Podcasts about rsc

Professor Ronan Hatfull literally wrote the book on the Reduced Shakespeare Company. His new book from Bloomsbury/Arden – Shakespeare in the Theatre: Reduced Shakespeare Company – is the very first full-length study to be published about the RSC. Focusing specifically on our Shakespearean reduction and adaptation, Ronan's book examines the origins and evolution of the company through the creation of The Complete Works of William Shakespeare (abridged), The Reduced Shakespeare Radio Show, William Shakespeare's Long Lost First Play (abridged), and The Comedy of Hamlet! (a prequel). Ronan shares his methodology; how he wanted to make his book accessible to the general reader; how he learned that the RSC carries on the 17th-century tradition of “drolls”; how the RSC injected a bit of danger and the unexpected into Shakespeare and influenced various folks like the Q Brothers and Potted Potter creator Daniel Clarkson; and how for a limited time, Arden Shakespeare is offering to RSC fans a 35% discount on the hardcover edition of the book! (Length 24:54) The post Reduced Shakespeare Book appeared first on Reduced Shakespeare Company.

En este episodio, Martha Caballero, directora senior de Asuntos Corporativos de AstraZeneca para América Latina y el Caribe, comparte cómo la compañía está construyendo alianzas con gobiernos, impulsando innovación digital y vinculando salud con acción climática para cerrar brechas de acceso y mejorar la resiliencia sanitaria. Desde proyectos en comunidades remotas de Perú hasta el uso de IA para diagnóstico temprano en Colombia, esta entrevista ofrece un modelo inspirador de cómo el sector privado puede co-crear valor social y ambiental.Descubre todas nuestras entrevistas y reportajes suscribiéndote a nuestro canal. Opina qué te pareció el episodio en los comentarios y no te olvides de dejarnos tantas estrellas como creas que merecemos, nos ayudarás mucho a seguir contando historias sobre RSE y Sostenibilidad. Encuentra toda la información en RSE y Sostenibilidad en : valor-compartido.com

Say hello to the newest UK incarnation of the Reduced Shakespeare Company! Efé Agwele, Woogie Jung, Kiran Raywilliams, and Tom Pavey join director and RSC founder Adam Long to discuss our brand-new tour of The Complete Works of William Shakespeare (abridged) that's hitting at least 29 cities across the UK in this first half of 2026. The gang talks about how they were cast; their origins both humble and impressive; incorporating micro Shakespeare moments; experience with something called the Jesus College Shakespeare Project; our first live conversation from the back of the bus to Oxford University; and the key importance for touring actors to be "pre-loved-up"! (Length 27:44) (PICTURED, above l-r: Kiran Raywilliams, Efé Agwele, Tom Pavey (seated), and Woogie Jung. Photo by Michael Wharley.) The post New RSCUK Actors appeared first on Reduced Shakespeare Company.

No Arauto Repórter UNISC de hoje, você confere:* Detonações na RSC-287 em Santa Cruz são adiadas* Eduardo Leite visita Santa Cruz hoje para marcar o início do ano letivo* Municípios da região são contemplados em projetos de estímulo à permanência de jovens no campo* Em destaque na segurança pública da região: Acidente é registrado na esquina da Rua Irmão Emílio com a BR-471, em Santa Cruz

No Arauto Repórter UNISC de hoje, você confere:* Detonações na RSC-287 em Santa Cruz são adiadas* Eduardo Leite visita Santa Cruz hoje para marcar o início do ano letivo* Municípios da região são contemplados em projetos de estímulo à permanência de jovens no campo* Em destaque na segurança pública da região: Acidente é registrado na esquina da Rua Irmão Emílio com a BR-471, em Santa Cruz

The State of JavaScript 2025 survey results are in this week, and there's some givens and some surprises this year. Givens: Vite's still a favorites and devs want more native TS features. Surprises: ChatGPT usage declined, no one's using Windsurf, and Bun is the third most-used JS runtime. And thanks for making us the most written-in podcast of the survey! We appreciate it!An 8 month study conducted by the Harvard Business Review reports AI tools don't shrink work for employees, they actually intensify it. Employees work faster, take on more tasks, and work longer hours, which can lead to burnout, cognitive fatigue, and lower quality work over time. And there's yet another new React2Shell flaw that's being exploited by the ILOVEPOOP toolkit to scan and target vulnerable Next.js and RSC environments. Patch your React apps, folks.Timestamps:0:59 - State of JS survey results23:53 - Harvard Business Review's report on how AI is changing work35:30 - React2Shell exploits and ILOVEPOOP40:08 - The largest domain name purchase ever43:00 - Adobe Acrobat can turn PDFs into podcasts46:48 - We hit 100k downloads!47:55 - What's making us happyNews:Paige - State of JavaScript survey results 2025Jack - React2Shell exploitsTJ - HBR reports AI didn't shrink work for employees, it intensified it and the burnout is getting realLightning News: Thanks for helping us reach 100k downloads!The largest publicly disclosed domain name purchase everAdobe Acrobat can turn PDFs into podcastsWhat Makes Us Happy this Week:Paige - San Diego Zoo Safari ParkJack - Bambu Lab H2CTJ - Ubuntu OSThanks as always to our sponsor, the Blue Collar Coder channel on YouTube. You can join us in our Discord channel, explore our website and reach us via email, or talk to us on X, Bluesky, or YouTube.Front-end Fire websiteBlue Collar Coder on YouTubeBlue Collar Coder on DiscordReach out via emailTweet at us on X @front_end_fireFollow us on Bluesky @front-end-fire.comSubscribe to our YouTube channel @Front-EndFirePodcast

オーストラリア最高峰RSCレプコ・スーパーカー・チャンピオンシップの直轄ステップアップ・カテゴリーとして今季も併催される『ダンロップ・スーパー2』シリーズに、新進気鋭18歳の女性スター、アリス・バックリーのフル参戦が決 […]

No Direto ao Ponto de hoje, o parlamentar Airton Artus falou sobre questões estruturais envolvendo a RSC-287, dificuldades financeiras de hospitais e o trabalho em ano eleitoral.

No Direto ao Ponto de hoje, o parlamentar Airton Artus falou sobre questões estruturais envolvendo a RSC-287, dificuldades financeiras de hospitais e o trabalho em ano eleitoral.

En este episodio de Valor Compartido Podcast conversamos con Paloma Infestas, gerente de Educación en Fundación Coppel, y Sindy González Tijerina, gerente de Primera Infancia en Fundación FEMSA, sobre la iniciativa En Acción x la Primera Infancia. Conoce cómo esta alianza entre fundaciones corporativas —a la que también se suman Fundación Compartamos y Promotora Social México— ha destinado más de 8 millones de pesos a organizaciones de la sociedad civil que trabajan en salud, nutrición, aprendizaje y protección de niñas y niños en México.Hablamos de inversión social estratégica, fortalecimiento institucional, articulación multisectorial y los retos que enfrenta el país en materia de primera infancia. Conoce más sobre la iniciativa en: https://comunidar.org/convocatoria-eapi/Descubre todas nuestras entrevistas y reportajes suscribiéndote a nuestro canal. Opina qué te pareció el episodio en los comentarios y no te olvides de dejarnos tantas estrellas como creas que merecemos, nos ayudarás mucho a seguir contando historias sobre RSE y Sostenibilidad. Encuentra toda la información en RSE y Sostenibilidad en : valor-compartido.com

Whitney White is a theatrical powerhouse. A director, writer, actor, and musician, White's work has been seen on Broadway, Off Broadway, and at major institutions including The Public Theater, the Brooklyn Academy of Music, and, most recently, the Royal Shakespeare Company. Her projects include Jaja's African Hair Braiding, The Last Five Years, Macbeth in Stride, and By The Queen, which was featured in the Folger's 2025 Reading Room Festival. In this episode, White discusses All Is But Fantasy, her four-play musical cycle created for the RSC, where it's now receiving its world premiere. The high-energy, gig-theater show investigates Shakespeare's women and ambition, focusing on Lady Macbeth, Emilia, Juliet, and Richard III. Each piece combines performance with original music, using sound and rhythm as a way into the text and as a tool for rethinking these characters whose inner lives are often cut short or overlooked. White reflects on why Shakespeare's women so often meet tragic ends, how those stories continue to feel familiar, and what it means to keep staging them now. She considers the ways that music, performance, and adaptation can help us better understand Shakespeare today. From the Shakespeare Unlimited podcast. Published February 10, 2026. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica, with Garland Scott serving as executive producer. It was edited by Gail Kern Paster. Technical support was provided by Melvin Rickarby in Stratford, England, and Voice Trax West in Studio City, California. Web production was handled by Paola García Acuña. Transcripts are edited by Leonor Fernandez. Final mixing services were provided by Clean Cuts at Three Seas, Inc. Whitney White is an Obie and Lily Award-winning and Tony Award-nominated director, actor, and musician, celebrated for her bold, innovative storytelling across both Broadway and off-Broadway. She recently received the Drama League's 2025 Founders Award for Excellence in Directing and an Obie Award for Sustained Achievement in Directing. All Is But Fantasy, White's four-part musical exploration of Shakespeare's women and ambition, commissioned by the Royal Shakespeare Company, marks her RSC debut as a writer, director, and actor. The two-part high-energy gig theater show is receiving its world premiere at The Other Place in Stratford-upon-Avon in January and February 2026. White's other directing credits on Broadway include The Last Five Years and Jaja's African Hair Braiding, off-Broadway credits include Liberation, Walden, Jordan's, Soft, On Sugarland, What to Send Up When It Goes Down, Our Dear Drug Lord, and For All the Women Who Thought They Were Mad. She recently opened Saturday Church, a new musical featuring songs by Sia and Honey Dijon at New York Theatre Workshop. She also created Macbeth In Stride at Brooklyn Academy of Music, writing the book, music and lyrics. Additional directing work includes The Secret Life of Bees, By The Queen, The Spectacularly Lamentable Trial of Miz Martha Washington, A Human Being of a Sort, An Iliad, The Amen Corner, Othello, Canyon, and Jump. On screen, White has appeared in Ocean's Eight, Single Drunk Female, Louie, and The Playboy Club, and she contributed as a writer to Boots Riley's acclaimed series I'm A Virgo for Prime Video.

