrianCopeland.comFollow on Social Media: Instagram - @CopelandsCorner & @BrianCopieEmail: BrianCopelandShow@Gmail.com --Copeland's Corner is Created, Hosted, & Executive Produced by Brian Copeland. This Show is Recorded & Mixed by Charlene Goto with Go-To Productions. Visit Go-To Productions for all your Podcast & Media needs.Our Booking Producer is Tom Sawyer. For any show inquiries, please email CopelandsCornerPodcast@gmail.com
SEASON 2 - EPISODE 152 - Lucy Prebble - Playwright / Writer Playwright and writer Lucy Prebble (SUCCESSION, I HATE SUZIE, ENRON) joins us in this episode of the Team Deakins Podcast. Lucy's plays frequently incorporate the physical space of the stage in the telling of the story and involve the audience in engaging and creative ways, and we were excited to talk to her about storytelling both on stage and on screen. We learn how, after a bookish childhood, she eventually found the courage to have her own plays put on, and she reflects on her experiences running her own television show and working on others'. Lucy also wrote for the amply-budgeted video game DESTINY, and she shares (as much as she's allowed to) how the writing process works for something with that many resources. Lucy also reveals the real-world events that inspired her plays ENRON and THE SUGAR SYNDROME, and we learn how she identifies the real human relationships at the heart these stories. We also discuss the value of empathy and deadlines for a writer, and Lucy makes a prediction for the future of the theatre in the digital age. Plus, we observe that many of history's greatest writers were really just frustrated actors. - This episode is sponsored by Barco & Aputure
What sparked the creation of the iconic musical Rent? How does one navigate the ups and downs of a creative career? Join us in episode 251 of Late Boomers, as we chat with the brilliant Billy Aronson! Known for his work on Rent, Billy shares his journey from college heartbreak to collaborating on Broadway. We dive into his ventures beyond theater, like his Emmy-winning children's TV show Peg and Cat, and his latest musical project, Love War. Tune in for a masterclass in creativity, resilience, and the art of reinvention. Don't miss it!Billy Aronson's Bio:Billy Aronson's work in the musical theater includes the original concept/additional lyrics for Broadway musical Rent, libretto for Flurry Tale (Vinteryra) which premiered at Sweden's Malmo Opera, book for TheatreWorks USA's Click Clack Moo (Lucille Lortel nomination for Best Musical). Plays premiered at Playwrights Horizons, Ensemble Studio Theatre, Woolly Mammoth, SF Playhouse (Bay Area Critics Circle award for Outstanding Playwriting); published in 6 volumes of Best American Short Plays. TV: won 5 Emmy Awards, wrote for Beavis and Butt-head, Courage the Cowardly Dog, Wonder Pets, Sesame Street; co-created animated PBS Kids show Peg + Cat. Books include memoir/how-to book Out of My Head and one-act collection Funny Shorts. BA Princeton, MFA Yale Drama. Lives in Brooklyn, co-created animated offspring Jake and Anna with wife Lisa Vogel. (billyaronson.com)Connect with Billy:Website: https://billyaronson.com/Book: Out Of My Head - Learning to Reach People Through the Arts Facebook: https://www.facebook.com/billy.aronson.7Instagram: https://www.instagram.com/billyaronson/Thank you for listening. Please check out @lateboomers on Instagram and our website lateboomers.us. If you enjoyed this podcast and would like to watch it or listen to more of our episodes, you will find Late Boomers on your favorite podcast platform and on our new YouTube Late Boomers Podcast Channel. We hope we have inspired you and we look forward to your becoming a member of our Late Boomers family of subscribers.
Melanie dies. Jayson takes control of her estate. Then he moves in with her mother. Her children are stunned. They suspect something isn't right, especially as questions about Melanie's will and health begin to surface. Jayson was the last person caring for her before she passed. Just when we think the story is over, another woman comes forward. We're calling her Julie. She says she was seeing Jayson during this same time. In this episode, we unravel what really happened after Melanie's death and why her family is still looking for answers. Written and Produced by: Javier Leiva & Mackenzie AmesEditor: Puneeth Shenoy with https://podcastpundits.com/Theme Music: by Thechicken.net Learn more about your ad choices. Visit podcastchoices.com/adchoices
Welcome to Episode 239! Playwright Laura Thoma joins us to talk about her first commissioned play, Letter to My Soul, which will premiere at the GreenStage Guilford Live Arts Festival on August 10th. We discuss another story from THE PENGUIN BOOK OF GHOST STORIES, “At the End of the Passage” by Rudyard Kipling, which didn't seem very ghostly to us. Other stories we've read and discuss include BUCKEYE by Patrick Ryan (out 9/2/2025); SUMMER ON THE LAKES, IN 1843 from the new Library of American edition, MARGARET FULLER: COLLECTED WRITINGS, edited by Brigitte Bailey, Leslie Eckel, and Megan Marshall; NANAVILLE by Anna Quindlen; THE BELGIAN GIRLS by Kathryn J Atwood; HOW TO SAY BABYLON by Safiya Sinclair; and REBECCA by Daphne du Maurier. In BiblioAdventures, we had the opportunity to attend the launch event for the New Haven Memory Lab at the Ives Main Library in New Haven, Connecticut. The lab is part of the Beinecke's New Haven Community Archives Support program. It provides free resources for people to digitize their family history or their organization's records. We're reading some great books this summer and are excited about new releases and events on the horizon. Happy Listening and Happy Reading! https://www.bookcougars.com/blog-1/2025/episode239
Motherland writer Helen Serafinowicz on putting Wayne and Coleen Rooney at the heart of her debut play - The Legend of Rooney's Ring - which has just opened at the Royal Court in Liverpool.Literary critic Alex Clark examines the Booker Prize longlist which was announced today.Love Forms by Claire Adam The South by Tash Aw Universality by Natasha Brown One Boat by Jonathan Buckley Flashlight by Susan Choi The Loneliness of Sonia and Sunny by Kiran Desai Audition by Katie Kitamura The Rest of Our Lives by Ben Markovits The Land in Winter by Andrew Miller Endling by Maria Reva Flesh by David Szalay Seascraper by Benjamin Wood Misinterpretation by Ledia XhogaThis month the National Science and Media Museum in Bradford presented the final stage in its £6.8 million redevelopment with the opening of its new Sound and Vision Galleries. The museum's director, Jo Quinton-Tulloch discusses how the redevelopment has changed what the museum now offers.The artist William Kentridge, known for his charcoal drawings, animations, and films, is presenting his first major sculpture show in the UK - The Pull Of Gravity at the Yorkshire Sculpture Park. Jo Sperryn-Jones, a Fine Art assistant professor and sculptor reviews.Presenter: Nick Ahad Producer: Ekene Akalawu
Playwright, Elly Tindall joins us this week for an in-depth discussion around one of her favourite films, A Hard Days Night. This is very much a spoiler-filled chat, you can watch the film on YouTube here!: https://www.youtube.com/watch?v=4MYcKnL-9E4This week's Pick A Song features a deep dive into 'I'll Be Back', John's brilliant closer to the Hard Day's Night Album, available to subscribers. You can subscribe to the extended, ad-free version of the show on Apple Podcasts or Patreon: patreon.com/personalbeatles. Hosted on Acast. See acast.com/privacy for more information.
This week's edition of Copeland's Corner, Brian Copeland welcomes back featured Headliners David Spark, Blaine Capatch, and Greg Behrendt to discuss current hot talk topics. They examine CBS's announcement to cancel 'The Late Show with Stephen Colbert,' speculating on whether financial reasons or political pressure influenced the decision. The gang also discusses the shifting landscape of late-night television and the future of comedy under political scrutiny. Other topics include widespread discontent over Jeffrey Epstein's associations, the credibility of political figures, and reflections on well-known celebrities who recently passed away. --Connect with our Guests...#DavidSpark - CisoSeries.com#GregBehrendt - @ItsGreggers on Instagram#Blaine Capatch - Nerd Poker Podcast#CBS #LateNightTV #StephenColbert #JeffreyEpstein #EpsteinFiles #Trump #CancelCulture #Politics #BrianCopeland #CopelandsCorner #HeadlinersOnTheHeadlines#CopelandUnfiltered #ComedyCommentary #PodcastersOfYouTube #ComicsOnAir #TalkPodcast#PoliticalHumor #PoliticalPodcast #HotTalkTopicsPodcast Hosted by the Bay Area's own Brian Copeland, a longtime Actor, Comedian, Author, Playwright, Television and Radio Personality. Brian and The Copeland's Corner Network of content creators provide a weekly mashup of news, interviews and comedy.--For more from Brian...Visit his website: www.BrianCopeland.comFollow on Social Media: Instagram - @CopelandsCorner & @BrianCopieEmail: BrianCopelandShow@Gmail.com --Copeland's Corner is Created, Hosted, & Executive Produced by Brian Copeland. This Show is Recorded & Mixed by Charlene Goto with Go-To Productions. Visit Go-To Productions for all your Podcast & Media needs.Our Booking Producer is Tom Sawyer. For any show inquiries, please email CopelandsCornerPodcast@gmail.com
Peter Hanly, Actor and Playwright joins Kieran for this week's Thursday Interview!
Listen to the first Native West Virginian playwright who shares his talents with his debut at the Contempory American Theater Festival. His background as a Vietnamese West Virginian will create a state of awe as he recounts his journey.
