Podcasts about West End

Plus: her complicated relationship with antidepressants, weathering fertility struggles, and aging in public. Sara Bareilles joins Dan to discuss her new album Good Grief, a record she made after losing three close friends — Chad Joseph, Gavin Creel, and poet Andrea Gibson. The conversation covers grief as a transformative force, medication and mental health, fertility struggles and miscarriage, the creative process as spiritual transmission, aging without intervention, and patriotism as grief.  In this episode we talk about: Grief is a shortcut to the truth — it strips away distraction and forces presence "Name it to tame it" — putting feelings into words reduces their power Sara's fear that medication would suppress her artistry turned out to be the opposite: Lexapro felt like "a return to herself" The creative process as clearing a channel rather than owning the output — music arrives, it isn't manufactured "Nothing to fix" — acceptance as a countercultural act in an era of optimization Acceptance isn't resignation — you can surrender to what is and still take compassionate action Grief of country: loving America and mourning what it's becoming aren't mutually exclusive Social media distorts your experience of reality — have your experience of the world in the world Sara Bareilles is a two-time Grammy winner and Tony-nominated composer whose music and lyrics powered the Broadway hit Waitress — a role she later performed herself, both on Broadway and in London's West End. On screen, she earned an Emmy nomination for Girls5eva and for her performance as Mary Magdalene in NBC's Jesus Christ Superstar Live! She has sold over three million albums and 3.5 billion streams worldwide. Related Episodes: Sara Bareilles: Anxiety, Anger and Art (2021) How To Find Joy In an Anxious World (Sara Bareilles and Dacher Keltner, 2025) Get the 10% with Dan Harris app here Sign up for Dan's free newsletter here Follow Dan on social: Instagram, TikTok Subscribe to our YouTube Channel Additional Resources:  Check out Sara Bareilles' website, including links to her new album Good Grief, and more info about the Good Grief documentary.  This episode is sponsored by: BiOptimizers: Head to bioptimizers.com/happier and use code HAPPIER for 15% off your order. Cash App: Download Cash App Today: click.cash.app/ui6m/oh9jnxlq #CashAppPod. Cash App is a financial services platform, not a bank. Banking services provided by Cash App's bank partner(s). Prepaid debit cards issued by Sutton Bank, Member FDIC. Cash App Visa® Debit Flex Cards issued by Sutton Bank, Member FDIC, and The Bancorp Bank, N.A., pursuant to a license from Visa U.S.A. Inc. See terms and conditions for the Sutton prepaid card, Sutton debit flex card, and Bancorp debit flex card. Savings provided by Cash App, a Block, Inc. brand. Visit cash.app/legal/podcast for full disclosures. To advertise on the show, contact sales@advertisecast.com or visit https://advertising.libsyn.com/10HappierwithDanHarris

The girls are back, and this week's episode is a perfect little haunted-theater, true-crime anxiety spiral. Cute? No. Creepy? Extremely. First, Monique tells the story of British comedian Jason Manford, who got cast in the West End revival of Sweeney Todd at London's historic Adelphi Theatre. Every night after getting his throat slashed onstage, Jason would clean off the fake blood and FaceTime his wife and twin daughters before bed. How sweet. Until his three-year-old daughter asked, “Daddy, who's that man behind you?” A tall man with dark hair, a mustache, and a soldier's uniform: a description that matched William Terriss, the beloved Victorian actor who was stabbed to death at the Adelphi stage door in 1897 while wearing a Union Army captain's costume. The theatre ghosts really said: yes, and? Then Amy brings us into the 1977 death of Charles “Chuck” Morgan, a Tucson escrow company president whose case is so suspicious it feels personally insulting that anyone tried to rule it as a suicide. Chuck disappeared, came home three days later missing a shoe, bound in plastic handcuffs, unable to speak and writing that he had been kidnapped and tortured. He hinted at a secret government identity, got paranoid (naturally), wore a bulletproof vest, carried a gun and told his family he had written a letter naming who was responsible if anything happened to him. Then he disappeared again. Nine days later, a mystery woman called “Green Eyes” phoned his wife with an ominous Bible passage and soon after, Chuck was found in the desert wearing his bulletproof vest, shot in the back of the head, with a $2 bill pinned to his underwear and absolutely no reasonable explanation. Police ruled it suicide. Monique and Amy, correctly, said: no, girl, no. If you take anything away from this episode, let it be this: when a three-year-old sees a crying soldier behind you, maybe believe the fucking child.