In this episode of The Good Food Podcast, host Samuel Goldsmith welcomes Sam Heughan, well-known for his role as Jamie Fraser in the hit series Outlander. Sam shares his deep connection to Scotland, his love for Scottish single malt whiskey, and the inspiration behind his brand, The Spirit of Home. The conversation delves into Sam's recent experiences playing Macbeth at the RSC, his hotel dining habits, and his culinary enthusiasts paired with an affinity for cocktails. Sam also discusses his passion for fitness, his travel adventures, and his distillery, The Galloway Distillery, which produces award-winning spirits. The episode concludes with quickfire questions, revealing Sam's favorite dishes, culinary confessions, and much more, offering a fascinating blend of food, culture, and storytelling. Sam Heughan is a Scottish actor, producer and author, best known for his starring role as Jamie Fraser in the globally acclaimed television series Outlander. Born in Dumfries and Galloway, he trained at the Royal Scottish Academy of Music and Drama before building a career across theatre, film and television. Beyond acting, Heughan is the co-founder of the spirits brand Sassenach, an endurance athlete, and a committed philanthropist through his charity initiative My Peak Challenge. He is also a New York Times bestselling author and a passionate advocate for Scottish culture, food and drink. His latest book The Cocktail Diaries is out now. Subscribers to the Good Food app via the App Store get the show ad-free, plus regular bonus content. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Rich Harris joins the podcast to discuss his talk, fine-grained everything, exploring fine-grained reactivity, frontend performance, and the real costs of React Server Components and RSC payloads. Rich explains how Svelte and SvelteKit approach co-located data fetching, remote functions, and RPC to reduce server-side rendering costs, improve developer experience, and avoid unnecessary performance overhead on mobile networks. The conversation dives into async rendering, parallel async data fetching, type safety with schema validation, and why async-first frameworks may define the future of JavaScript frameworks and web performance. Links X: https://x.com/Rich_Harris Github: https://github.com/rich-harris Bluesky: https://bsky.app/profile/rich-harris.dev Resources Modern front-end frameworks like Svelte are astonishingly fast at rendering, thanks to techniques such as signal-based fine-grained reactivity. But there's more to performance than updating the screen at 60 frames per second. In this talk, we'll learn about new approaches that help you build fast, reliable, data-efficient apps. Slides: https://fine-grained-everything.vercel.app/1-1 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? Fill out our listener survey! https://t.co/oKVAEXipxu Let us know by sending an email to our producer, Elizabeth, at elizabeth.becz@logrocket.com, or tweet at us at PodRocketPod. Check out our newsletter! https://blog.logrocket.com/the-replay-newsletter/ Follow us. Get free stickers. Follow us on Apple Podcasts, fill out this form, 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. ChaptersSpecial Guest: Rich Harris.

The shortest-longest off-season in Europe is finally over and The 1895 Podcast is back. Ste Doody is joined by Ben and Darren to tee up Shelbourne's opening-night trip to the RSC to face Waterford. The lads run through the big off-season calls, the departures, and what the loan moves say about Shels becoming a properly run, sustainable club.It's all about the new faces too: Casey, Speel on loan again, Maill's “game-changer” potential, and the wildcard Rodrigo Freitas via Jamestown Analytics.Plus: cutting out the “poxy goals”, in-house predictions, Richie Rankings, and Ben's internet packing it in right on cue. Up the Reds.

Jared Bush, head of Walt Disney Animation Studios, on his record-breaking film Zootropolis 2.Alex Tadros, owner of Mars Tapes, the last cassette shop in the UK, and culture writer Sian Pattenden on the resurgence of the cassette tape.Oliver Royds, co-founder and joint CEO of Troubadour Theatres, on his company's plans to create London's biggest theatre venue in Greenwich.Debris Stevenson on her new play My Brother's a Genius, and how rap battles helped her to co-create the RSC's new production of Cyrano de Bergerac which will be heading to London's West End.Presenter: Nick Ahad Producer: Ekene Akalawu

You heard it here first, folks, RSC support is now available in TanStack Start! Since TanStack Start supports not only React but also Solid, it handles serialization differently, meaning the critical security vulnerabilities RSC-enabled React apps have been suffering from lately won't affect TanStack apps.Yarn 6 was recently announced, and (surprise, surprise) it's going to be ported to Rust. Get ready for blazing fast installs, the ability to easily switch between Yarn versions, and lazy installs to silently keep dependency versions in sync with the package.json. Also on the Rust bandwagon is the VoidZero team with Rolldown 1.0 RC. Rolldown is the bundler successor to Rollup, and boasts 10-30x faster speeds than Rollup while maintaining API plugin compatibility, built-in transforms, and native CJS/ESM interoperability. All hail the perf gains of JS tools written in Rust.Timestamps:1:20 - TanStack Start RSC4:15 - Yarn 6 and Rust12:03 - Rolldown 1.0 RC16:38 - More RSC CVEs23:19 - Mozilla is building an AI “rebel alliance”30:05 - What's making us happyNews:Paige - Rolldown 1.0 RCJack - TanStack Start RSCTJ - Yarn 6 and RustLightning News: Another day, another RSC CVEMozilla's building an AI “rebel alliance”What Makes Us Happy this Week:Paige - Landman season 2Jack - VaselineTJ - ChatGPT continuing to help me around the houseThanks as always to our sponsor, the Blue Collar Coder channel on YouTube. You can join us in our Discord channel, explore our website and reach us via email, or talk to us on X, Bluesky, or YouTube.Front-end Fire websiteBlue Collar Coder on YouTubeBlue Collar Coder on DiscordReach out via emailTweet at us on X @front_end_fireFollow us on Bluesky @front-end-fire.comSubscribe to our YouTube channel @Front-EndFirePodcast

Helen is a professional moment catcher from Derry whose work is used not only in the theatre, but for portraits, editorial work, promotional campaigns to making celebrities look good in iconic venues such as Wimbledon. She originally trained as an actor but after some time she realised, in her own words, she “preferred observing the chaos rather than being a part of it”. She made that decision in 2012 and has never looked back. Since then she has shot for over 300 productions at venues such as the National Theatre, Royal Court, Young Vic, Donmar, Barbican, Shakespeare's Globe and RSC. Here are some honourable mentions:Prima Facie at the Harold Pinter (London) and John Golden (New York)We Black Woman, Donmar WarehouseOur Empty Theatres, a portfolio capturing over 22 theatres that went dark during the pandemicLong Days Journey Into Night, Wyndham's Theatre with Brian CoxMany backstage shots across major theatres in the countryLehman Trilogy revival at the Gillian LynneCheck out her other projects:“Widening the Lens” with The Act for Change Project Her production company The Question is Productions which shines a light on Irish culture and identity. Their debut short “The Derry Feis” currently in pre-production, anyone wishing to donate to their crowd funder you can do so on her website. helenmurrayphotos.comOn top of all this, she is the chosen winner in the Photography 41 Awards 2025 and Best Production Photography of the Theatre and Technology Awards in 2017. Helen and I discuss her early years as an actor before turning to behind the camera, her process in finding the right picture and how she works with actors to sports personalities to get the perfect shot. As well as her time working with the creative team on Prima Facie and Long Days Journey Into Night and much more. Thank you Helen!Oliver GowerSpotlight Link: https://www.spotlight.com/9097-9058-5261Instagram: @ollietheuncensoredcriticFor enquiries and requests: olliegower10@gmail.comPlease Like, Download and Subscribe ✍️Thank you all for your support!Music from #InAudio: https://inaudio.org/ Track Name. Early Morning 

Son of actor David Troughton and Grandson of the second Doctor Who Patrick Troughton. Sam studied Drama at the University of Hull and after graduating he began his career with the RSC which brought three nominations for an Ian Charleston Award to his door. The award honours outstanding performances for young actors in classic plays. Since then he's been part of some the most celebrated shows for both stage and screen including:Theatre:Beginning, written by David Eldridge, National TheatreKing Lear, Edmund, dir. Sam Mendes, National TheatreJuniper Blood, Donmar WarehouseStreetcar Named Desire, Liverpool PlayhouseMultiple shows with the RSC - Julius Caesar, Romeo and Juliet, Winter's Tale and many more. Film:Vera Drake, dir. Mike LeighAlien vs PredatorMank, NetflixNapoleon with Joaquin PhoenixTV:Black Doves, NetflixThe Hollow CrownRobin HoodA Very Royal Scandal, starring Michael Sheen and Ruth Wilson Chernobyl, HBO, created and written by Craig Mazin, directed by Johan RenckSam and I discuss his early work at the RSC, coming from a family of established actors and his roles in two huge shows A Very Royal Scandal and most notably Chernobyl. A superb, superb drama about the disaster at the Chernobyl Nuclear power plant in Pripyat on 26th April 1986 and how the Soviet Union did everything in its power to cover up the facts. Sam talks about finding his character Aleksandr Akimov, the cost of the Soviet's lies, and how catastrophic things like this one are possible in real life and not just in the movies. Thank you Sam!Spotlight Link: https://www.spotlight.com/9097-9058-5261Instagram: @ollietheuncensoredcriticFor enquiries and requests: olliegower10@gmail.comPlease Like, Download and Subscribe ✍️Thank you all for your support!Music from #InAudio: https://inaudio.org/ Track Name. Early Morning 

No Arauto Repórter UNISC de hoje, você confere:Prefeitura de Santa Cruz suspende licitação do Centro de ReabilitaçãoDeputada cobra ações do Estado diante do aumento dos feminicídiosAgergs vota reajuste do pedágio da RSC-287 na tarde de hojeEm destaque na segurança pública: Mulher é assassinada pelo marido em Santa Cruz

No Arauto Repórter UNISC de hoje, você confere:Prefeitura de Santa Cruz suspende licitação do Centro de ReabilitaçãoDeputada cobra ações do Estado diante do aumento dos feminicídiosAgergs vota reajuste do pedágio da RSC-287 na tarde de hojeEm destaque na segurança pública: Mulher é assassinada pelo marido em Santa Cruz

No Arauto Repórter UNISC de hoje, você confere:* Prefeitura multa Corsan em mais de R$ 5 milhões por falhas no abastecimento em Santa Cruz* Três pontos do trânsito de Santa Cruz passam por mudanças* Parque de Eventos de Santa Cruz sedia Seletiva da 5ª Região Tradicionalista neste fim de semana* Em destaque na segurança pública: Atropelamento com morte é registrado na RSC-453, em Venâncio Aires

No Arauto Repórter UNISC de hoje, você confere:* Prefeitura multa Corsan em mais de R$ 5 milhões por falhas no abastecimento em Santa Cruz* Três pontos do trânsito de Santa Cruz passam por mudanças* Parque de Eventos de Santa Cruz sedia Seletiva da 5ª Região Tradicionalista neste fim de semana* Em destaque na segurança pública: Atropelamento com morte é registrado na RSC-453, em Venâncio Aires

Send us a textOver the last few years, Rosie Sheehy has established herself as a force to reckon with. Her latest role sees her making her Royal Court Theatre debut in Luke Norris' Guess How Much I Love You? The new play explores what it means to be in a long term relationship and the difficult choices that come with being in love. She'll be starring opposite Robert Aramayo and Lena Kaur, and we hear her talk affectionately about Luke's writing as well as Jeremy Herrin's masterful direction. Having previously performed at the Old Vic, the National Theatre and the RSC, we hear Rosie share her excitement at being at the Royal Court to debut what is expected to be a searing drama from Luke Norris.In this brand new interview, Rosie Sheehy discusses with us how she balances the light and shade in all her roles and how it's been a joy to develop her character in Guess How Much I Love You? We talk about her Port Talbot roots and look back on some of her recent roles such as her Olivier Award nominated performance as the young woman in Machinal and her heartbreaking role as Julie in Gary Owen's Romeo and Julie. During our conversation, we also talk about Oleanna and her recent reunion with Harry Lighton on his acclaimed new film: Pillion. During our conversation, Rosie tells us how a lot of these dark stories are often still about love and how it can be presented in so many different forms. It's a fascinating conversation as she prepares to begin performances for her latest project which is expected to be another emotional ride.Guess How Much I Love You? runs at the Royal Court Theatre from 16 January - 21 February.