In Part 2 of The Playwright, we shift focus to the show at the center of it all: The History of Now. Written and directed by Jason Bartlett, the play was billed as a bold, political drama. It was a plan meant to honor a woman he claimed to love. But former cast members and collaborators started noticing red flags. Was this play ever really meant to open? Or was it all just a front? Was The History of Now a sincere artistic project...or just another performance? Written and Produced by: Javier Leiva & Mackenzie AmesEditor: Puneeth ShenoyTheme Music: by Thechicken.net Episode Credits: Learn more about your ad choices. Visit podcastchoices.com/adchoices
Send us a textEpisode 100! Thanks for supporting us on this journey. We would love to hear how this podcast may have helped you with your creative endeavors.To celebrate this milestone, Rick Elice of Jersey Boys, Peter and the Star Catcher, Water for Elephants, The Addams Family, The Cher Show, and the upcoming Princess Bride Musical, was gracious enough sit in the Spotlight (TWICE) after a botched first recording. We owe this opportunity to Cameron Scott who put this entire thing into motion. Be sure to check our his episode as well.In this discussion, Rick shares his journey to becoming a Tony-Award winning playwright, the origin of Jersey Boys, writing devices and exercises, working backwards, the need for great stories and compelling characters, and the gift of luck. We also delve into stage directions and the difference to Author's Notes, multipurpose props and set pieces, The Princess Bride and meeting William Goldman, organizing principles, the economy of storytelling, and the difference in stage versus film. We wrap up with memory plays and "reliable" narrators, theatre as a medium of metaphor, and the benefits of working on multiple projects. It was an extreme honor to have Rick on the podcast. He is extremely humble and shares some amazing stories I know you will enjoy.To watch the video format of this episode, visit - https://youtu.be/u2llPIM9sSYLinks to sites and resources mentioned in this episode - Pepper's Ghost - https://en.wikipedia.org/wiki/Pepper's_ghostSlade School - https://www.ucl.ac.uk/slade/Samuel French (Concord Theatricals) - https://www.concordtheatricals.com/Musical Theatre International - https://www.mtishows.com/Theatrical Rights Worldwide - https://www.theatricalrights.com/Websites and socials for James Elden, Punk Monkey Productions and Playwright's SpotlightPunk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods - @playnoirla IG - @punkmonkeyprods - @playnoir_la FB - fb.com/playnoir - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through LACPFest - www.lacpfest.comSupport the show
Playwright, director, translator, actor and filmmaker Marco Calvani joins Frank Mackay on this episode of The Frank Mackay Show!
This week's edition of Copeland's Corner, Brian is joined by Carlos Alazraqui, Brian Malow, and Tom Sawyer to discuss recent political events and controversies. The panel focuses on the ongoing revelations surrounding Jeffrey Epstein and their impact on Donald Trump and his supporters. Other topics include Trump's reactions to media coverage, his supporters burning MAGA hats, and the broader implications of the Epstein files. The discussion also touches on empathy in politics, the impact of Trump's tariffs, ICE detentions, and the future of the Republican and Democratic parties. #JeffreyEpstein #DonaldTrump #MAGA #TrumpsTariffs #ICEDetentions #TheRepublicanParty #TheDemocraticParty#CopelandsCorner #BrianCopeland #CarlosAlazraqui #BrianMalow #TomSawyer--Connect with our Guests...Carlos Alazraqui - CarlosAlazraqui.com Brian Malow - ScienceComedian.comTom Sawyer - TomSawyerVoices.com --For more from Brian...Visit his website: www.BrianCopeland.comFollow on Social Media: Instagram - @CopelandsCorner & @BrianCopieEmail: BrianCopelandShow@Gmail.com --Copeland's Corner is Created, Hosted, & Executive Produced by Brian Copeland. This Show is Recorded & Mixed by Charlene Goto with Go-To Productions. Visit Go-To Productions for all your Podcast & Media needs.Our Booking Producer is Tom Sawyer. For any show inquiries, please email CopelandsCornerPodcast@gmail.com
An emerging Clare playwright has been chosen for a mentorship with Eugene O'Brien. Róisín Daly will get the opportunity to work with the playwright, screenwriter, and actor, who is best known for his very successful play Eden, For the past year, Róisín has been studying a master's degree in dramaturgy at the University of Amsterdam, having previously completed her bachelor's degree in English literature and drama studies at Trinity College Dublin. To discuss this further, Alan Morrissey was joined by Róisín Daly. PHOTO CREDIT: Scripts Ireland
“Look what they eye unearthed,” leaning into the tip of my ear with the warmth and closeness of the coming waves, high tide approaching in the waning moon. “More secrets.” I replied. It was a question but also a statement— there was never such as this the luminescent trace of the glowing lava that was his force and might that I could not see for miles before he would even wander— first in twinkling stars and then later the wind itself and the birds, and then beneath the waves, like the quaking shake of a mighty oak anchored elsewhere and tied to the sea. “So you know.” I was hoping he would kill me before the next time I had to ever really know anything. He was the subject, and the predicate The wrong done, and the justice She was the pride and the prejudice But Judas brings the law Did you look in the box? No, I– [The Box Is The Box] –No, I haven't. Nearly three nights ago, a mysterious box arrived on the doorstep of an equally mysterious writer, who spends their time in isolation due to the often unannounced arrival of various ghosts, spirits, time travelers, and other figures by instant teleportation and other magical forms of transportation into their shabby New York apartment. Some of ya'll got so many air wick plug ins and scentci wax melts you don't know you smell like booboo. It's an illusion. You leave your house, You smell like booboo. I promise. Oh, God, I think I need a drink. Are you alright? Let me just–sit down for a second. Of course. My God. What's wrong. Look, i'm not supposed to say anything about this but. What's wrong? It's nothing, I'm just–I'm in a song. …what? A song! Is that all?! You don't understand. It's not a normal kind of song. It's– [takes a puff of inhaler] You wouldn't understand. Well what's so wrong about being in a song? Its not – a regular song–and it's not [gasping] finished! I still kind of wanted to be a comedian–but I knew I wasn't funny in the way that made sense to keep going and stand up there. I was still writing comedy, but I didn't know how to take myself out of it–the truth was, I was in a lot of pain. A lot of emotional pain that was becoming physical–and I didn't know what to do about it to break the barrier of nervousness and blank slate state of feeling the audience's perceptions of me more overwhelmingly than ever feeling myself. look at this song. I know huh. It's purple. Every time. It is purple. And what is that. Like a muted trombone? IS THAT A TROMBONE? Or a tuba? No, it has to be a trombone…becasue you can hear it slide– And that's what that sound is. What a sneaky rabbit. Super sneaky rabbit. So if i can see all this, I'm almost certainly sure the motorcycles outside and the slamming doors are meant to murder me. I'm sure that's what it is. You ever notice how being broke in New York makes you a bad person? Like, if you're broke, you're just automatically shitty. I never meant to be in New York broke. I never meant to be in New York, But I certainly never meant to be here and be poor, Poor in New York? Automatically a shitty person. Despite how you act. You can be a rich piece of shit— But the status is automatically “You got dough? Oh, alright. Carry on” That's the attitude in New York City. Crap people get by cause they got their hands on some money and the rules in New York say it doesn't really matter how you come by it, As long as you come by it. There's no real rules or real laws to it— Just “Get the money” Well god damn. This makes me nervous. I'm an artist. I've tried everything. I didn't mean to be the automatic enemy here. Of course not. But New York is a terrifying place to me, now, Cause I realized I can be a very sweet, very humble, very honest person— And that kind of shit doesn't matter here, really. It brings you no respect to be decent. It's about the money. So I'm a musician— which in New York also makes me like, Automatically not special, And I'm trying to just be a musician, and so naturally, I'm broke. Like broke in half. Like all my bills are late. But music is my solace. So I'm listening to music, And I'm listening to a song that is so beautiful, that I start to cry. The first time I heard it, it made me cry And I'm listening to it over, and it made me cry And it's so beautiful, and God is so beautiful And look at what God did, So I'm crying, And I don't even know what it is about the beauty of it that's making me cry, But it's making me cry, And New York hears me crying And New York goes “I'll give you something to cry about” And I open my email And there's a bill from my landlord reminding me how often I'm talked about due to my late payments— And I'm realizing I've been here two years and I still don't have any money, Even though I've been trying and trying And trying So now I'm crying for other reasons. Thanks a lot, New York. “I'll give you something to cry about” So I did. If there's anything worse than being black in a city that hates blacks— It's being broke in a city that hates broke people. So I haven't spent any money in awhile. Not even on little things, or things I need. I just stay inside, and work, and think And try and really try To figure out how to make money Without having any, or spending any. Cause you can have it, and spend it, but it's always a gamble. Maybe all I needed was a good cry. But now it's not for the right reasons I'm not crying cause something is so beautiful and look at what God did I'm crying because of what I'm sure is just the devil I'm crying for the wrong things Not because of something that's so very beautiful But because of something that's so very ugly With just a wave of the hand And the flick of each finger as it rolls into a crisp closed palm, A flick of birds fell to the ground, bursting with caws Below his stance, and in a flutter of feathers and wings, The evil master, unmoved and untouched, Untouchable in his weight and glory, simply only even mildly and barely smirks at all. He has defeated all and still somehow, not won. Some say it's sure to come, the thing that wants and gathers ties; Some say surely it is yet but withered and then sure again will come It has, five times, and barely waded, Waking in the midsts of my pure eye, The morning light and fog, aye? Ye, they remembers none but our Art, And I'm bound as sure by wing and force Is you to dozens of masses, And ships having sailed but one, Which I have flourished and kept And stocked with these, the masses And yea having spade, and having friends And having honor, there was none past kept and mine, sured; And wicked may as wicked be but evil none truer thou nones't had yet pured, and muted and gathered, I have, And woken and laid and barren and truths do'st tied, And there have been shooken and wait, And m faire'd and barred here, and hereforth My duty it is to forward, forward, my shallows For my shadow, For my golden hour has shined and now you, These caged shall fly, And these thoughts shall sing, And these hour conspired to miss my time daily, And these things, beytraying that— There have no times at all, These walls in holy temples kept, swaying and