Chris Stigall heads to Capitol Hill for candid conversations with two key House Republicans shaping the 2026 agenda.Rep. Mark Alford (MO-04) shares his journey from TV anchor to congressman, why he rejects midterm doom predictions, his vision for urban and rural Missouri, and his fiery take on the Tim Walz fraud scandal.Republican Study Committee Chairman August Pfluger (TX-11) explains the RSC's conservative blueprint, the push for health care competition over subsidies, and why the GOP is poised to defy history and hold—and grow—the majority.00:00:00 - Introduction00:00:25 - Interview: Rep. Mark Alford (MO)00:00:48 - From TV Anchor to Congressman00:01:59 - Representing Urban & Rural Missouri00:03:36 - Rejecting Victim Mentality00:05:26 - Hope & GOP Midterm Confidence00:08:36 - Tim Walz Fraud Scandal00:11:50 - Interview: RSC Chair August Pfluger (TX)00:13:10 - RSC Goals & Conservative Principles00:15:49 - Health Care: Competition Over Subsidies00:18:33 - Affordability & Young Voters00:20:17 - Energy, Housing & MAHA Accounts00:22:45 - Midterm Optimism & Trump Legacy00:25:32 - Faith and Freedom 250Follow The Lion on Facebook, Instagram, X, and YouTube. You can also sign-up for our newsletter and follow our coverage at ReadLion.com. To learn more about the Herzog Foundation, visit HerzogFoundation.com. Like and follow us on Facebook, X, and Instagram, or sign up to receive monthly email updates. #ChristianEducation #Education #EducationPolicy #EducationReform #FaithAndLearning #Family #FaithInEducation #Faith #Homeschool #ChristianSchool #PrivateSchool #EducationNews #News #Religion #ReligiousNews #PublicSchool #SchoolNews #NewsShow #SchoolChoice

Jack Harrington sits down with Tanner Linsley to talk about the evolution of TanStack and where it's headed next. They explore how early projects like React Query and React Table influenced the headless philosophy behind TanStack Router, why virtualized lists matter at scale, and what makes forms in React so challenging. Tanner breaks down TanStack Start and its client-first approach to SSR, routing, and data loading, and shares his perspective on React Server Components, modern authentication tradeoffs, and composable tooling. The episode wraps with a look at TanStack's roadmap and what it takes to sustainably maintain open source at scale. 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? Fill out our listener survey (https://t.co/oKVAEXipxu)! https://t.co/oKVAEXipxu Let us know by sending an email to our producer, Elizabeth, at elizabeth.becz@logrocket.com (mailto:elizabeth.becz@logrocket.com), or tweet at us at PodRocketPod (https://twitter.com/PodRocketpod). Check out our newsletter (https://blog.logrocket.com/the-replay-newsletter/)! https://blog.logrocket.com/the-replay-newsletter/ 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) Chapters 01:00 – What is TanStack? Contributors, projects, and mission 02:05 – React Query vs React Table: TanStack's origins 03:10 – TanStack principles: headless, cross-platform, type safety 03:45 – TanStack Virtual and large list performance 05:00 – Forms, abandoned libraries, and lessons learned 06:00 – Why TanStack avoids building auth 07:30 – Auth complexity, SSO, and enterprise realities 08:45 – Partnerships with WorkOS, Clerk, Netlify, and Cloudflare 09:30 – Introducing TanStack Start 10:20 – Client-first architecture and React Router DNA 11:00 – Pages Router nostalgia and migration paths 12:00 – Loaders, data-only routes, and seamless navigation 13:20 – Why data-only mode is a hidden superpower 14:00 – Built-in SWR-style caching and perceived speed 15:20 – Loader footguns and server function boundaries 16:40 – Isomorphic execution model explained 18:00 – Gradual adoption: router → file routing → Start 19:10 – Learning from Remix, Next.js, and past frameworks 20:30 – Full-stack React before modern meta-frameworks 22:00 – Server functions, HTTP methods, and caching 23:30 – Simpler mental models vs server components 25:00 – Donut holes, cognitive load, and developer experience 26:30 – Staying pragmatic and close to real users 28:00 – When not to use TanStack (Shopify, WordPress, etc.) 29:30 – Marketing sites, CMS pain, and team evolution 31:30 – Scaling realities and backend tradeoffs 33:00 – Static vs dynamic apps and framework fit 35:00 – Astro + TanStack Start hybrid architectures 36:20 – Composability with Hono, tRPC, and Nitro 37:20 – Why TanStack Start is a request handler, not a platform 38:50 – TanStack AI announcement and roadmap 40:00 – TanStack DB explained 41:30 – Start 1.0 status and real-world adoption 42:40 – Devtools, Pacer, and upcoming libraries 43:50 – Sustainability, sponsorships, and supporting maintainers 45:30 – How companies and individuals can support TanStack Special Guest: Tanner Linsley.

This week's episode covers a big React Native release, a critical React security vulnerability, and a wave of performance and DX improvements across the ecosystem. I also share updates from Tiny Harvest and talk about the realities of AI-assisted coding as projects grow.⚛️ React Native Radar

This week AI decided to write our notes for this week again. So here it is   John Cena Figure Collecting Discussion Jefry and Scott discussed their favorite John Cena figures, with Jefry highlighting the Unmatched Fury as his top pick from Jacks and a Mattel prototype figure as his favorite from Mattel. Scott shared that his favorite Mattel Cena figure is the Ultimate Edition from ECW's One Night Stand 2006, while also mentioning the WrestleMania 41 Cena figure as one of his most valuable. They agreed that Cena has been a key figure in the Mattel WWE line.   Wrestling Figures and Sales Updates Jefry and Scott discussed the fluctuating prices of wrestling figures and encouraged playing the long game for better deals. They highlighted the upcoming Black Friday 3.0 sales at RSC and recommended checking shipping dates for gift orders. Scott shared that independent manufacturers are switching to boat shipping due to rising costs, doubling delivery times. They also reviewed the new Adrian Adonis figures from Title Run Toys, including three variants: a Series 2 version, a leg warmer variant, and a biker Adonis edition. Scott expressed a desire for an Ultimate Edition Adrian Adonis figure in Mattel's Coliseum Collection.   Latoonie Figures Quality Discussion Jefry and Scott discussed the prototype pictures of Latoonie Demolition figures, which they found disappointing due to poor face painting and overall quality. Despite this, they expressed hope that the final product would be better and gave Latoonie the benefit of the doubt, acknowledging their unique approach in the crowded wrestling figure market. They also defended Latoonie's retro figures, praising their creativity and quality, while agreeing that Power Town figures were universally poor.   Saturday Night Slammasters Discussion Jefry and Scott discussed the video game Saturday Night Slammasters, which was released in 1993 for the Super Nintendo Entertainment System. Scott shared his positive memories of playing the arcade version and later the home port, praising its user-friendly gameplay and colorful characters. They explored the game's connections to other Capcom titles like Final Fight and Street Fighter, noting how characters and elements were recycled across games. Jefry mentioned that Saturday Night Slammasters is often ranked as the best wrestling game for the SNES, though Scott expressed a personal preference for Royal Rumble. They briefly touched on the game's sequel, Ring of Destruction Slammasters 2, and its updated version, Muscle Bomber Duo Ultimate Team Battle.   Saturday Slammasters Character Analysis The discussion focused on the game Saturday Slammasters, where Jefry and Scott shared insights about its characters, gameplay, and reception. They discussed the roster of 10 wrestlers, including Biff Slambukovich, Gunlock, Titan, and the final boss Scorpion, noting character connections to Street Fighter and differences between the Japanese and English versions. Scott highlighted the game's difficulty and the fun of multiplayer matches, while Jefry provided details on the game's reception, including reviews from various publications.   Saturday Night Slammasters Nostalgia Jefry and Scott discussed their fond memories of playing the wrestling game Saturday Night Slammasters on the Super Nintendo Entertainment System (SNES), which they both rated highly. They compared it favorably to the Genesis version.. Scott shared nostalgic memories of playing the game with friends in a crowded room with a small TV. They briefly discussed the value of rare SNES game cartridges on eBay, including an overseas version that sold for a significant amount. Scott expressed that he would never sell his copy of the game due to the memories associated with it. They agreed to continue selecting good games for their discussions in the coming weeks.   Pre Orders: Big Rubber Guys - Collectmajor.com Big Bad Toy Store   - Rush - Dralistico - Dragon Lee   Fig Collections - shop.figurecollections.com The patriot Buff Bagwell   Zombie Sailor - (zombiesailor.com) - Zombie is also on BBTS La Toonie Wrestling Toonstars KWK Shopkwk.com use code Fullyposeable to get 10 percent off your order. Also KWK's month of November is Dory Funk Thank you to everyone for keeping this show going!

Sarah has ventured into Giant Country (otherwise known as Stratford-upon-Avon) for the opening night of the RSC's stage version of The BFG, sparking a series of thoughts about why puppets have such a profound effect on audiences. This comes mere weeks after the critics raved about the stage production of Paddington. Speaking of the much-loved Bear, the Paddington musical was the runaway smash for the audience-driven WhatsOnStage Awards shortlist – which saw theatregoers across the nation pick their favourite shows and performers. Sarah and Alex comb through the nominated shows to see what it says about the state of UK theatre in 2025. Hosted on Acast. See acast.com/privacy for more information.

Matt Croke, Reed Martin, and Austin Tichenor remember the creation of the RSC's second radio show The Reduced Shakespeare Company Christmas in 1995, and how it paved the way for the RSC's eighth stage show The Ultimate Christmas Show (abridged). Matt, Reed, and Austin reveal their audio inspirations (like Firesign Theatre and 'Weird Al' Yankovic); how the new golden age of radio is called podcasts; how we failed to achieve novelty hit status with "Mrs. Santa Claus;" how we incorporated inside-baseball Ringling Brothers jokes and personal holiday memories; and how the heart the recording is its ten-minute reduction A Little Dickens: The Complete Christmas Carol (abridged); and how Austin went from playing parody Scrooge to playing the real guy for Chicago's Goodman Theatre. (Length 15:02) The post Remembering ‘Little Dickens' appeared first on Reduced Shakespeare Company.