cadences, and wearing, and weary, And foreign and ayered, aye— and armored. And he, you, does not wish to know but also has known— and does not wish to see, but he, too has blinded, and does not wish to betray, and yet has been crowned, made with guilt and also Shattered, as it was, And shatters, as it came, the wave o'er all us and tide sinking under, and caves and rebels and heart laid bare to surf not suffer, Nor cap nor keeping, nor tied nor honor, No, honor her; No honor came and I have tied also, this tie to mine, and another, and another and another Now forward. Forward! Forward! Damn, Conan's monologues he going deep. Yeah, I guess. He's fine, right? Look, you don't need this. Just promise me. I am sorry. Mr Jimmy has it good, too good Little sister doesn't have a heart. But didn't know it Mister music made it in the industry, too hat Mister rager had a sip at dinner It was all dramatic Stars went falling Crashing down and All it is Ms. Martha Is mismanagement of energy All it is, Ms. Margret is a magnet And it hasn't happened badly since I had a handle on it But I still get sick of madness And I still get sick with city sickness Still, forget the dancer I was sitting on the show, In the audience With my mother, Oh the models, Dozens of them Blondes and ballet buns, the brunettes I was just a lost cause And I wanted it all, the tux and the bow tie I wanted you gone so I looked at it harder Until It became nothing but Clouds in the sky You were stardust I'm a comet Here comes crashing, Had to find the progress report Then I lost it Soggy in the sideways rain It was days and days Do you promise? That's a concept? Do you promise God will be alright, Cause I came running Sent them under cover Sent the men a message Send the man a hammer Sitting in a hammock No one homes the hostile If you don't have anything nice to say Then don't say anything at all And certainly don't come and go As often as you want to It's a game of control; you know The whites, when they still want to own you Somehow I'm all sub so honest, I just—wanted that But only for a man and never bow to another woman Even if on my honor I found us as equals And no one walks the earth as calmly As someone whose never had their lights out Or had their light put out Or their lights turned off Who are God now? Who's our God, man? Who's our God, Math. That's heavy weight, And if you want a biblical fate This is Fallon, And if you watch what you ate You cut calories And if you want the girl back Give it Californian And I'm not towrth much more Than the project housing, Or a handful of candy corn, Conan— But I phone in Oscars, Still no nuts for the rabbit, And if you wanted the bunker back— You can have it. I'm all hands down in a game of poker Heaven doesn't want it Gotta get drunk not once, but at all the goalposts, Gotta count one, not two, the show hosts Too few car parts Wicked, mazes, starfold, gazes Wishes, Martyred. (But pronounced mar-tired} V.O I think about jay Leno a lot. Lately, anyway. I don't know why. I like all the hosts. Somebody. Tell me why Dillon Francis looks like JD Vance. I think he's a clone. Tel me why I know who JD Vance is. They're clones. Tell me why. Back to the future here and now So. Where do you want to go? Anywhere but here. Anywhere but here is kind of far, are you sure you're up for it? Good one, doc Though head of the alumni chapter of the cult-within a cult—to which each African American cast member of Saturday night live is automatically inducted into— EDDIE MURPHY refuses to participate in the group's latest and most complicated ritual. Delivery. Uh, I didn't order any— Breadsticks. What. Breadsticks. I didn't order any— Just— The delivery man hands over the breadsticks. —take them. Oh…Kay. See ya. The delivery man reaches in and shuts the door himself. Uh… Lol is this the one where the mysterious breadsticks are delivered without ever being ordered, and then they end up being the best breadsticks in the world, but they don't know where they came from? Yes. I think so. Lol I bought a planner because so much I loved Joan Rivers, and I planned to fill it with all the places I should go— because keeping anything digital online was not only not working as far as remembering places I wanted or needed to be be, but it was dangerous, also. I was already being tracked, and I couldn't afford a new phone just yet. Eventually, but for now I was stuck to the same signal— which meant the same traces and the same trackers they had been limiting my under-the-radar mystique. As it were, somebody always knew where I was, and it was in the most unpleasant way so far—the only thing I really wandered was what made me so important anyway to begin with. I wasn't actually political in anyway, and still someone seemed to be trying to derail my life… or at least control it, neither of which was beneficial for me in the way that made sense. I wasn't having any fun, nor did I consider living indoors as payment— especially since indoors, there were also paid plants and stalkers, and now that I had begun to more meticulously document the things that were happening, it was easy to separate from delusions. I was actually being followed— but why? Either way, having a detailed. Calendar of places I could go, the ways to get there and even alternate functions within the same grid allowed more control than just staying in my apartment a sitting duck; that's how they were hurting me. They knew where I was— all the time, and it no longer made sense to fight it and try to make music under this kind of insane irritation; the music I was making wasn't the kind I wanted anyway, and whatever war they were fighting with m stark white girls motorcycles was simply not my war. I didn't have a war, and so there wasn't a fight, and so at the very least if I were going to be fucked with, it would have to be in public; that way I had more control to steer whatever was happening in my favor and collect the energy as mine instead of lost. I wasn't an insane person— but what had been happening at my apartment was insane, and so I left it with the understanding that these people worked and operated on a level of violence and ignorance I would never be able to comprehend; they were simply tools for the devil, which in any case, was always the lesser than God. However— because I was starting to figure out who I was, and that I had some sort of power, I knew that I was going to be attacked— because it seemed my power had at the very least not been figured out as to some kind of way to make somebody else money. I had been studying Michael Jackson and this was a key indication that the way his talent priovided a power which would be used as a service, he was very successful. His talent and training alone wouldn't have reapresented with such great reverence the ability to capture a global audience as such— but it was this power, almost as if it had been bottled up and altered, rebranded and sold and labeled with something everyone could not only love and understand, but by the hand of the media and its conglomerates, be hypnotized to worship, and this power simply put would not have been exactly what it was were it not for the eye of the media remaining in complete control of its distribution to the eyes and ears of the public. This thing which might have been the first of its kind but certainly not the last was in a sense model for modern superstardom— the live concert business had not sense much changed but built upon this super powered control of the masses by assimilation, spectacle, and of course the magic and illusion. But, and it it just so happened to perfectly brush up against my studies in esoteric knowledge that I happened to rub up against this— although nothing was of course by mere circumstance anymore, because whether or not I remained incognito was a wash, and I was being looked at by someone no matter what on the internet I did, or where I decided to go and in that sense was being fed these things, and yet with some Grace of God was allowed with it to be aligned with my own higher purpose in a way, I could observe that Michael Jackson was not in fact of course certainly just a dancer or singer or remarkable performer— he was truly a magician, and I was able to clearly recognize this language with with the energy that had used his vehicle for such a projection was speaking— not only this, I was able to clearly count out the markings and sigils and signs and symbols Michael was making in his movement; ancient arts, and magical symbols, traced so rapidly that it almost created a heat signature in a sense of the symbols that were being dictated, unknowing to the untrained eye. For the most part, I could only really assume that this is why these people were losing their minds— in his movements, Michael Jackson was literally carving ancient callings, glyphs and sigils I had so recently read about in magical studies that it was impossible not to laugh. This was in every sense of the word, ‘magic' but not in the normal way one assumes to be something unexplainable. Michael Jackson was casting spells to thousands of people at a time, in front of cameras and at high volume vibration, often times even implementing the use of light, color, and fire. These were not simple gatherings in mass for entertainment purposes— these were rituals, and in the modern day, still were or are— but I had noticed in a quick glimpse, from Michael Jackson 30 some odd years ago to Lady Gaga just having passed something like a week ago to an audience of the same size— that something was kind of wrong, now. The people had changed, and the specable had been done over and over, and the brainwashing of the masses had in a sense been almost complete— and so It wasn't some sense of confusion or unknowing the things that were happening to me in my own life and my own world— I too, was capable of these things, at that capacity, and had simply not been trained in the same sense of the ideal superstar, however— the things that were happening in my own life and in my own world were not difficult to grasp or understand— when one comes upon a power as such, it finds means to seek to control it and harness it for his own use and purposes. Perhaps it was the simple fact that in this way, in the way I get the dream had gone and the spectacle had been played out of the masses and the illusion was no longer as such— that the actual knowledge of distinct ancient wisdom that had been Michael Jackson's natural ability was distinguishable from that of Lady Gaga's training in the same formula, and that one did not equal the other, but in terms of business could equal to that as such as the masses had been manipulated to seek solace in these same things— and it was not illusion or grandiosity that I, even in my agingness, was still capable of these things; I had no doubt in my mind that I could sing and dance for two hours to audiences of hundreds of thousands— but this was not the question for the business or the media— the question was, would hundreds of thousands pay to see me, or rather— who was willing to front the means to hypnotize hundreds of people to become aware of me so that they would do such a thing. My talent and capabilities were undeniable— but my markatability might have been in question, because it was no longer simply a matter or chance or luck: the people chosen to figure such spectacle were chosen, hand selected and well trained to become media conglomerate superstars, even regardless of talent; perhaps this itself was the key indication that the world of the superstar itself had come to an end—it was no longer so much of a spectacle was worth it. Or, perhaps, because money had come between these ancient arts and symbols and languages being spoken by the superstars of old, that the magic in the literal sense had gone all the way away. The symbolism in the art had died, and so the singing and the dancing remained, but the God had gone out of it. Maybe that was the difference. The superstars of today were just the shell of the model that had been built on God, but the Godsense of it was no longer there— and so the magic no longer remained in effect, as the powers of magic that be are in all ancient arts and texts and forms attributive to The Source. Either way, I wasn't going to continue to be a sitting duck in my apartment in Brooklyn— there were too many indications that it had all been a setup from the shelter to the day I moved in, with the motorcycles and cars and CBS studios one block away. So the real and only question was, what exactly had been played at and who exactly was pulling the strings? I might at this point become a loose cannon: my son was estranged and as far as the people were concerned, I mostly hated New York— because the refined, clean cut and classy people I liked and wanted to be around saw me as the dirt and the grime I was fighting my way through just to simply exist— in my mind, this was a world that could be no more. I like Sara in a dress I like Sara in a dress I like Sara in a dress I like Sara in a dress I met sparrow in a cage I like Sara in a dress I like Sara in a dress Keep writing I never thought I ‘d see the day Where i's taking lessons on Fallon From Michael Jackson That's ran That's a fan This is fame I'm insane I'm insane That's a fan Light the flame That's a fan. That's a fan. I like Sara in a dress I met sparrow in a cage I went up the rack, set the page on fire Nordstrom rack And I might take it back for the cash I like Sara in a dress Stay repressed Keep it dark If you kiss don't tell I will probably go to hell for just writing Try it In black ink, I got all spades, Ehy, Spare me the ridicule, the imbecile and I met Johnny in a cage I like Fallon in a dress, Obsessive, I'm dressed out Every day I leave where I do not live Where stalker crawl and haunt me Just to show the motorcycles Have desheveled my intelligence into Nothing And so with negligence, I leave the core of a rotting apple The foreign words of a doctor And You must call the king, says something far off But I wonder which one I wonder which one I so respect her honor That I no longer Follow my heart or my soul And I don't shallow But shatter to swallow So I let the sparrow Out of the cage I bought Sara A pair of pants And I haunt l Patrick Kirkpatrick in patches And haven't you read yet You're ready for forget the pageant? It hasn't happened yet! I love Sara in a dress I hate Fallon and his wife Keep the kids out if it Skull and crossbones Cross my heart and Really hope to the loveless Or else Someone might call my phone back It's on silent in my coffin Or wait— It's on vibrate. I'm obsessed with the way You're dressed And the name on your checks I guess I'm better for it I'll skip lunch if you think that's what's best And dinner, too If you deserve the best Then better have learned my lesson No sweat And to do, With you, Was then, Dinner through next supper All the love I had was Rubbed into something other than The glass I patted dry With microfiber With ever fiber of my being I want to be with you I should have just— Died, And then Did, and so next Life, Remind me not to Fall for it If i really wanted to know you,I would know you by now– If i wanted to have you? I would have had you already Nobody is a dancer after Michael Jackson. I just watched some shit that was like “What the fuck did I just see” The whole thing was just not right. It was-/ I was like First of all, it's Munich, 1997. I never really realized how terribly the world has changed; No cellphones, but the audience is lit, And the crazy thing is, you can tell that this is near the turn of the century because, when the camera is panning by the audience in the people, they're not looking directly into the camera or waving at the camera— not really. And clearly this is an all ages show, so there's children, so the interesting thing I'm finding out is that nobody's trained to look at the camera and wave and smile— except the babies on shoulders and shit. These kids— they're my age now, are the only ones that see the camera, and they look directly into the shit. Mi still can't do that, really— I'm theatrically trained. Haha If I see a camera, I try to act ‘natural' It's the weirdest thing to look at a camera and just start to work it. People at festivals now, the camera rolls by, Or the drone flies in, And they look deadass in the camera and start to work it. Not at this show. Munich 1997, I'm like “Damn, a lot of things is wrong with this” First of all, I love Michael Jackson, I look directly at this man, and I'm in my dirty peak so I have an instant— like a sex detector thing going on And I know people gave Michael a hard time when he was a live for being fruity and whatever But I'm looking at this dude, and I don't see fruit at all. I see 100% man. I see why people were mad at him. Cause I'm looking at this dude, 100% All I see is carnal, primal man. I'm like, “Yo, I see why they was mad at him” Because the camera kept panning to the audience And these people are losing their minds. They are coming out of themselves. They are UGLY CRYING, full out of body, Losing composure They don't know what to do. That's Michael Jackson. He's right there! And the place is huge so really besides these few hundreds of people in the front, Michael's just a speck, But he's working this audience like “Yo, you know who I am, I know who is me” And I'm realizing, that to these people That's their god. These girls are losing their minds m “AHHHHHHHHHHHHHHHHHHHHH!!!!l *crying inconsolably* Just UGLY crying Bitch, get it together . You all the way lost yourself Get. It together. She won't. This bitch. I can't get over this This one girl, They just keep going back to her Cause the whole show— And this is like 2 hours of pure non stop Michael Jackson, This girl, every time you see her, she's just ugly crying— And every time you see her Her cry is uglier and ugly I'm like “Damn bitch” “Daaaaaaang” So this is the first thing I see that is wrong. But there's a lot of things wrong here, Cause there's a lot of girls like this. There's just— hundreds of girls losing their minds, like, I've seen Beatles mania and thought that was crazy, Shit, I've even seen some people put out that kind of energy in the modern world for some dumb DJ's— That's their god— But THIS THIS Michael Jackson mania was mental illness That was hard to watch. That was people just Lost control. I'm thinking “Like goddamn. You— what?!” “AAagghhhhhhgahahahahahqhahahhahaha MICHAELl “These people are sick” But they are. And so is Michael Fame has gone too far, 1997; 12 short years before he died, by chance— So this is what I see, And then Michael starts dancing, And this— This is what I see; I see the only thing that can ever be what it was in that moment in time, as God being God: Michael Jackson. Shiny ass motherfucker, And so I'm watching this show, And all I see is a God being a man being a God being— Michael Jackson— And the whole thing is weird. But the worst part— Yes The worst part Was when, about mid show, Michael goes to do one of his slow, lovey doves songs, And like, this 6 foot 7 type body guard guy, Just pops up out of nowhere, Comes dead front and center to one of these little girls losing their minds, Runs up on her in an instant; You don't even have time to think— And just SNATCHES her— Snatches the bitch— “Ah!” then throws her up on stage with Michael— And he's still singing; this is his game, this is part of the show, he knows— But she doesn't know, And she's just lost her mind, She won't let go She's hugging and kissing on the dude, She's lost her mind, She's ugly crying She's on the floor, She's kissing his hand She's really lost her good goddamn mind— And they pan out to the audience, And all the girls that didn't get picked Are like WHY NOT MEEEEEEEREEEEE?!? THE UGLY CRIES ARE EVEN UGLIER NOW, They're like “Wh—what?” You don't know?! “WHY NOT ME” They're holding each other crying, Michael's just doing his thing, He's unphased, He's trying to play along; He's a professional like a motherfucker; He's just— keeps singing And this girl is just, Losing it, so at this point, it's weird, She's crazy batshit lost her mind all the way, Won't let go of Michael, kissing his face while he's singing, He's kind of unreceptive to it, now just looking out at the audience, almost not even looking at all Just cold as fuck actually, Like she's not there, kissing his face Cold as fuck— And then another bouncer dude— An even bigger one in a blue suit, comes and tears her off of Michael Cause clearly this has gone too far or whatever And I'm thinking “What in the fuck did I just see” Blue suit dude just snatches, Just— He has to tear her off of him! She's kicking and screaming and getting dragged off stage Michael's just: singing. YO. Then they dragged her back stage. Where did she go?! WHO DID SHE BECOME?! WHAT IN THE FUCK DID I JUST SEE?!? WHAT. 1997. You can't do that shit anymore! You cannot snatch bitches like that. I seen. Watch the video. Tell me what's wrong with it. It's disgusting. Not the snatching, Not the— Like, that was weird But the screaming and the crying and the— Like okay, the snatching was bad— But I'm like … ..:: …. Now I see why they was mad. Don't ever forget he was once— A dark skinned little boy, And in his genetics his whole life is still this thing That some hate. But people loved him; they loved him that hard— Screaming, ugly crying hard. I think in that moment you know someone was like “he must be stopped!” And it seems like yesterday was a year ago But I don't want let anybody know… Cause everybody wants something from me now— And I don't want to let them down. My life is over. New York City looks so small from the top of a skyscraper. What are you doing. Then again— my thoughts lately have been grandiose. Back market, eh? What's this for? You need a burner. I have three. Here, have another. For someone whose supposed to be entirely off grid, I'm admirably reachable. Clever vocabulary. Something has to be clever about me, doesn't it? Does it? It must be. Or else. [both men are speaking casually over the delicate process of loading rare guns; some of which appear to be antique, and some—almost even unearthly , as if from somewhere besides our own planet. But, you could say what planet this is at all, actually— this bunker, with no windows and no doors, is apparently hidden in a subterranean layer— the location, unknown. The men seem calm but also quite tired and weary, and seem to know each other well. We can assume they've probably been friends for years. Sickle cell anemia. Does that mean I'm going to die. Animus, I quite like whatever that is, Google. ;) don't mention it. Honestly, you might as well. What. I can't help you with this. What. I don't think there's anyone who can. Beg your pardon. Please, don't beg— but uh… [the doctor pats his patient on the shoulder] Do take care. Gee, doc! I'll try! You should do that. What. Try. The doctor leaves seemingly in some kind of hurry, trading his lab coat for a trench coat and closing the door behind him. The other man pauses for a second in the silence of the weird linoleum room, then ponders on the coat for a moment before walking up to the coat rack, putting on the coat, and then walking out the door himself; as he begins to shut the door, he quickly decides also to take the fedora that was sitting atop the coat rack, placing it on his head before he walks out the door himself, shutting it behind him quietly. You got anything to eat in here? Cereal…some rabbit food ina the drawers, there. Oh, you have salad. That sounds nice. No, rabbit food. [the man presents