This week TanStack joins the AI wars with the alpha release of TanStack AI: an open-source AI SDK with a unified interface across multiple providers. TanStack AI is an open-source ecosystem of libraries and standards, and it is client, server, and AI provider agnostic, to make building AI-enabled apps accessible to all.In a surprise move, AI company Anthropic acquires JavaScript runtime Bun to accelerate its development of Claude Code. Apparently, Bun has been central to Claude Code reaching $1 billion in run-rate revenue in just six months, and Anthropic's brought the team in house to keep the momentum going.And it's been another rough week for security in JavaScript. First, a new self-replicating, credential stealing malware attack, dubbed Shai-Hulud 2.0, swept the npm ecosystem and compromised 800 npm packages in the process, and then a critical security vulnerability was discovered for any React projects using React Server Components. Just remember to lock down your dependencies and install those patches ASAP, folks.Timestamps:1:22 - TanStack AI9:12 - Anthropic buys Bun21:03 - Shai-Hulul 2.0 on npm and an RSC vulnerability30:23 - What's making us happyNews:Paige - Shai-Hulud 2.0 on npm and RSC vulnerabilityJack - TanStack AITJ - Anthropic buys Bun (Bun post) (Anthropic post)What Makes Us Happy this Week:Paige - The Durrells TV seriesJack - Essentialism bookTJ - Dungeon Crawler Carl book seriesThanks as always to our sponsor, the Blue Collar Coder channel on YouTube. You can join us in our Discord channel, explore our website and reach us via email, or talk to us on X, Bluesky, or YouTube.Front-end Fire websiteBlue Collar Coder on YouTubeBlue Collar Coder on DiscordReach out via emailTweet at us on X @front_end_fireFollow us on Bluesky @front-end-fire.comSubscribe to our YouTube channel @Front-EndFirePodcast

Washington is full of both. Yesterday, Stigall was on Capitol Hill talking with the former. Members of the House's Republican Study Committee. Their objective was to message to you that first, they have an agenda they believe is working and two, they're not done. It's ultimately up to you if you like what you hear or not. We'll have bonus content coming later in the week featuring even more members who didn't make it today's show. Today, you'll hear Rep. Tom Emmer go OFF on his governor Tim Walz, Rep. Eric Burlison with a real idea to fix Obamacare, and Rep. August Pfluger of Texas explains what the RSC is all about. Plus, are Crisis Pregnancy Centers targets of New Jersey government? Sure seems that way and it seems like that what Justice Clarence Thomas thought. Hear his aggressive line of question directed at New Jersey's Attorney General's office, and Carrie Severino of the Judicial Network explains the case in full. Plus, the governor of West Virginia updates us on the health of the surviving Guardsman and the two grieving families in his state after they were ambushed by a terrorist on the streets of Washington D.C. And can you believe - of all places - they're still mandating the stupid shot for school kids?! -For more info visit the official website: https://chrisstigall.comInstagram: https://www.instagram.com/chrisstigallshow/Twitter: https://twitter.com/ChrisStigallFacebook: https://www.facebook.com/chris.stigall/Listen on Spotify: https://tinyurl.com/StigallPodListen on Apple Podcasts: https://bit.ly/StigallShowSee omnystudio.com/listener for privacy information.

This episode offers a range of practical ideas, advice and teaching techniques for engaging students in the work of William Shakespeare – both in the English classroom and across the school. Produced in partnership with the Royal Shakespeare Company, the episode features a panel of experts and educators who discuss how we can make Shakespeare enjoyable for our students. We talk about Shakespeare's place across the school, in the English and drama classrooms of course, but also in other places such as the assembly hall and extra-curricular work. We offer a range of teaching tips and ways we can make Shakespeare enjoyable and engaging for students, including how we can help them to penetrate the vocabulary of Shakespeare, how Shakespeare can support oracy education, and ideas for how we can introduce Shakespeare effectively in key stage 3. Crucially, we also ask what we should avoid doing when teaching Shakespeare and ask how we can show students the relevance of Shakespeare in today's world. This episode has been produced to mark the launch of RSC's new Shakespeare Curriculum platform, which brings you the next generation of digital resources to support your teaching of Shakespeare. It is free to access for state-maintained schools and SEN schools. More details at the end of the podcast or via: www.shakespearecurriculum.com

Behind all the predictable shrieking about “tax raids”, what really happened in Rachel Reeves's much-trailed misery Budget? And what's behind Labour's fear of making bolder moves? Plus, Private Eye's Daily Mailograph gag comes true – it looks like the Mail is going to buy the Telegraph. Our special guest, Radio 4 Now Show veteran and musical satirist Mitch Benn, helps us explore what it will do to diversity of the press (rhetorical question) and will Lord Rothermere get a free bottle of water with his purchase? And in the Extra Bit – Who should we ban from pubs: solo drinkers or kids?  • Get 20% off a year's Patreon backing for OGWN until Christmas – new members, renewals, upgrades, all are welcome.  • Get your tickets for Mitch's one-man performance of A Christmas Carol.  ESCAPE ROUTES • Hannah went to see EEVAH on tour.  • Mitch went to see the RSC production of My Neighbour Totoro at the Gillian Lynne Theatre in London. And it's not sold out, there are loads of tickets available.  • Ros recommends the Nazanin Zaghari-Ratcliffe drama Prisoner 951 on BBC iPlayer.  • Jonn is rewatching the Scandi-noir classic The Bridge.  • Head to nakedwines.co.uk/ohgodwhatnow to get a £30 voucher and 6 top-rated wines from our sponsor Naked Wines for £39.99, delivery included. • Get our exclusive NordVPN deal at nordvpn.com/ohgodwhatnow. It's risk-free with Nord's 30-day money back guarantee!  www.patreon.com/ohgodwhatnow Presented by Ros Taylor with Hannah Fearn and Jonn Elledge. Produced by Chris Jones. Audio Production by Robin Leeburn. Art direction by James Parrett. Theme tune by Cornershop. Managing Editor: Jacob Jarvis. Group Editor: Andrew Harrison. OH GOD, WHAT NOW? is a Podmasters production. www.podmasters.co.uk  Learn more about your ad choices. Visit podcastchoices.com/adchoices

A new re-imagining of The Wind in the Willows told from the margins. Set in a timeless, Kenneth Grahame-inspired England, the drama looks up from weasel-height at class, home and who gets to belong when the Wild Wood is being carved up by developers. Narrated by Penelope Wilton, it blends the familiar riverbank world with the pressures of eviction, empty grand houses and power concentrated in a few determined hands.Kit, a young weasel, is watching her family slide into precarity as the scrubland around their burrow is sold off and the criminal Chief Weasel tightens his grip. With her best friends - Portly the otter and Radar the bat - Kit's world collides with Mole, Ratty, Badger and other classic characters, while a grand house standing empty becomes a magnet for grievance and opportunity. What follows is a fight not for glory but for a place to live: shifting alliances, contested territory and small acts of care that build a community where suspicion says it cannot exist. A story about who gets to stay, what makes a home, and how belonging is made on the riverbank.Dramatist Tom Morton-Smith is a playwright and screenwriter best known for the RSC's Oppenheimer and the multi-award-winning stage adaptation of My Neighbour Totoro.Cast:Narrator . . . . . Penelope Wilton Kit . . . . . Claire Morgan Portly . . . . . Harriet Carmichael Radar . . . . . Kathryn Drysdale Magpie, Chief, Ratty, Badger, Toad . . . . . Ed Gaughan Ma-Weasel . . . . . Jasmine Hyde Mole . . . . . Django Bevan Otter . . . . . Clive HaywardWritten by Tom Morton-SmithProduction co-ordinator: Luke MacGregor Casting Manager: Alex Curran Technical producers: Keith Graham, Sam Dickinson Sound designer: Sharon Hughes Director: Sasha YevtushenkoA BBC Studios production

In today's bonus episode of 'Down the Line' AJ interviews Paul Wagar who played evader Peter Harris in the episode Weekend (which we reviewed in our last episode). He recalls how he got the role, his memories of a very smooth and professional production process, and how the experience taught him the value of editing to elevate performances. Aside from his work on Secret Army he recalls his time with the RSC, his brush with the original Star Wars trilogy, and the loss of his beloved dog Chet. If you enjoy this interview please consider making a donation of any amount you wish to Paul's chosen charity which is the PDSA, a charity for pets in need. You can donate at: https://www.pdsa.org.uk/ or call them on 0300 3737 224. Thank you!   If you would like to contact us then please email us on, or send a voicenote to: secretarmypod@gmail.com or send us a message on Bluesky: AJ is on secretarmypod.bsky.social while Andy can be found at andypodding.bsky.social. AJ is also still on Twitter at @secretarmypod. We'd love to hear from you, especially your takes on the Series 2 episodes Little Old Lady and Guests at God's Table which are in preparation.   Thanks as ever for listening and for your feedback. It is very much appreciated!   Next Time: The Big One

What a week Sarah Crompton and Alex Wood have had! Not only did they have a trip to Panem to sample the stage adaptation of The Hunger Games (the results left a lot to chew on), but Sarah's been down to Middle Temple Hall to celebrate a brand new initiative to help make Shakespeare more accessible in schools, courtesy of the Foyle Foundation and the RSC (with a helping hand from Helen Mirren, Adjoa Andoh and Ian McKellen). Meanwhile, Alex has been chatting all things new seasons with Alan Cumming, who just unveiled his brand new programme at Pitlochry Festival Theatre Hosted on Acast. See acast.com/privacy for more information.

Galway United manager John Caulfield speaks to Jonathan Higgins after his sides 1-1 draw against Waterford at the RSC on Saturday evening, a result that secures the Tribesmen's Premier Division status for 2026.

In this episode of Money Tales, our guest is David Adjmi. From childhood, our money stories shape the way we see the world—sometimes with clarity, and sometimes with confusion. For playwright David, growing up in a family and a neighborhood where money was about hustle, performance, and status left him questioning what financial security and self-worth really meant. David Adjmi's plays have been produced at theatres around the world such as Lincoln Center, RSC, Steppenwolf, and Soho Rep--where he was the Mellon Foundation playwright-in-residence for three years. Stereophonic (music by Will Butler of Arcade Fire) is running on London's West End after a successful run on Broadway, where it became the most Tony-nominated play in history. Stereophonic received the 2024 Drama Desk Award, New York Drama Critics' Circle Award, Outer Critics Circle Award, Drama League, and Tony Awards for Best Play. The Stumble was recently excerpted in The Paris Review, and his two-part play The Blind King is currently in development with The Public. Adjmi's controversial hit 3C was selected as one of the top ten plays of the year by the New York Post, Time Out and the Advocate. Elective Affinities premiered at the Royal Shakespeare Company and received a sold-out U.S. premiere at Soho Rep starring Zoe Caldwell (Top 10 of the year in Time Out, The New Yorker.) Other plays include Stunning, The Evildoers, and Marie Antoinette. He was awarded a Guggenheim Fellowship, the Whiting Writers' Award, the Kesselring Prize for Drama, and the Steinberg Playwright Award, among others.  He holds commissions from The Public, Playwrights Horizons, Yale Rep, Berkeley Rep, and the Royal Court (UK). His critically acclaimed memoir Lot Six was published by HarperCollins in 2020, and his collected plays are published by TCG.