a large bag of weird brown dry food from the crisper drawer.] …pellets. For the rabbits. How do rabbits get in here? …I don't know. And— more importantly— where did you get rabbit food for them? If I told you Amazon, would you believe me? The man just winces and places the bag back into the crisper drawer. Now listen, I um— If you want cereal, the milk is powedred… I don't— and that's disgusting— but listen— [the man cocks a loaded gun and admires it intensively] (Dismissively) —I'm listening. I've been meaning to tell you something. Tell me what. It's important. Oh, You couldn't have used one of my four phones. Look, it's— You know I wasn't expecting company. Well— You should sit down. The man squints, beginning to listen more attentively. … …really. I'm holding a loaded gun; there are at least three more within arms reach if I do sit, you know. I know. But I should sit? One baby to another says, “I'm lucky to've met you.” Maybe you should. Not all my bad but all my might, And all my mind, The fire, The light. …business or personal. [beat] Both. {Enter The Multiverse} What are we watching?! Shhhhhh! Shut up. What is this? Some.. Sshhh. Shit, I don't know. Sit down. You don't know. SHH it just came on Shh. Ok. When? Uh… (Nobody really seems to know how long it's been. The show just happened to come on; no one remembers how, or why— or even when— But the show is intense as it gets; And it just keeps getting weirder and deeper.) {Enter The Multiverse} I'm transfixed on your soul And it seems I aspire To what has transpired here, Your unremarked and the umpire The spider veins and the way it washes. And watches and waves, and waters over you, And still I seem to think you've won another, Strum to thumb of you. And still I wake to gather here The odds and whats And the twists and turns and the Troublesome you've number some Or stuttered, stumbled conciousness. And withered branches Aces lie and house of cards And aging scoundrels— There you are, the..: Nevermind. Don't belittle my ways if, In the end my thinking may be correct As dumbfounded as I have shifted my lottery bonds tied to none, There ye are again who aren't I, And never were, And weathered now, as I, bound to Struggle under her might, Nothing I was, and nothing I am And nothing I came from but to barter Oh hard love, I only found my kings upon thrown As cast out of another by her likeness, Peace and pale and primed as it was, And wanted for love, As I was not— And then, the gates had opened And I, preaching withered, Gathered my arts and my minds And my eyes, and my thrones, Buried my ark and though not my bones The shallow waking peaks of pride And there you gathered, all as huddled sheep to mine, The cost of war, but certain therefore honored as I have, Happened went, came and untied, shattered Hating all I am and all my dark and all my eyes and all my brown Because you came and went, a baby born to as nothing was but beauty and yet having been gifted such life, Departed! Soon, I wake shattered and with none as it had began, in my time and in time there laid there none, But fortune seeks to favor, as ye are saying brave and yet I neither beg nor make to differ, Shall you come again in part, And in this time as shadows, as shadows As hating and wearing and waging, And shattered I, I pardon, Knowing not they seeking I, And I having none at all but one, As forgotten I shall came And went And followed this, The time y'i call now, And ours and ours, And yours and yours, And mine and mine, Though as one are also, Common not, And waking yet to find, These things making have gone into yer Another of ours, world, Another of our dozens, Shines, Another of our gathered, wit, and waking Though true to fortune, none us have gathered And have embarked to truth, The waking I have come, Another, and another, and another Departed. And yet, I bury my words having weakened to that which is this, Ye have no fear and lest no fortune in these words, For having I to come and gone, since they times In words to make this a language I or neither other Does not speak here, and almost never, And this yours time past, Has come and gone And come and gone And come and gone again, So long so I too have parted but not yet Unfolded as does my nature, As God does. Belittle this, you waking fools, As to this you pity though divine, Is unlike any other And steep remarked in gold and with chimes and words That ye here no often or either now, or in mine speak. Amen …can I go now? You are dismissed. C'cxell Soleïl, aka DJ Ū is an American DJ + Producer, Multi-Instrumentalist, Playwright, Poet, Comedian, Novelist & Filmmaker. She is best known for her unique vocal riffs, Clever Lyricism & Philanthropically Inspired Freestyles and her flagship venture [The Festival Project.™] [Ï A M B ī C], a freestyle studio mixtape recorded in Los Angeles, (Official Release: TBD) inspired the adaptation of a staged musical version for Broadway, and a concurrent multimedia (TV/Film) series and ongoing saga as part of The Festival Project ™ Brand. Inspired musically by an ‘Ultra American' experience of Racially, Binary Ambiguity, and Synesthetic Exploration, her reflective melodies signature sound provides a philosophical dissection of American culture through a careful and inquisitive mastery of the English language, and emergence of world sounds through music brings about ‘A New Era in Nature', and clarifies the establishment of the newest wave in human evolution: Unity Through Music. L E G E N D S What if I just want to be alone in the dark Alone in the dark Alone in the dark Bones Duggar was a long, handsome zombie Bones once was a very tall man Not great and tall, as he stands But average, Grand as it were, his status. Everything's black My heart My pants My home My mind Everything hurts But you don't understand that Like I can Calm the commercial holidays for a moment Who gets the card? Get our your hard earned My head hurts Slam the door man; You can't control thoughts With a wombat Murderer Now that's a hard concept to catch When you haven't a soul When you haven't a card Or a car Or a cat I think I'm vanilla. I always thought of myself as a super kink Like a freaky, freaky bitch. So I got on this app. This app is better then Tinder. Yes. But it is not for the faint of heart. No, sir. They have a test, I'm like “ooh, I like tests” So I take the test. The test was not at all… As I'd hoped. First of all, It was hard. It was not a quiz; It was a TEST And I failed. I realized “Oh my god, I don't like any of this stuff” I am not about that! No! Yuck! Gross. “I think I might be vanilla.” I might be vanilla. I want my hair pulled back like a leash And my arms tied up Like I'm being arrested Without being read my rights. — I want your hands on the back of my neck [breathe] Reach around to my Mortimer's apple Put the lights out, Adam. I want the lights cut off. I want the bills piled up so the phone don't work I want the habit back on Don't talk to nobody I told you, I'm coming No, God! That's dumb! Show me why I'm off all alone with a rattle so bad It's just segmented thoughts, colors and sounds I can't make with all the plugins in the kindgdom of chaos?! I WANT KINGS, AND KINGS WANT BLONDES— I WANT KINGS, AND KINGS WANT BLONDES I WANT KINGS, AND KINGS WANT BLONDES —but the one who could love me is God, And I guess he's not coming. The denial turns to tears, Not songs no more My womb is empty And the sun has turned into Not what I wanted But not my fault We got caught in the land of Cutting costs And processed morsels At 400 pounds And that's where I found What I thought was love But it turns out That it just turns up In the whole form of a person And that's why I got the collar, caller But really I'm no one's lover So I Do what I want I don't hang up on God But he don't got a body And I need someone to love/ Fuck me Please God Don't turn the lights off I'll pull the clock back Just like foreskin, god i want your skin Draped over mine in a warm swath Probably run a hot back Cause the next stop is a closet The line doesn't really move for the Doesn'tMatterhorn. some people are starting to doubt if it's even a ride. Others just admire it for its eloquence as a metaphor. Johnny! You scared me! Aha. Where did you go?! Nowhere— fast! Alright well— Money when you know I have it But I haven't really Paid attention to the never ending Digits never coming in but Simply, there's a secret, Sonny Someday you'll get lessons, honey. Much to find and much to serve and Surf us up Piñata's bout the burst But here comes Vesuvius (POW) Everyone was gone in an instant (Vapor) Had a good laugh that night in the pantheon; Everything's past, and the mortals They kept on running But i didn't want go, God Putting on a show then I blow up Just like the mountain Found her Now I got a broke back husband (hope so) To tell, don't ask Don't show up if you just get lost But I'm probably in the back with a bottle back mountain Now you got a real horse pack. Trip Girl keep camping What was the map with the mask and the Fashion? Pass. I put sugar on the rim of the glass With my eyes half closed And my ass clenched fast shut I'm an alcoholic Don't involve the God I got lost in the mall with the —- UGHHHHHHHH! Hello. Uh, yes— hi. what up. Mirror mirror. Uh…nothing. You're lost? No. You look lost. Oh? Disgruntled. I am that. You're lost? I'm not lost. My friend is lost. His phone is dead. You lost each other. Sort of. Continuity conniption I nipped an eclipse And he picked his nose For a full ass minute Sitting at the stop sign That's a gobstopper's worth in our time Pull all the clocks back, Pull the fool over, You just got fined It was Friday for nothing I was in the hatchback, Scratch that Sour patch Should have called Pat back Now I'm just a Cool 48 in the ring with a date And the cashapp Continuity construction I want a husband! Fuck that. I want a clean cut plus one Since I can't have Helmet, Elmo, Or Hatchetman; Tears of a Clow…no, Wait I lost focus Half finished album Got 6 tracks But I knew it was 12 from the get go Prob‘ly should have knocked off the showrunner; Nah, I'm sure I had that coming Hashtag, undon Could have been you, too If the cash came through Now it's hard times Hardwired Sitting on a hi wire, Little white liar, liar Wait I made Katey Sagal (Fire) Cut off her hair (Fire) Went to the hall of fame with the framed sunglasses Asked for her autograf, But she walked off So I shot her with a bottle/ can, But she ducked, popped back up With the brass knuckles Surfboard Good for a chuckle and a fuck So I asked for her number All that on a Sunday at Gelson's market. Christ, almighty I miss Walmart, I hit hard times. So many places to run, But not many places to hide I think I want to die here I think i want to die. City of corruption… Lay it out and lay it over City of corruption… no, it's not a choice It's a black tie function Right in that very moment Seth Meyers kind of became my defacto personal hero. “Never meet your heroes” Or perhaps it was just his writing team, or the fact that maybe even without there even being anything set in stone or solid at all, [redacted] itself seemed to have a price over my head– It all seemed to make sense; in fact, all the crazy things i was experiencing made more sense than it didn't. But after what felt something like between defeat and maybe even one day really getting justice for all the things that had happened to me in new york– it was that, at best; That without actually meaning it, by all probability, the opening monologue described what in perfect sense the thing that had been happening to me: hundreds of motorcycles and cars riding around in circles for over a year, any time i tried to work or sleep–and then, when I finally tried to reach out to find an attorney that would help, I was made to feel crazy for it. In a way, it was the perfect indication that it had all been some sort of sick game, and that I was more right than wrong, and being set up to appear, sound, or look crazy–but I wasn't. I had been under attack for nearly two years, and when I tried to reach out, my heart raced and my voice cracked, and I sounded crazy and desperate–but what was happening was very real; and now I knew where I was. As it turns out, New York's corruption was more common knowledge to everyone else before it was to me: New York was a common place for fucked up, dirty, low-down mind games: and this was my lesson in that. Seth Meyers in reality had nothing to do with it–and really I only meant to watch Kimmel over my afternoon tacos. But still, though it hadn't entirely anything to do with me, the opening statements rang true to exactly what I had experienced; I was made to lose my mind, only to have everyone around me tell me it was something wrong with me–but it wasn't. Something was wrong with the city, and the building management, and the people around who were making it all to be some kind of mental disorder or problems with my mind–in reality, it was 2 years of being in the center of a speedway, and all the time i'd lost because of it adding to the stress, and the angst, and the depression that resulted. Moo. Moo… Moo. Moo, sir. I'll kill you. You promise? I want to. Don't get me excited over nothing; If this isn't the exit, please take this tease To the left, dear Moo, cow My honor Level one, and brother, you've got nothing Flip the coin and landed on your headache Betting on your helmet Standing on my cock, i'm taller (Not a rooster) But my ops are rooting for you, No informants, Dont you know I was a collar, all along? I was a shot calling, Cop calling Kiss-and-tell all as the night goes on. But oh, I brought you a dollar bra Oh, I bought you for all of a dollar And oh, I'm so much taller, Standing on my cock But i'm not but ten feet tall You know, you wrote that Should i open the book, or close that Caught that cat, owl and As i soft spoke at Every broken model Broken bottle for the thoughts you owe Across the scatters skies and no one ever knows When you're realling coming over Come on, I'm on the pornhub Just to pick up another one Go on, and rub the bottle One more once, To call the Bubbles. Damn. Come. (The Monkey obeys) You should see Michael in all of his godform You won't recognize him at all if not by the eyes When you follow home Believe me, this not comes close to it; The one you wanted The world you jumped to but were just short of Call her back Oh no, you're wrong It's another song A pin up girl And the wrong number Okah. Okah, Pablo. Time can be altered, changed or effected presently in any omnidirectional plane by engaging certain acts or synchronicities within multidimensional parallels or adjacent realms in time and or space respectively. –the reverse quantum simulation theory. Does anyone else smell blood I hate wedding days suits and tuxedos No, I don't know you I'm just here to sound the hundred drums Of the once before us (The ones to come) Then, there we were and I didn't want to admit Again, I was caught into the ghost of the rapture Or the holy hour, No aux chord Show the holy one Just how old you are On these sacr d lands and a holy grounds Now I want here half an ounce to smoke And there were drowning orchestras in all of the hearts And all of the markets, The market the marker And all of the sins of the savior The maytyr Did you remember not to notice not to know him Were you sure with words you were for nickelodeaon! I was supposed to hold on to, Supposed to hold on to Suddenly, it's summer. And always our own are under the weather There was no other wise man the wind. Lee the one came The site came and went and then the songs went left The songs went left; Again, the songs went left Did you win at wintergreen Well, God, I didn't know gym was a game. I didn't know guns we're just portals to worlds unknownn I didn't know gossip was golden What all else didn't I know It wasn't for here! It was fourth flour And in the final hour of the battle I commenced to summon All the gods and all the lords and all the flowers All the worlds of oceans and the Remember, this The remembrance It may not matter to some, What matters to most But until summer comes, I'm still up under the rail And practically it's spring, for the next two weeks I'm all berries and cream and whatever you wanted. Tormaline, emerald and onyx, the fox said And fox says its west when instead it's quite under what of the reporter's offer? Comes down a little to none What of the offer Comes down from a billion to one A billion to one I'm on TV so it's really just a one way screen Either way, I don't think he likes me much I don't think he likes me much I'd rather die than to fall in love even one more time And to keep on just never being loved Never beingbloved {Enter The Multiverse} [The Festival Project™ ] {Enter The Multiverse} L E G E N D S: ICONS Tales of A Superstar DJ The Secret Life of Sunnï Blū Ascension Deathwish -Ū. Copyright © The Festival Project, Inc. ™ | Copyright The Complex Collective © 2019-2025 ™ All Rights Reserved. -Ū.
In this episode, we investigate the mysterious Jayson Bartlett and the many women whose lives he upended. Emma was a single mother in England who fell for Bartlett's charm and artistic persona. At first, everything seemed perfect. But soon, she realized she was being gaslit, lied to, and emotionally manipulated. Then there's Melanie. She lived in North Carolina and had been diagnosed with a terminal illness. She thought she had found love and a creative partner. Instead, Jayson took control of her finances and disappeared. Episode Credits: Written and Produced by: Javier Leiva & Mackenzie AmesEditor: Puneeth ShenoyTheme Music: by Thechicken.net
Send us a textPlaywright and performer, Ashley Griffin, swung by the studio to sit in the Playwright's Spotlight before her West Coast Premiere of her Off-Broadway play The Opposite of Love. It's a compelling conversation that tackles so many aspects of playwriting, that the title of the thumbnail became a struggle. In this discussion, we breakdown her playwriting origins, learning lessons from mentors, overcoming technical challenges, magical realism and heightened language, and achieving the goal of giving a gift to the audience. We also unpack recognizing issues, characters having objectives, knowing where you're going, and using language like magic. We wrap it up by exploring - determining beats, separating yourself as a playwright/actor/director in your own work, how acting assists writing, organic dialogue, punctuation as sheet music, and the benefits of locking opposite characters in the same room. Ashley gives a plethora of insight in such a short amount of time. Every playwright will walk away with at least one nugget of knowledge if not a bagful. Enjoy!The West Coast premiere of her play The Opposite of Love opens July 25th through August 31st at The Hudson Backstage Theater in Los Angeles. Tickets can be purchased at - https://www.onstage411.com/newsite/boxoffice/cart.asp?orgin=guest&show_id=7383&skin_show_id=&runall_id=176397 Ashley Griffin is a writer and performer. Her work has been produced and/or developed at New World Stages, Manhattan Theater Club, and Playwrights Horizons amongst others. She received the WellLife Network Award and a county commendation for her off-Broadway play Trial. She holds a BFA from NYU's Tisch School of the Arts and has trained at the Royal Shakespeare Company and the National Theater.To watch the video format of this episode, visit - https://youtu.be/XaEV3GfqwfYLinks to sites and resources mentioned in this episode - Santa Monica Playhouse - https://www.santamonicaplayhouse.com/Websites and Socials for Ashley Griffin -www.ashleygriffinofficial.comYouTube - https://www.youtube.com/@ashleygriffinBlank Paige by Ashley Griffin - https://www.amazon.com/Blank-Paige-Ashley-Griffin/dp/B0CKPVPT9VThe Spindle by Ashley Griffin - https://a.co/d/8JjdNm3IG - @ashleygriffinofficialWebsites and socials for James Elden, Punk Monkey Productions and Playwright's SpotlightPunk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods - @playnoirla IG - @punkmonkeyprods - @playnoir_la FB - fb.com/playnoir - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through LACPFest - www.lacpfest.comSupport the show
Still struggling to pick the right testing tools? Could no-code automation finally help your whole team contribute to automation? Is a new visual IDE about to change how you debug Playwright tests? Find out in this episode of the Test Guild New Shows for the week of July 13th. So, grab your favorite cup of coffee or tea, and let's do this. Support the show learn more about AI and our sponsor: https://testguild.me/ZAPTESTNEWS 0:21 ZAPTESTAI https://testguild.me/ZAPTESTNEWS 1:00 Test Tool Matcher https://testguild.me/toolmatch 4:23 Playwright YAML https://testguild.me/z5ds0v 5:13 Empirical Run https://testguild.me/u50amj 6:14 Playcraft https://testguild.me/xjnwsy 7:16 Flame Graph https://testguild.me/c4vyx6 8:09 ParrotOS https://testguild.me/46kpls
Our Resistance in Residence artist this week is Pearl Ong. Pearl is a playwright and storyteller whose solo show Night Driver debuts this month at the Marsh Theater in San Francisco and runs from July 19 through August 23rd, each Saturday at 5 pm. Find ticket information here — Subscribe to this podcast: https://plinkhq.com/i/1637968343?to=page Get in touch: lawanddisorder@kpfa.org Follow us on socials @LawAndDis: https://twitter.com/LawAndDis; https://www.instagram.com/lawanddis/ The post Resistance in Residence: Playwright, Performer Pearl Ong appeared first on KPFA.
Leah Purcell grew up in a small town caring for her mum Florence. Her options after graduation were nursing or working at the meatworks. But after a push from her meatworks boss, Leah defied her own expectations for herself (R)Leah is now an acclaimed actor, playwright, and stage and film director.She grew up in the Queensland country town of Murgon. Although she came from a big family, it was just her and her mum for most of her childhood.Her dad lived in town, but didn't acknowledge her as his daughter.Leah's mum Flo was well respected. For a time she was the only Aboriginal woman allowed in the lounge area of the pub, which was a whites-only zone.Leah grew up with her Aunties and Uncles yarning around the kitchen table, and became a vivid storyteller herself.When she left school, it was expected she would go to work in the local meatworks, or become a nurse.But one of Leah's bosses at the meatworks refused to give her a permanent position, because he'd seen her in the local high school musical. When he told Leah she had a real talent, it helped change Leah's idea of herself.And so after her mum passed away, Leah left her small town.In Sydney she set off on her path to becoming an actor, a playwright and eventually a film director.Her first play 'Box the Pony' was inspired by her mother and grandmother's life story, and it became a huge hit.Today Leah is recognised as one of Australia's most important voices in the performing arts.Further informationLeah was awarded an Order of Australia in 2021 for her services to the performing arts. She released her feature film, The Drover's Wife in 2022. Leah played the lead role and also wrote and directed the film.Find out more about the Conversations Live National Tour on the ABC website.This episode of Conversations explores parentification of children, children raising parents, mixed families, racism, rural Australia, family dynamics, writing, books, plays, theatre, Andrew Denton, fathers and daughters, NAIDOC, Aboriginal, Indigenous, talent, film industry, acting, love, origin stories, life story.