In this week's episode, we interview narrator Hollis McCarthy, who has narrated over 300 audiobooks, including many of THE GHOSTS and CLOAK MAGES. She is also co-author with her mother Dee Maltby of the MAGIC OF LARLION series, which you can learn more about at https://deemaltbyauthor.com/. This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store: DRAGONSKULL25 The coupon code is valid through October 27, 2025. So if you need a new ebook this fall, we've got you covered! TRANSCRIPT Introduction and Writing Updates (00:00): Hello, everyone. Welcome to Episode 273 of The Pulp Writer Show. My name is Jonathan Moller. Today is October 17th, 2025, and today we have an interview with audiobook narrator Hollis McCarthy. Hollis has narrated many audiobooks, including numerous books from the Ghost and Cloak Mage series, so we'll talk with her about that. Before we get to our main topic, we'll have Coupon of the Week and then a progress update on my current writing projects. This week's coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store, and that coupon code is DRAGONSKULL25. The coupon code is valid through October 27th, 2025. So if you need some new ebooks to read for this fall, we've got you covered. And as always, the coupon code and the links to my store will be available in the show notes. Now for an update on my current writing projects. As of this recording, I am 80% of the way through the first round of edits in Cloak of Worlds, so making good progress and if all goes well, the book should be out before the end of the month. I'm also 14,000 words into Blade of Shadows, which will be my next main project after Cloak of Worlds is published, which means I also have to write the outline for Elven-Assassin soon, and that will be the fifth book in the Rivah series. In audiobook news, recording will be underway next week for Blade of Flames. That will be narrated excellently by Brad Wills. Ghost in Siege is now out. It should be available at of all the audiobook stories (except Spotify) and it should be available there in a few days. And that is the final book in my Ghost Armor series that is excellently narrated by Hollis McCarthy. So that is where I'm at with my current writing and audiobook and publishing projects, which makes for a good segue into our main topic, our interview with Hollis McCarthy, which begins now. 00:03:56 Interview With Hollis McCarthy Hi everyone. I'm here today with Hollis McCarthy, who is a classically trained actor. Hollis has played leads in regional and off-Broadway theater, specializing in Shakespeare. On CBS. she's been a recurring guest star judge on Bull, the president of Ireland on Bluebloods, and a senator on Netflix's House of Cards. She's narrated more than 300 books for a variety of publishers and is the proud co-author of her mom Dee Maltby's epic fantasy series, The Magic of Larlion. Hollis, thanks for coming on the show today. Hollis: My pleasure. Jonathan: So to start, can you tell us a little bit about yourself and how you got into acting and performing? Hollis: That's a great question. I think it all started with doing my little brother's Sesame Street finger puppets. He's 10 years younger than me, so I mean, I got to reread all my favorite books with him and I started voicing the finger puppets to Burt, Ernie and Cookie Monster and all those guys in the backseat of the car and playing all the characters. And then my brother went into theater. My other brother's seven years older than me, and I used to go see his shows up at the college when I was in high school and kind of fell in love with it there. I absolutely meant to be an aeronautical engineer/physicist like my dad, but it didn't end up working out. I fell in love with theater and went to Stratford. I had a dual major because I was in an honors program, so I didn't have to declare a major until my fifth year of undergrad. But then I went to Stratford up in Canada and I saw two Shakespeare shows in one day and that was it. I had to do that. That was what I loved. Jonathan: Well, since we've had many audiobooks together, I'm glad it worked out that way. Hollis: Me too. Yeah, so I got my BFA in acting, and then I got my MFA from the University of Missouri-Kansas City in performance, and I was lucky enough to have some great coaches from the RSC and did a bunch more Shakespeare, and I've done that regionally a lot. And then I fell into audiobooks because I got tired of traveling, and I love to work from my home in my jammies. Jonathan: That is the dream. Speaking of that, could you tell us a bit more about how you sort of got into audiobooks or ended up doing a lot of that? Hollis: Yeah. Well, again, it starts with my childhood. My mom, who was a writer and an artist, she had, there were five of us kids and she would read out loud to us in the kitchen to keep us from fighting when we were cleaning up. So she started with Tolkien and Watership Down and Narnia and all of that. And then I got to, like I said, read to my little brother all my favorite books. And so I started doing all different voices for the characters and I always thought that was normal until, of course I volunteered to read in class in high school and people thought I was some sort of freak, but I always loved playing all the characters. And so when I started looking at staying home more and what could I do to work from home instead of being on the road for work, which was great for a long time, but then at some point you want to stay home and have a life as an actor as well as doing what you love. And audiobooks seemed a good fit. So my husband, who's also an actor, took a class from Paul Rubin here in the city in New York. We live in the New York area now. And he got a bunch of good tips from that that he passed on to me. And then my agent got me an audition with Audible and Mike Charzuk there. I came in and read a couple of pieces for him and he came back to the booth with a book he wanted me to start on. And from there I just kept building and got a lot of great indie authors through ACX like you. I don't know how many books we've done together now. Jonathan: It's over 30, I think. Yeah, 30 over the last seven years. So it's been a while. Hollis: And you're seriously, I mean, I'm not saying this because I'm on your blog, but your series are absolutely my favorites, especially because, yeah, the two series that I do, one is Nadia from the Midwest like me and then the other one with Caina, the epic fantasy world, which uses all my British and Irish bits and I absolutely love them. So yeah, I've just kept building up, getting in with a few more publishers now, which is harder to do and I just love it. Our first booth, when the pandemic hit, we had to build a booth at home and I had been going to studios in the city up until that point, but it hit pretty suddenly. It was obvious on St. Patrick's Day when it was like us going to the studio and people who were absolutely desperate folks were the only other ones on the street. We had to stay home. So my husband took our rapier blade (we fight with swords. We're actor combatants, like you said). He took two broadsword blades and a rapier blade, and he's handy with carpentry, fortunately. That's how he worked his way through school. He bracketed those to the wall and we ordered through Amazon before they kind of shut down too. We ordered packing blankets to hang over them and I ordered a new microphone and a new interface and it was trial and error for a bunch of days. And we had an engineer on call who talked us through how to run the software programs and stuff, how to set them up. And from there I've just kept recording at home. I sometimes still go into the studios when they have a budget where they can spring for a studio, but mostly they want you to work from home these days. So that's mostly what I do. Jonathan: Oh, building a recording booth out of swords. That's very Caina. Hollis: It's very Caina. I love Caina. Caina is me as a young woman. If I had been a superhero, I would've been a Caina. All my favorite roles in Shakespeare were the girl as boy ones. You asked, one of my favorite roles in theater was when I was at Alabama Shakespeare and I was playing Queen Elizabeth in Richard III and dressing in gorgeous gowns and being very seductive and very powerful and manipulative and all that. But in the earlier scenes, we did the three plays and in the Richard III and the Henry VI we did all three. And in the earlier scenes where Elizabeth wasn't in, I got to dress up and doublet and hose and I like stippled some stipple of beard on my face and climbed a siege ladder with a sword in one hand and did a spectacular pratfall running away from the bad guys and would slide on my stomach on the deck of the stage and I would come out into the lobby and the other guys who were playing my fellow fighters would be holding up rating cards for how far I'd slid that day. Jonathan: Sounds like very practical cardio. Hollis: Yeah, very. It was a lot of fun. That was probably my most fun I've ever done, though I also loved Beatrice and Much Ado, which I got to do twice because she's just so funny and witty and passionate. She's great, and Shakespeare, you know. Jonathan: Very good. So after all these audiobooks, what goes into preparing to record an audiobook? Hollis: That's a great question, too. It depends on the book, really. And I'm lucky enough to do a lot of series now, so when you're doing a series, it gets easier as you go along. I remember with the first ones I did for you, the first Caina, it probably took me an hour of prep to get through the first chapter. There were so many made up place names that I needed to figure out how to say, and then you have to be consistent. Even if they're made up, you still have to be consistent. So I really used my theater training there because I learned the international phonetic alphabet when I was in school, and so I can write down phonetic pronunciations and for each book, I'm old school with my prep, I'll keep a legal pad and I'll write down phonetic pronunciations, the word, page number, and the phonetic pronunciation for each word, so I have a record. You don't retain them from book to book. Pronunciations is a big part of what you do. Also, character voices, because again, you want to be true to the author's intent and you want to stay consistent. Again, for Caina, it became very complicated because you had to have Caina's basic voice, which is this [speaks in Caina's voice]. She started out a bit higher because she was younger. And then as she aged, she's gotten more medium pitch-wise, but then she was in disguise as various people. She was disguised as a cockney guy for a while, and she was an Irish guy for a while. And so for each of those personas, you have to notate for yourself in the script. Oh, now she has this accent. Now she has this one. And really for each chunk of dialogue, every time a character speaks, I'll put the initial of their name and if there are a lot of characters in the scene, I will have to differentiate between them pretty frequently. If it's two characters and I know them both very well, then I kind of have the shorthand in my head. So the different character voices I also put on my legal pad so I have a record, so Calvia sounds like this [speaks a line in the character's voice]. And sometimes I'll write down physical aspects of them so that I can just kind of feel the character. And after I do them for a while, the feel of the character will give me the voice and you write down everything that the author says about the character too. I'll just notate for myself that will oftentimes give you the voice. If it's a good author, which thank God you are, you write in different voices, which makes my job easier. Jonathan: The joke I sometimes say is I didn't do audiobooks for the first seven years I was publishing, and people would ask me, how do you pronounce this? I say, I don't care, pronounce it however you want. And then suddenly we started doing audiobooks and suddenly no, it matters very much how it's pronounced. Hollis: Yeah, exactly. It's funny, I'm just looking at my tablet. I have your Shield of Power up on my tablet. I've been reading that on the treadmill and at lunch. But yeah, we have to keep tabs. And when we have so many books now, I've started special folders just for the Ghost series and the Cloak series because a lot of times a character will show up from several books previous and I go, I remember them, but I don't remember what they sounded like. So I will have notated forward alto, slightly Irish or something like that for them. I have shorthand for all of it, and so I'll do that. Jonathan: Yeah, I spent a lot of time with Control + F searching through Word documents, trying to remember the first time I wrote this character and what they looked like. Hollis: Yeah, I bet you do. Some writers I guess do, well, if they don't do it all themselves. And if they have somebody who's like an administrative assistant, they have somebody who gives you, I've gotten these from authors before. Their assistant will send me a story log of characters with everything that's said about the character. I'm like, oh, well, that's very organized and helpful, but I would think it would be massively time consuming. Jonathan: It is. I did hire someone to help me with that this year. It was getting to be too much to go back and search through things and it is a very time consuming project, but once it's done, it's very helpful because it's quite easy to find things and look things up and refresh your memory. Hollis: I bet so. When I was working on my mom's books, we hired an editor and she did a spreadsheet, a database kind of different terms and characters and what was said about them. And I go back to that and amend it all the time now that I'm trying to write book eight. Jonathan: Yeah, that kind of thing is very helpful. But on a related topic of preparation, since you've done audiobooks, stage, and TV, how would say narrating audiobooks is different from the experience of doing theater or TV? Hollis: The major thing and the hardest thing for me when I was starting out was you can't move around all the time. I had an engineer at Audible. It was just, and a lot of times the chair is very important because if you move, what you're bound to do, if you're producing your voice correctly, you need to sit up and you need to use your hands to express yourself, and you have to have an absolutely silent chair. And the chairs at Audible at that time, were not absolutely silent. So every time I moved, the chair would squeak and we'd have to stop and start again. So that was very, very hard for me. In fact, I've been doing so much audiobooks now, and I also do TV and film, but that's gone to all for auditioning for that. It's all self tape, which means it's just like head and shoulders, so still you're just kind of using a little part of your body. And I had a theater callback for Pygmalion in the city the other day, in person, in a studio, in a rehearsal room. The day before, I used to do those all the time, and that's so rare now for them to do in-person auditions since the pandemic. But I put on my character shoes and my skirt and I practice just being bigger, opening my body up and doing all this stuff I learned to do in school and that you do when you're on stage to own the space because the space is the back wall of the theater. And that's a big difference between theater, film, TV, and audiobooks is the scope of it. When I did Beatrice, I was in an 1,100 seat unamplified stone amphitheater outdoors in Colorado. So you can imagine the scope physically and vocally is so big. And then for TV, film and you have to what they say, reach the back wall of whatever space you're in. Well, for film and TV, the back wall is the camera. It's right in front of your face a lot of the times. And the back wall is really kind of the inside of your head. It's almost like you have to have internal gaze so that the thoughts are just happening. You don't have to project them, you don't have to project your voice because all the equipment comes right to you, and all you have to do is feel the feelings and think the thoughts and the camera and microphone picked that up. Similarly with audiobooks, I'm just in a little tiny padded booth. My microphone is just a few inches from my face, and so I could be very, very intimate and everything gets picked up, and you have to do a lot less work for the emotion to come through. Again, really all you have to do is kind of feel the emotion. And for me, that's always for me is being in the moment and feeling the moment and letting that dictate the pace and the vocals and everything. I guess I'm pretty Method. I'm very Method, but that's how I trained. It's what works for me. Not every narrator is like that. There's a million different proper ways to narrate, and that's just my take on it. But everything is right there. So it's just kind of keeping it much smaller and more intimate. And in fact, when you want to be big like [character name's said in the character's] voice and he was yelling a lot, and I would have to pull back from the microphone to let his scope come out. Jonathan: Well, after 30 audiobooks together, I can say that method definitely works. Related to that, as we mentioned earlier, you're now at over 300 titles on Audible over the last 12 years. Congratulations for that. What would you say is most surprising or unexpected things about audiobooks you learned during that time? Hollis: Oh, well, it was very surprising that we could make a booth out of sword blades and blankets. That surprised me. Yeah, that's a great question. It's surprising to me how simple I can be. I went back and I had an author recently who wanted me to do a new chapter to begin and end a book that I had done like 2014, something like that, shortly after I started. And I thought at the time that I was really filling these voices and what I did was fine. You're always your own worst critic. But what I've discovered now is the more you do it, the more you record, the more you use your instrument every single day for 300 some books, the more effortless it becomes and the more depth you can bring to it. And as a young actor, we always resist that. My acting coach used to say, age and experience. There's no substitute for it. I'm like, yeah, yeah, but talent and hard work, that's something. But it's really true that just the repetition, there's no substitute for it. Those chapters that I did, they were the same voices basically. But when I went back and listened to the original, I was like, oh, it surprised me how without really changing anything mechanically, the work has just gotten deeper, more effortless, but it sounds better at the same time. Does that make sense? Jonathan: It does. Because you've probably noticed I've redesigned the covers for the Caina series like seven times over the last 10 years. And every time you think this is it, this is it. I'm done. This is good. And then with more practice, you look back and think, well, maybe I can improve this again, though. I suppose that's not often something that happens in the audiobook world where you get to go back and revisit something you did previously. Hollis: That is one of the hardest and most surprising things about audiobooks. And I've heard people say that this happens to every young narrator when they're starting out, you get through the first two chapters of a new book and you go, oh God, now I get it. I want to go back and start again. Well, there's no do overs with audiobooks. With audiobooks, “done is good” is what they always tell you when you're starting out. So even in film and TV, which you don't get much rehearsal for, you get a couple of run run-throughs, but with audiobooks, you got your prep. Not everyone does, but I always read the whole book before I start if possible, because otherwise you get surprises. But you get your one read through, your prep, and then you go and yes, you can stop. You can punch and roll, edit over. If you make a mistake, you go back half a line, you start again there. But there's no evolution of the work, which is what's great about series too, I think, because with the series you get, yeah, Caina was here last time I did her and now she's going through something new. And then the character grows and it becomes less and less effortful, but it also becomes like someone you really know so that it gets so much deeper and it's so much more fun to play with. Jonathan: That makes sense. 