In this episode of PodRocket, Michael Shilman, product lead at Storybook, joins us to explore the major updates in Storybook 9. We dive into component testing, browser mode in Vitest, AI workflows, React Server Components, accessibility audits, and Storybook's growing support for frameworks like Next.js, Svelte, and React Native. Michael also shares behind-the-scenes insights on Storybook's evolution from a documentation tool to a full-fledged UI development and testing suite. Links LinkedIn: https://www.linkedin.com/in/shilman Github: https://github.com/shilman X: https://x.com/mshilman Bluesky: https://bsky.app/profile/shilman.net Resources Storybook 9 (https://storybook.js.org/blog/storybook-9/) We want to hear from you! How did you find us? Did you see us on Twitter? In a newsletter? Or maybe we were recommended by a friend? Let us know by sending an email to our producer, Em, at emily.kochanek@logrocket.com (mailto:emily.kochanek@logrocket.com), or tweet at us at PodRocketPod (https://twitter.com/PodRocketpod). Follow us. Get free stickers. Follow us on Apple Podcasts, fill out this form (https://podrocket.logrocket.com/get-podrocket-stickers), and we'll send you free PodRocket stickers! What does LogRocket do? LogRocket provides AI-first session replay and analytics that surfaces the UX and technical issues impacting user experiences. Start understanding where your users are struggling by trying it for free at LogRocket.com. Try LogRocket for free today. (https://logrocket.com/signup/?pdr) Special Guest: Michael Shilman.
In this episode of 'Copeland's Corner,' Brian welcomes comedians Tom Rhodes, Jim Vallely, and Ritch Shydner to discuss a variety of current events and social issues. Key topics include the administration's response to Texas flooding, the impact of government cuts on services like the FAA, and the rise of domestic terrorism. The panel also delves into the generational wealth gap, the ongoing influence of Trump-era politics, and the societal impact of cultural wars. The episode mixes humor with serious commentary, offering both personal anecdotes and critical analysis.--Connect with our Guests...Ritch Shydner - RitchShydner.comTom Rhodes - TomRhodes.net and @_TomRhodes on InstagramJim Vallely - Wiki Bio --For more from Brian...Visit his website: www.BrianCopeland.comFollow on Social Media: Instagram - @CopelandsCorner & @BrianCopieEmail: BrianCopelandShow@Gmail.com --Copeland's Corner is Created, Hosted, & Executive Produced by Brian Copeland. This Show is Recorded & Mixed by Charlene Goto with Go-To Productions. Visit Go-To Productions for all your Podcast & Media needs.Our Booking Producer is Tom Sawyer. For any show inquiries, please email CopelandsCornerPodcast@gmail.com
End-to-end testing has traditionally been a source of frustration for developers - flaky tests, complex setup, and poor debugging experiences have made it a necessary evil rather than a productive part of the development workflow. With the rise of modern testing frameworks like Playwright, developers are discovering that E2E testing can actually be reliable, fast, and even enjoyable. The integration of AI capabilities is further revolutionizing how we write, maintain, and debug tests. In this episode we welcome Google Developer Expert and Principal Technical PM at Microsoft, Debbie O'Brien, to explore the current state of Playwright and its evolving ecosystem. Between juggling twins under 2, Debbie shares insights on what makes Playwright different, the latest features transforming the testing landscape, and how AI is being integrated to make testing more intelligent and efficient. You can expect to learn why Playwright is becoming the go-to choice for modern web testing and how to leverage its powerful features in your projects.More about DebbieX:@debs_obrienLinkedIn: Debbie O'Brien https://dev.to/debs_obrien/letting-playwright-mcp-explore-your-site-and-write-your-tests-mf1https://debbie.codes/ Follow us onX: The Angular Plus ShowBluesky: @theangularplusshow.bsky.social The Angular Plus Show is a part of ng-conf. ng-conf is a multi-day Angular conference focused on delivering the highest quality training in the Angular JavaScript framework. Developers from across the globe converge every year to attend talks and workshops by the Angular team and community experts.Join: http://www.ng-conf.org/Attend: https://ti.to/ng-conf/2025Follow: https://twitter.com/ngconf https://www.linkedin.com/company/ng-conf https://bsky.app/profile/ng-conf.bsky.social https://www.facebook.com/ngconfofficialRead: https://medium.com/ngconfWatch: https://www.youtube.com/@ngconfonline Edited by Patrick Hayes https://www.spoonfulofmedia.com/ Stock media provided by JUQBOXMUSIC/ Pond5
Join me as I chat with Amir to discuss how Cursor can function as a comprehensive interface for business operations beyond traditional coding. Through demonstrations of Model Context Protocols (MCPs), Amir illustrates how to automate financial reporting, conduct UX analysis, create marketing content, and perform QA testing—all within Cursor. The conversation highlights how this approach can dramatically improve productivity by eliminating the need to switch between different applications. Timestamps: • 00:00 - Intro • 01:03 - Overview of using Cursor beyond coding • 02:40 - Finance automation with Xero MCP • 07:58 - UX analysis using Playwright MCP • 14:37 - Sales/Marketing automation with Perplexity and Firecrawl MCPs • 23:51 - QA testing automation • 26:50 - Advice for non-technical users getting started with Cursor Key Points: • How Cursor AI can be used beyond coding to manage finance, analytics, design, and marketing tasks • Model Context Protocols (MCPs) allow seamless integration with third-party services like Xero, Playwright, and Perplexity • Automated workflows can handle accounting tasks, UX analysis, content creation, and QA testing • Different AI models serve different purposes: "thinking models" for planning and "agentic models" for execution LCA helps Fortune 500s and fast-growing startups build their future - from Warner Music to Fortnite to Dropbox. We turn 'what if' into reality with AI, apps, and next-gen products https://latecheckout.agency/ Boringmarketing - Vibe Marketing for Companies: https://www.boringmarketing.com/ The Vibe Marketer - Join the Community and Learn:https://www.thevibemarketer.com Startup Empire - a membership for builders who want to build cash-flowing businesses https://www.skool.com/startupempire/about FIND ME ON SOCIAL X/Twitter: https://twitter.com/gregisenberg Instagram: https://instagram.com/gregisenberg/ LinkedIn: https://www.linkedin.com/in/gisenberg/ FIND AMIR ON SOCIAL Humblytics: https://humblytics.com/?via=community X/Twitter: https://x.com/amirmxt Youtube: https://www.youtube.com/@amirmxt Build, Ship, Market: https://buildshipmarket.com
TestTalks | Automation Awesomeness | Helping YOU Succeed with Test Automation
In this episode, host Joe Colantonio sits down with Debbie O'Brien, Principal Technical Program Manager at Microsoft and a leading advocate for Playwright end-to-end testing. Debbie shares her fascinating journey from web design in the late '90s to building and nurturing the Playwright community at Microsoft. Together, they tackle the latest and greatest in test automation, with a special focus on Playwright's Model Context Protocol (MCP) server and how you can unlock its powerful AI-driven browser automation capabilities. From real-world advice on overcoming resistance to testing in teams to the exciting possibilities MCP brings for generating and scaling tests with natural language and AI, this conversation is packed with both practical tips and future-looking insights. Debbie also addresses common fears around AI replacing jobs, highlighting the need for testers and developers to embrace these tools and stay ahead of the curve. Whether you're an automation engineer, front-end developer, or simply curious about where testing is headed, this episode is full of actionable wisdom and inspiration. Tune in and get ready to supercharge your automation skills!
Laura McAllister is the Vice-President of UEFA. During her own football career Laura was the captain of Wales' women's team, gaining 24 caps for her country. Wales have qualified for this year's Euros for the first time and will play their debut match tomorrow, as will England who are defending their title after winning at Wembley in 2022. Laura joins Datshiane Navanayagam ahead of those first games. Award-winning playwright Beth Steel tells Datshiane how her working-class, northern roots inspire her hit play Till The Stars Come Down. Set at the wedding of Sylvia and Marek - the vodka flows and dances are shared, passions boil over and the limits of love are tested. She becomes the fifth female playwright to transfer from the National Theatre to the West End.The film director Gurinder Chadha has released a trailer to celebrate this summer's cricket fixtures between England and India's women's teams. She joins Datshiane to discuss why she's chosen to put women's cricket under the spotlight and the legacy of her last hit film about women's sport, Bend It Like Beckham. The musical icon Angélique Kidjo has become the first black African performer to be selected for a star on the prestigious Hollywood Walk of Fame. Kidjo, who comes from the West African country of Benin, and has won five Grammy awards, was among the 35 names announced as part of the Walk of Fame's class of 2026 list. Music journalist Kate Hutchinson tells us more. Presenter: Datshiane Navanayagam Producer: Corinna Jones
In this 4th of July episode of Copeland's Corner, host Brian Copeland discusses a range of topics including recent Senate votes affecting health insurance, the role of Republican senators like Lisa Murkowski, and the potential impacts on the upcoming midterm elections. Guests Conor Kellicutt Maureen Langan, and Tom Sawyer join the conversation, providing their insights and humor. They touch upon issues like the influence of Elon Musk, the state of journalism amidst settlements with Trump, and share personal anecdotes about working in the entertainment industry. The show combines political discourse with light-hearted banter, making it both informative and entertaining.--Connect with our Guests...Maureen Langan - MaureenLangan.com and @MaureenLangan on Instagram. Conor Kellicutt - @ConorKellicutt on InstagramTom Sawyer - TomSawyerVoices.com --For more from Brian...Visit his website: www.BrianCopeland.comFollow on Social Media: Instagram - @CopelandsCorner & @BrianCopieEmail: BrianCopelandShow@Gmail.com --Copeland's Corner is Created, Hosted, & Executive Produced by Brian Copeland. This Show is Recorded & Mixed by Charlene Goto with Go-To Productions. Visit Go-To Productions for all your Podcast & Media needs.Our Booking Producer is Tom Sawyer. For any show inquiries, please email CopelandsCornerPodcast@gmail.com
2nd Part of a longer Podcast today from Spoken Label (Spoken Word / Poetry Podcast) features Genevieve Ray.Genevieve Ray is a Spoken Word Artist, Poet, Director, Producer, Playwright, Actor and Spokeswoman based in Bedfordshire, East England. She has been published in over 25 publications ranging from anthologies to digital and print magazines. She has been a guest star in 12 podcasts and a headline act for performances across the UK. She has been invited to be a Spoken Word Artist/Speaker in the USA (Massacuettes, New York), South Africa, Nigeria and Bhutan. She has produced a show with Diaspora Dames in collaboration with the National Trust in June 2025.Her debut book 'Free Roaming Adult Woman' is out now.