12 years really is a long time to have done audio narration or anything. So what do you think is the key to sticking it out for audiobooks for the long term? Hollis: Well, a lot of things make a difference. I didn't do it before this interview, which is why my voice is kind of rocky, but I always warm up in the morning when I'm setting up a session. I always do a vocal warmup. You got to get a good night's sleep, you have to drink water every couple of pages. I have a tea that I drink that keeps my stomach quiet because stomach gurgles is another bad thing about audiobooks. You have to eat very carefully and drink tea to keep your stomach quiet. You don't want to have to stop every time for that. And a lot of training, a lot of vocal training. I had Linklater training and the Lavan training, and Linklater to me is the most useful. And a lot of the stuff that applies to Shakespeare applies to audiobooks too. You warm up, you get yourself breathing, you warm up your resonators, your sinus, your mask resonators, the back of your head, your chest resonators. For the men [imitates male voice], you really have to have your chest warmed up, get the vibrations going here. And so I get all that kind of going before I sit down in the booth. And that also keeps you, then you keep your throat open so you're not hurting yourself. You have to have good posture so that the air can move from your diaphragm up to your throat and have it be open. And then optimally, like with Caina, Caina has a lot of mask resonance. Brits do; they are very far forward. So you really have to have all that warmed up and then that has to have no impediments between the front of your face all the way down to your diaphragm where the breath originates. And if you can do all that, then you could be an audiobook narrator. Also diction. I warm up my diction to everything from [imitates several vocal exercises] in just to get your mouth moving. You don't want lazy mouth with, there's a lot of enunciation in audiobooks that's important. But I also don't like, I really hate when you hear people enunciating. I don't like that. And with Caina, even though she's upper class, she's not like that. She's not pretentious. And certainly Nadia, you want to be able to understand what she says, but you don't want her to be enunciating. That be weird. So all of all that stuff I worked on in grad school and did all the Shakespeare plays, I would always get to the theater an hour early. You have to be there half hour for makeup and check in, but I would always get there an hour early and do at least 15 to 20 minutes of physical and vocal warmups. And so those habits have really helped me. I think I have pipes of iron, fortunately. I'm very lucky. So all that stuff really matters with audiobooks. Jonathan: It's amazing in how many different fields of life the answer seems to boil down to do the things you're supposed to over and over again forever. Hollis: Exactly. That's really true. When are we going to get old enough that we don't have to do that anymore? [laughs] Jonathan: Just one side question. What is Linklater training? I don't think I've heard that term before. Hollis: Oh, Kristen Linklater is, she's probably the biggest American vocal coach. She has a lot of books out there about voice and the actor and all of her training stems from allowing the breathing to drop in as she calls it, not forcing it to drop into the diaphragm, and then creating a pool of vocal vibrations that go from the diaphragm through an open throat to the resonators. And you can use every resonator in your body to project that sound. When I was doing Beatrice and Gertrude at Colorado Shakes in that unamplified stone amphitheater in the foothills of the Rockies, there was winds that would come down out of the mountains when we were on stage, and that theater was known for eating women's voices. And I had to thank God the vocal coach that summer was a Linklater coach, which is the method that I trained in, and he helped me work with even resonators. If you can imagine in your back, just using the whole chest box and shaking the vibrations through your body so that basically you're making your whole human skeleton an amplifier for the vocal energy coming from your breath. And that's Linklater. She's fascinating. If you ever want to study voice, you can't do better than Linklater, to my mind. Cicely Berry is another one I studied. She's the British guru for the RSC and the Royal Shakespeare Company and all those people, and she's great too. Jonathan: Well, that's just exciting. I learned something new today. Hollis: That's always good. Always learning from your books too about Medieval combat. Jonathan: We always want to learn something new every day, whether we like it or not. Hollis: Right. Jonathan: So to turn it around a little bit, what advice would you give a new indie author who is working with a narrator for the first time? Hollis: Oh yeah, I actually, I made some notes. I thought that was such a good question. Make sure that your narrator knows what you expect from them upfront. If you go through ACX, they have this great thing called the first 15 where your narrator is, if you're new to this author, you record the first 15 minutes of the book and you put that on ACX for your author to listen to and approve. You don't have to approve it if you don't like it. And in fact, if you don't like it, it's very important you don't approve it and you tell your narrator specifics about what you need them to change before they go on with the book. Because what you can't really do is once a book is recorded, say, oh, I really don't like it. I'm not going to pay you for it. I need you to go back and do it again. That's not acceptable and it will make narrators never want to work with you. But what's great about the first 15 is you have that chance to say, well, this voice was, she was a little higher than I wanted. I hear her in my head more as an alto because for me as a narrator, what I want to do is I want to take what you, Jonathan, hear your characters being as you're writing them in your head. I want to take that and translate that into an audiobook for you. So the more you give your narrators information about your characters, the better they're going to voice it. Also, if there's a style in your head, like with Nadia books, there's a little touch of noir there. It was a dark and stormy night kind of feel. If there's a style you kind of hear in your head, that would be a good thing to give them. But ACX has also, I think a character sheet where you can tell them about the different characters. You can fill that out for your narrator. That's tremendously helpful, age of the character, if you hear a vocal pitch range, soprano, alto, tenor, bass, any dialects, they need to know that. The narrator's nightmare is you finish up a book and you shouldn't do this, you should read ahead, but you get to the last line: “I love you, darling,” he said in his beautiful French accent. Jonathan: It explicitly shows up there for the first time. Hollis: Exactly. And then for the narrator, it's like, oh my God, I have to go back and rerecord everything this guy said, which is hours and hours and hours of work for you and your editor who will kill you. But yeah, let them know about all the character traits that you can and just, I think it's on the narrator too, to, I've been lucky with my authors, we always have a good give and take. I come from a theater background and you want to collaborate. You want to realize the author's vision and you want to be a partner in creating that. So try to be partners and give them more information than you think they need and use that first 15. It is totally acceptable to send it back and say, I'm going to need you to do this again, and I'm going to need these changes. And then once you get that ironed out, then you'll probably be ready to go ahead and have a book. And when you get the book, you won't be shocked and you'll be happy (hopefully) with the read. Is that helpful? Jonathan: It does. New authors, if you're listening to this, listen to that advice. Hollis: Yeah. Jonathan: Now for a slightly different topic, can you tell us about the Magic of Larlion books and how you ended up publishing that series? Hollis: Yeah. The Magic of Larlion is an epic fantasy adventures series seven, almost eight volumes. I'm working on finishing book eight now. The first book, Wizard Stone, my brilliant mother Dee Maltby started years and years ago, probably, gosh, maybe 20 years ago now, I think when my little brother moved out from home and she had an empty nest and she had more time to write, and she wrote Wizard Stone, and she sent it out a few places, and that was the only way you could get published back when she wrote it and didn't pursue it, she got discouraged, I think, by rejections from publishers, sat in her drawer for a while, and my sister-in-law, Dana Benningfield, who's also an actor, and she was my best friend even before she married my brother. I introduced them. So yeah, that was all me. She was an editor professionally for a while, and when she moved to Ohio where I'm from and was living with my brother and my parents lived right across the orchard, I told her about this book. And she wasn't editing at the time, she was kind of done with it, but she asked mom if she could read it. So she read it and edited it, and then it became a much better book and really encouraged my mom to keep writing, which I had been telling her to do for years. But hearing somebody who wasn't family, somehow giving her that input that it was really something special, changed her perspective. So she kept writing and she and I started, I was on the road doing Shakespeare a lot. We started trading chapters. She'd send me a chapter a week and I would edit it and send it back. And so Wizard Stone evolved from there into its current form, and then she started the next book, Wizard Wind and Wizard Storm. And we went that way through five and a half books. And my dad finally, when he retired from being a physicist, said he was going to, I always told you I'd get your published Dee, I'm going to take it down to the print shop and get a hundred copies made. And by this time I was working with you and a bunch of other great indie authors who were letting thousands of happy readers read their books through an independent platform. And I said, well, wait a minute. I could do better than that. So I convinced them to hire an editor that I had worked with, and I did the rewrites and got it through the pre-production process and hired a cover artist, very talented artist. And you and Meara Platt, another of my authors, gave me so much information and help. And we got it published in 2022, I believe. We had three ready to go. And we published those all within a month of each other. One a month for three months, and then four and five, and then six came. And I co-authored five, six, and seven because my mother was losing her sight and her hearing at that point. We got those done. We had six out and a lot of people reading them and loving them and reviewing them before my mom passed. And I think it's probably one of the most satisfying things I've done in my life, because not only do I love the books, and they're just a rip roaring, fantastic adventure-filled epic trip through this incredible world my mom invented. But when she was about to, one of the last things she said to me was, I told her how many people had read her books. I just went through the Kindle numbers and thousands of people in different countries and all over the world were reading and loving her books. And I told her that, and she said, that's all that matters. And she felt such a sense of pride in herself and accomplishment because they were being received for what they are, which is a brilliant creative flight of fancy, this magical world in the tradition of all the books she loved, always Tolkien. And so I promised her I'd finish it. So after she died, I published six and seven and I've got eight about 90% written now, and I'm hoping to bring that out by the end of the year, although I've been too darn busy with narration to really spend the time. I've got the big climactic Jonathan Moeller type battle at the end sketched in my head and on an outline, but I got to write that. And then we can get that out there and finish that too. Jonathan: Will you stop with eight or keep going after eight? Hollis: My feeling is that this series will culminate with book eight. It's been a long saga of Beneban, this young wizard who kind of gets flung off a mountain by his evil wizard master and has to master his fledgling wizardry powers and his magical sword to win his love Laraynia, a powerful sorceress, and save the kingdom. And that's book one. And there's ice dragons, and then they have kids, and then the later books have become much more about their kids. And the more I write, the more it's become about young women fighting with swords. Jonathan: Well, they say write what you know. Hollis: Defeating the bad guys. Plucky young women, overachieving, competing with men. And so I think that's all going to come to a head with book eight, and that will be the end of that series. But I do think I'm going to spin it off into possibly more on the younger characters. I don't know if it's going to be YA per se, I think it'll still be for adults, but more of a YA feel to it, the younger characters of the ice dragon riding school of battle and the wizarding school. I don't know if I want to make it schools necessarily, it might limit you too much. And that's kind of been done too. But I do think the ice dragons are going to figure largely in it. Oh, and I don't know, there's a plot point I probably shouldn't give away, but my mother's full name was Willa Dee Maltby. She writes under Dee Maltby and there is a character, a very magical character named Willa that shows up in this book eight. So I think Willa will be a big character going forward and the younger generation of women and some boys too. I like boys, I do. Jonathan: Well, I suppose if people want to know more, they will have to read and find out. Hollis: Yes. And please go to the website is deemaltbyauthor.com and everything you want to know (well, maybe not everything), but everything you can know for now is there. Jonathan: Well, I was going to ask you what you would say was the most rewarding things about publishing the books, but I think you covered that pretty well. On the flip side, what was the biggest unexpected challenge in publishing them? Hollis: The PR is hard. You seem to be great at it. I even did PR professionally to work my way through undergrad and then in between grad school and undergrad and after I graduated and I had an assistantship in it at my university. But the book world specifically is a whole different kind of PR and learning Amazon ads and Facebook ads and it's a lot. It's a lot. And again, you have been so helpful with it. And I mean, there are a lot of online resources out there too, which is great. But what I'm really finding, trying to do it part-time is overwhelming. You really need a full-time block of time to not only write the books, but then to publicize them the way they deserve to be publicized. Jonathan: Yeah, the tricky part is, as you said, book advertising is very different from anything else. I was talking with a guy who is an Amazon reseller for various toiletries and hygiene products and makes a good living doing that. I was telling him how much I pay per click on Amazon ads. He's just appalled. It's like, you can't make any money doing that. And then the flip side of that too is that Internet marketing is so different than any other form of PR, so it's just sort of constant challenge there. Hollis: I know, and I know I actually signed up for a TikTok account and I just don't, again at the time. Plus every time I turn it on, I'm like, I don't want to watch that. I'm allergic to the format. You'd think being an actor, being used to being on camera, I could come up easily with little things to do for the books and I probably could for TikTok. But again, just learning the platform and then applying yourself to it is just such a big time hack that I don't have that amount of time. I know that narrators are now more and more marketing themselves by recording themselves on camera narrating and putting that out there, which I can do, I guess. And that's why I got this ring light and everything. I can do that now. I haven't done anything with it, but I guess if some of the book work dries up, I'll be more motivated to do it. Jonathan: Well, that's how anything works. You try it and if you enjoy it and it works, keep doing it. And if you don't enjoy it and it doesn't work, no point in carrying on with it. Hollis: I think that's true. And you just have to keep learning too, as we know with everything. You got to keep learning new things. Jonathan: Well, this has been a very enjoyable interview and thank you for coming on the show. Hollis: My pleasure. Jonathan: Let's close out with one last question. You've obviously done a lot of theater, so what, out of all the productions you've done was the one you would say was your favorite or that you enjoyed the most? Hollis: I think I have to go back to Beatrice probably. I mean, the Alabama Shakes getting to play a man thing, that was a lot of fun. But Beatrice, we did a Wild West Much Ado about Nothing at Colorado Shakespeare. The premise was that I was the niece of Leonardo, who is the tavern keeper, the bar keeper in this Wild West world. And there was a bar fight opening this Wild West production, and I entered through a swinging tavern door with a six shooter in one hand and a bull whip in the other. And I shot the pistol and cracked the bull whip and broke up the fight and then got to do Shakespeare's incredible Beatrice and Benedict story from there. It was so much fun. Jonathan: It almost seems like the soundtrack could have been “I Shot the Sheriff.” Hollis: Yeah. Yeah, it really could. It was a heck of a lot of fun. Jonathan: Well, speaking of fun, it was good talking with you, and thank you for taking the time to be on the show. Hollis: Yeah, I am excited to start the next Cloak book soon. So I was going to offer to do a little snatch of you want the introduction for Cloak here? Jonathan: Oh, I think we'll save it for the Real Thing. Hollis: Oh, okay. All right. Well thank you, Jonathan. It's been a pleasure. Jonathan: It's been a pleasure. And see you soon for Cloak Mage #10. Hollis: Alright. So that was our interview with Hollis McCarthy. Thank you for coming on the show and giving us a very informative and entertaining interview. A reminder that the website with the Magic of Larlion books is deemaltbyauthor.com. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.

RSC artistic directors Reed Martin and Austin Tichenor are directing college productions of their comedies William Shakespeare's Long Lost First Play (abridged) and The Comedy of Hamlet! (a prequel), and they discuss the differences they discover in their scripts when other actors are performing them. Reed and Austin share how different actors bring different energies; the difference between a vaudeville and a play; how directing these young actors is like looking in a mirror; and how certain things just aren't necessary when you cast more than three actors. (Length 19:37) The post Directing Our Scripts appeared first on Reduced Shakespeare Company.

RSC artistic directors and co-authors Reed Martin and Austin Tichenor discuss how they've updated All the Great Books (abridged), which embarks on a US tour this fall. Reed and Austin share what changes they've made to this script (and all the RSC scripts) and how our scripts, like all plays, develop new meanings depending on the personnel performing them and the times in which they're being performed. (Length 15:04) (PICTURED: Tré Tyler (Coach), Michael Faulkner (Professor), and Doug Harvey (Doug) in the Reduced Shakespeare Company production of All the Great Books (abridged), written and directed by Reed Martin and Austin Tichenor.) The post Updating Great Books appeared first on Reduced Shakespeare Company.

Mark Dalgleish joins us to talk about the latest in React Router, including its growing support for React Server Components (RSC). He breaks down what RSC data mode, framework mode, and declarative mode mean for developers, and how features like the middleware API and route module API are simplifying work across tools like Vite and Parcel. We also dive into how React 19, static site generation with RSC, and smarter data batching are reshaping performance and the future of server-side rendering in React apps. Links X: https://x.com/markdalgleish GitHub: https://github.com/markdalgleish Website: https://markdalgleish.com LinkedIn: https://www.linkedin.com/in/markdalgleish Resources React Router and RSC: https://remix.run/blog/react-router-and-react-server-components RSC Preview: https://remix.run/blog/rsc-preview Chapters 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? Fill out our listener survey (https://t.co/oKVAEXipxu)! 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: Mark Dalgleish.