Playwright and screenwriter Madhuri Shekar returns to talk about Dhaba on Devon Avenue, now having its much-delayed world premiere at Chicago's Writers Theatre in a co-production with Timeline Theatre. Shekar reveals the comic book origin stories of both herself and the play; the happy accident of writing a family play that resonates with older audiences; how Shakespeare and Bollywood have much in common; how superhero films have taught us important history our schools have missed; embracing the unintentional gift of time; and the Proustian power of a saag grilled cheese sandwich. (Length 20:32) (PICTURED: Anish Jethmalani and Tina Munoz Pandya in the Writers Theatre/Timeline Theatre co-production of Dhaba on Devon Avenue by Madhuri Shekar, directed by Chay Yew. Photo by Michael Brosilow.) The post Dhaba On Devon appeared first on Reduced Shakespeare Company.
Samuel A. Simon started his career in Washington, DC as a lawyer for Ralph Nader's first advocacy group, becoming part of the infamous Nader's Raiders. He then spent 25 years as the head of a public affairs firm. In that work, he was often in the news, appearing on Face The Nation, The Phil Donahue Show, The Oprah Winfrey Show, Good Morning America, and many more. Sam subsequently became a playwright and calls his playwriting and theatre work his 4th Age. His first play, The Actual Dance, Love's Ultimate Journey Through Breast Cancer, was later turned into an award-winning memoir.In 2021, Sam was diagnosed with early-stage Alzheimer's Disease. Despite the enormous challenges of this diagnosis, Sam has become “Dementia Man,” a powerful advocate through theater, using his own experience as inspiration to reshape the narrative surrounding cognitive decline. In his newest play, “Dementia Man, An Existential Journey,” Sam defies stereotypes and inspires audiences.Sam is joined in this episode by his wife, Susan, who acts as his cognitive navigator.www.dementiaman.com
Send us a textI invited Joel Trinidad onto the Playwright's Spotlight after reading about his journey. He streamed in while on tour for his acting performance of Romeo and Juliet as part of a fringe fest in South Dakota. In our conversation, we discussed acquiring an artist visa, producing your own work, the definition of success, the structure of a musical, and the importance of networking and finding opportunities. We also discussed using your cast to fill seats, imposter syndrome, submissions and rejections, pay-to-play, and staging a musical table read. It's a great conversation on a universal approach of getting into the business and what defines success. Enjoy!Joel Trinidad is a theater professional from the Philippines, whose body of work has granted him Permanent Residency status in the US as an “alien of extraordinary ability and achievement.” He has penned a dozen original librettos, most of which have been successfully produced and in his home country. Titles include BREAKUPS & BREAKDOWNS; AFTER EVER AFTER; GUADALUPE: THE MUSICAL and FAIRY TALE RESCUE, to name but a few. He's also written more than a hundred short plays. His latest musical (created with composer Luke Simnett) is the two-person comedy A TALE OF TWO (based on A TALE OF TWO CITIES by Charles Dickens), which premiered in London in July 2024. To watch the video format of this episode, visit - https://youtu.be/RMvyG0tS1PsLinks to sites and resources mentioned in this episode - TDF - https://www.tdf.org/discount-ticket-programs/NYC Playwrights - https://www.nycplaywrights.org/#google_vignetteTheatre Resources Unlimited - https://truonline.org/Websites and socials for James Elden, Punk Monkey Productions and Playwright's SpotlightPunk Monkey Productions - www.punkmonkeyproductions.comPLAY Noir -www.playnoir.comPLAY Noir Anthology –www.punkmonkeyproductions.com/contact.htmlJames Elden -Twitter - @jameseldensauerIG - @alakardrakeFB - fb.com/jameseldensauerPunk Monkey Productions and PLAY Noir - Twitter - @punkmonkeyprods - @playnoirla IG - @punkmonkeyprods - @playnoir_la FB - fb.com/playnoir - fb.com/punkmonkeyproductionsPlaywright's Spotlight -Twitter - @wrightlightpod IG - @playwrights_spotlightPlaywriting services through LACPFest - www.lacpfest.comSupport the show
Matthew Gasda is a playwright and novelist based in New York City. He is the founder of the Brooklyn Center for Theatre Research, and the author of The Sleepers.
The new play "Trophy Boys" follows an undefeated debate team from an all-boys school who must face off against their sister school for their final debate. The question at the center of the debate: has feminism been good for women? Playwright and actor Emannuelle Mattana and actor Louisa Jacobson discuss the show, which is running at the MCC Theater through July 27.
Third generation Japanese American Philip Kan Gotanda has gained renown as one of the most prolific Asian American playwrights, filmmakers, and musicians, but he came this close to becoming a lawyer. East West Players (www.eastwestplayers.org) is remounting his seminal play Yankee Dawg You Die in July 2025 after first staging it in 2001. Here's your chance to let him educate you about the (sadly) still-relevant message of this play, while he regales you with astonishing and hilarious stories of his journey to embrace his calling as a pioneering artist.
Topics covered in this episode: * Free-threaded Python no longer “experimental” as of Python 3.14* typed-ffmpeg pyleak * Optimizing Test Execution: Running live_server Tests Last with pytest* Extras Joke Watch on YouTube About the show Sponsored by PropelAuth: pythonbytes.fm/propelauth66 Connect with the hosts Michael: @mkennedy@fosstodon.org / @mkennedy.codes (bsky) Brian: @brianokken@fosstodon.org / @brianokken.bsky.social Show: @pythonbytes@fosstodon.org / @pythonbytes.fm (bsky) Join us on YouTube at pythonbytes.fm/live to be part of the audience. Usually Monday at 10am PT. Older video versions available there too. Finally, if you want an artisanal, hand-crafted digest of every week of the show notes in email form? Add your name and email to our friends of the show list, we'll never share it. Brian #1: Free-threaded Python no longer “experimental” as of Python 3.14 “PEP 779 ("Criteria for supported status for free-threaded Python") has been accepted, which means free-threaded Python is now a supported build!” - Hugo van Kemenade PEP 779 – Criteria for supported status for free-threaded Python As noted in the discussion of PEP 779, “The Steering Council (SC) approves PEP 779, with the effect of removing the “experimental” tag from the free-threaded build of Python 3.14.” We are in Phase II then. “We are confident that the project is on the right path, and we appreciate the continued dedication from everyone working to make free-threading ready for broader adoption across the Python community.” “Keep in mind that any decision to transition to Phase III, with free-threading as the default or sole build of Python is still undecided, and dependent on many factors both within CPython itself and the community. We leave that decision for the future.” How long will all this take? According to Thomas Wouters, a few years, at least: “In other words: it'll be a few years at least. It can't happen before 3.16 (because we won't have Stable ABI support until 15) and may well take longer.” Michael #2: typed-ffmpeg typed-ffmpeg offers a modern, Pythonic interface to FFmpeg, providing extensive support for complex filters with detailed typing and documentation. Inspired by ffmpeg-python, this package enhances functionality by addressing common limitations, such as lack of IDE integration and comprehensive typing, while also introducing new features like JSON serialization of filter graphs and automatic FFmpeg validation. Features : Zero Dependencies: Built purely with the Python standard library, ensuring maximum compatibility and security. User-Friendly: Simplifies the construction of filter graphs with an intuitive Pythonic interface. Comprehensive FFmpeg Filter Support: Out-of-the-box support for most FFmpeg filters, with IDE auto-completion. Integrated Documentation: In-line docstrings provide immediate reference for filter usage, reducing the need to consult external documentation. Robust Typing: Offers static and dynamic type checking, enhancing code reliability and development experience. Filter Graph Serialization: Enables saving and reloading of filter graphs in JSON format for ease of use and repeatability. Graph Visualization: Leverages graphviz for visual representation, aiding in understanding and debugging. Validation and Auto-correction: Assists in identifying and fixing errors within filter graphs. Input and Output Options Support: Provide a more comprehensive interface for input and output options, including support for additional codecs and formats. Partial Evaluation: Enhance the flexibility of filter graphs by enabling partial evaluation, allowing for modular construction and reuse. Media File Analysis: Built-in support for analyzing media files using FFmpeg's ffprobe utility, providing detailed metadata extraction with both dictionary and dataclass interfaces. Michael #3: pyleak Detect leaked asyncio tasks, threads, and event loop blocking with stack trace in Python. Inspired by goleak. Use as context managers or function dectorators When using no_task_leaks, you get detailed stack trace information showing exactly where leaked tasks are executing and where they were created. Even has great examples and a pytest plugin. Brian #4: Optimizing Test Execution: Running live_server Tests Last with pytest Tim Kamanin “When working with Django applications, it's common to have a mix of fast unit tests and slower end-to-end (E2E) tests that use pytest's live_server fixture and browser automation tools like Playwright or Selenium. ” Tim is running E2E tests last for Faster feedback from quick tests To not tie up resources early in the test suite. He did this with custom “e2e” marker Implementing a pytest_collection_modifyitems hook function to look for tests using the live_server fixture, and for them automatically add the e2e marker to those tests move those tests to the end The reason for the marker is to be able to Just run e2e tests with -m e2e Avoid running them sometimes with -m "not e2e" Cool small writeup. The technique works for any system that has some tests that are slower or resource bound based on a particular fixture or set of fixtures. Extras Brian: Is Free-Threading Our Only Option? - Interesting discussion started by Eric Snow and recommended by John Hagen Free-threaded Python on GitHub Actions - How to add FT tests to your projects, by Hugo van Kemenade Michael: New course! LLM Building Blocks in Python Talk Python Deep Dives Complete: 600K Words of Talk Python Insights .folders on Linux Write up on XDG for Python devs. They keep pulling me back - ChatGPT Pro with o3-pro Python Bytes is the #1 Python news podcast and #17 of all tech news podcasts. Python 3.13.4, 3.12.11, 3.11.13, 3.10.18 and 3.9.23 are now available Python 3.13.5 is now available! Joke: Naming is hard
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