Morse code transcription: vvv vvv Southern Water bans tankers doing runs to US billionaires lake Sir Kenneth Branagh returns to the RSC for first time in 30 years Bolsonaro sentenced to 27 years in prison for plotting Brazil coup Starmer facing fresh questions after Mandelson sacking The Ayrshire wedding crasher mystery solved after four years Nigel Farage faces questions over who funded 885,000 Clacton constituency home Charlie Kirk What we know about fatal shooting of conservative US activist Starmer is losing senior figures at the rate of one a week Warner Brothers Discovery and Paramount Skydance shares surge on buyout reports Nato strengthens defences after Russian drones shot down over Poland

Daniel Evans, Jo McInnes and Madeleine Potter make up the cast of the original production of Sarah Kane's 4.48 Psychosis, which opened at the Royal Court in the year 2000.  Daniel, Jo and Madeleine, reprised their roles in 4.48 Psychosis here at the Royal Court, 25 years on from its debut, directed by original director James Macdonald. The production ran here until 5 July, before embarking on a run at the RSC.  

To end our second year of Rosebud, we have one of our most charming, talented and brilliant theatrical dames: Dame Eileen Atkins. Dame Eileen is a uniquely talented writer and actor, both on stage and screen - from Cranford, to the RSC, to The Killing of Sister George on Broadway, to Upstairs, Downstairs and The House of Eliot (which she co-created), to Mrs Dalloway (for which she wrote the screenplay). And this is one of our most entertaining interviews yet, with stories from Dame Eileen's long life and career . From her early years in Tottenham, when a gypsy going door-to-door prophesied that the three year-old Eileen would be a world-famous dancer, to her career as a child performer playing the working men's clubs, to her school days in Edmonton - the anecdotes from Eileen's life are brilliantly told. We then hear about her days at drama school, her friendship with Sir Alec Guinness and a couple of very funny stories from her working life. This is a fitting end to a fabulous two years for our podcast. We're very proud of the show we've created, and of our community of listeners - we're grateful to each and every one of you for your emails, your ears, your reviews, and your time. Thank you so much for being here with us! And thank you to Dame Eileen for this special conversation. Here's to many more years of Rosebud to come. Enjoy this. Hosted on Acast. See acast.com/privacy for more information.

We just got back from the 2nd annual Rebel Scum Con in Frisco, TX, and had an absolute blast! This was the most productive convention we've ever been to! Not only did we host two panels, but we also had the opportunity to speak with many Star Wars alumni, from actors to artists.    The convention, held August 8-10, 2025 is a fan-run event, which means the organizers knew exactly what we wanted! Throughout the next month we will share ALL that content, so in this episode you'll hear from:   Omid Abtahi (Dr. Pershing in THE MANDALORIAN) Eric Walker (the original Mace in THE EWOK ADVENTURE films) Dermot Crowley (General Madine in RETURN OF THE JEDI)   TODAY in Star Wars History 8/12/1980   Once Upon A Galaxy: A Journal of the Making of The Empire Strikes Back, by Alan Arnold, is published by Del Rey.This paperback book includes a journal into the day-to-day making of The Empire Strikes Back, interviews with the cast and crew, and behind-the-scenes photos.       SPONSORS   Small World Vacations is an official sponsor of Skywalking Through Neverland. Contact them for a no obligation price quote at www.smallworldvacations.com. Tell them Skywalking Through Neverland sent you.   SUPPORT THE SHOW   Find out how you can become a part of the Skywalking Force and unlock bonus content.   CONTACT US   Instagram: http://instagram.com/skywalkingpod   Twitter: https://twitter.com/SkywalkingPod   Facebook: https://www.facebook.com/skywalkingthroughneverland   Send emails to share@skywalkingthroughneverland.com and follow us on Facebook.   If you dug this episode, click over to iTunes | Stitcher | YouTube and leave us a review!   Never Land on Alderaan!

The boys welcome Michael Kanik on to the show to discuss all the big news coming from the major pod. They go over the big news of getting the MLB news and every question under the sun regarding the MLB news. Also discussed is the news of the Major guys linking up with AEW. They also go over the big names announced from San Diego Comic Con.   This week in the news RSC released their Q and A video with Bill Steve and Magic from Mattel. Jef and Scott go over all the questions. Also in the news Grapplers and Gimmicks showed off. Title Run toys also showed off their sketch art for Harley Race.   Pre Orders: Big Rubber Guys - Collectmajor.com Fig Collections - shop.figurecollections.com The patriot Buff Bagwell   Zombie Sailor - (zombiesailor.com) - Zombie is also on BBTS La Toonie 12 inch Road warriors (latoonie.com) KWK Shopkwk.com use code Fullyposeable to get 10 percent off your order. Also KWK's month of July pre order is Bull Nakano.  Thank you to everyone for keeping this show going!

Throughout history, ordinary Americans have done extraordinary things under the Lord's loving and watchful eyes. Senator Tim Scott's (R-SC) new book, "One Nation Always Under God," shares some of these incredible stories about a country comprised of people rooted in their faith.    Senator Scott shares some of these amazing stories with Shannon, including his own. He also describes the role faith plays in helping him make significant decisions in Congress. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sir Gregory Doran is the former artistic director of the Royal Shakespeare Company. He spent a total of thirty five years with the RSC directing fifty productions in the UK and abroad. He's been called “one of the great Shakespeareans of his age” and has won multiple awards for his work.Born in 1958, Greg was brought up near Preston and played a number of female Shakespeare roles when he was a young pupil attending an all-boys secondary school. He went on to study English and Drama at Bristol University followed by a stint studying classical acting at the Bristol Old Vic Theatre School. After a few bit parts in TV sitcoms and a spell at Nottingham Playhouse, Sir Greg decided that he would prefer to carve out a career as a director. He went on to stage some of the most critically acclaimed theatre productions – including an all-black cast of Julius Caesar and took Titus Andronicus to South Africa.More recently, he has been touring the globe on his Shakespeare's First Folio tour to look at as many different copies of the texts as possible. He survives his husband, the actor Sir Anthony Sher whom he met in 1987 whilst they were both part of a production of the Merchant of Venice at the RSC in Stratford. Sir Greg lives in London.DISC ONE: Giulio Cesare in Egitto, HWV 17, Act 1: Duetto. "Son nata a lagrimar" (Cornelia, Sesto) Composed by Georg Friedrich Händel and performed by Nathalie Stutzmann (contralto) Philippe Jaroussky (counter tenor) Oreo 55 (Orchestra) DISC TWO: Sicut cervus – The Choir of Preston Catholic College DISC THREE: Born Free - Matt Monro DISC FOUR: It's Raining Men - The Weather Girls DISC FIVE: Diamonds on the Soles of Her Shoes - Paul Simon DISC SIX: J.S. Bach: Cantata "Ich habe genug" BWV 82: I. "Ich habe genug, ich habe den Heiland". Performed by Thomas Quasthoff (bass-baritone), Berliner Barock Solisten, conducted by Rainer Kussmaul DISC SEVEN: Piano Concerto No. 12 in A, K.414: 2. Andante. Composed by Mozart and performed by Alfred Brendel (piano) and Academy of St Martin in the Fields, conducted by Sir Neville Marriner DISC EIGHT: Where the Bee Sucks - Paul Englishby, Royal Shakespeare Company BOOK CHOICE: A 1609 copy of Shakespeare's Sonnets LUXURY ITEM: A shelf of photo albums CASTAWAY'S FAVOURITE: Piano Concerto No. 12 in A, K.414: 2. Andante. Composed by Mozart and performed by Alfred Brendel (piano) and Academy of St Martin in the Fields, conducted by Sir Neville MarrinerPresenter: Lauren Laverne Producer: Sarah Taylor

This is a rebroadcast. The episode originally ran in September 2021. Michael A. Goodman has worked for the Church Educational System since 1989 and was the manager of CES College Curriculum before joining the Brigham Young University Church History and Doctrine department in 2007. He is a professor of Religious Education and serves as the RSC's Associate Publications Director and the Editor of the Religious Educator journal. Michael holds a bachelor's degree in Journalism with Public Relations, a master's degree in Information Technology, and a PhD in Marriage, Family, and Human Development. He is a co-investigator on the Family Foundations of Youth Development longitudinal research project, focused on adolescent and family faith development and mental health outcomes with a special emphasis on suicidality. Michael is married to Tiina Anita Goodman. Links Share your thoughts in the Leading Saints community Read the transcript of this podcast Get 14-day access to the Core Leader Library, including the Single Saints Virtual Conference Highlights 1:55 BYU Eternal Families course chair and online curriculum author 4:10 How does BYU teach the doctrine of Eternal Families? Courses based on doctrine with some social science mixed in Eternal principles and daily principles taught (money, sexuality etc) 5:50 We don't have to convince BYU students that the Church of Jesus Christ of Latter-day Saints values families, but they don't often know why. 8:30 D&C 131 and 132: The Degrees of Glory and importance of eternal families 10:40 The Family: A Proclamation to the World. Quotes document. 11:40 President Oaks Quote: “Our theology begins with Heavenly Parents. Our greatest aspiration is to be like them.” “The purpose of mortal like and the mission of the Church of Jesus Christ of Latter-day Saints is to prepare the sons and daughters of God for their eternal destiny- to become like our Heavenly Parents.” 13:35 Divine Identity and Divine Destiny… as children of God 15:45 Mother in Heaven: foundational doctrine 16:35 When speaking to single adults after the foundation has been laid, what do you say next? …Well someday?!? NO! Acknowledge their pain and the issues they face. 17:45 Neil L. Anderson quote: “We will continue to teach the Lord's pattern for families, but now with millions of members and the diversity among those in the church we need to be more thoughtful and sensitive. Our church culture and vernacular are sometimes quite unique. The Primary children are not going to stop singing 'Families can be Together Forever' but when they sing 'I'm so happy when Daddy comes home' or 'With father and mother leading the way…', not all children will be singing about their family.” 20:50 What do we need to know now, to feel joy now? Four overarching principles: No one denied any promised blessing because of something outside of their control YOU are included in the plan of salvation, and because of that inclusion there is hope. Heavenly Father will not abrogate agency. God loves us with a perfect love and will do anything in his power to exalt us. Through the grace of Christ, Heavenly Father can provide solutions to those things outside our control (24:51) 26:04 Quote President Kimball: “We promise you that in as far as eternity is concerned, NO soul will be deprived of rich and high and eternal blessings for anything which they could not help. That the Lord never fails in his promises. Every righteous person will eventually receive ALL to which they are entitled and have not forfeited through any fault of their own.” 28:15 Stay covenant-connected. 28:30 Quote President Nelson: Through no failing of their own “they” deal with the trails of life alone. May we all be reminded that in the Lord's own way and time no blessing will be withheld from his faithful saints. The Lords will judge and reward each individual according to their heartfelt desires as well as deeds.”