Stephanie Shimp from Blue Barn and the Blue Table Booth joins Jason DeRusha live from the Great Minnesota Get Together. They chat about the Blue Barn building in the newer west end of the fair… they've been there since 2014. Stephanie and Jason talk about what it takes to get something like the Blue Barn built, their new menu items (she says it's important to have fresh options every year) and some of the politics behind getting on the Fair's “list”. In their second segment, Jason and Stephanie talk about the changes in drinking habits, how they've reacted as a business and some of the drinks they're offering at the Blue Barn.

Jen is fresh off a European adventure through London, Amsterdam, and Paris, while Kristin is barely holding it together knowing her own vacation disaster is still to come. Join us as we talk West End surprises, World Cup pubs, Anne Frank's House, the Louvre jewel heist, and the hotel room with the see-through bathroom that almost ended one marriage. Next week: Kristin's Cyclospora-fueled Texas vacation from hell.Thanks to our sponsor, Famous Footwear!Right now, it's BOGO. Buy one pair, get one half off at Famous Footwear. Shop instore to get $10 to spend this fall. Some exclusions apply.Thank you to our sponsor, Hulala Home!Use code iMOM12 for 12% off. Visit http://www.HulalaHome.com to learn more.Thank you to our sponsor, Wayfair!Join Wayfair Rewards today to get 5% back on every purchase and start saving on your next home upgrade. Head to http://www.wayfair.com to shop all things home. If you are interested in advertising on this podcast email advertising@pionairepodcasting.comCHAPTERS: 01:52 ✈️ Jen's European vacation begins03:40

It's the end of summer, and Yonit and Jonathan are taking a break from the news with a nugget of pure Jewish joy. Andy Nyman — the West End actor, writer, director and magician currently starring as Max Bialystock in The Producers, and previously as an acclaimed Tevye in Fiddler on the Roof — joins the show for an Unholy Conversation. Why does Mel Brooks' nearly-60-year-old joke about Hitler still land? What makes Max Bialystock - who could have been Tevye's grandson - so beloved, even in his desperation? And is the Broadway musical, as a form, secretly a Jewish one? Andy answers the question by giving a rare performance of a musical classic — rendered in Yiddish. You won't want to miss it. In this episode: The Genius of Mel Brooks: How The Producers transforms satire into an act of healing and an uncompromising "fuck you" to history. From Tevye to Bialystock: Exploring the thread connecting the working-class milkman of Anatevka to the scheming, desperate, yet deeply human Broadway hustler. Art in Times of Darkness: A rare behind-the-scenes look at performing comedic Jewish art—and deciding to keep a daring scene in the show—in the wake of global tragedy. Exclusive Live Performances: Andy delivers three bespoke, stripped-back performances directly in the studio: "We Can Do It" (The Producers) "If I Were a Rich Man" (Fiddler on the Roof) A haunting, tender Yiddish translation of "Hushabye Mountain" (originally by the Sherman Brothers).   00:06 Introduction to Unholy Conversations 00:09 Introduction to Andy Nyman 01:57 The Enduring Appeal of The Producers 05:50 Mel Brooks and Jewish Healing through Humor 08:29 Defiance in Comedy: Pulling Down Pants 09:59 Exploring Max Bialystok's Character 17:30 Max Bialystok and Tevye: A Generational Connection 18:23 The Complexity of Tevye 22:58 The Essence of Fiddler on the Roof 30:44 The Current Jewish Climate 35:40 The Jewish Influence in Musical Theatre 42:32 A Yiddish Lullaby: Bridging Cultures 44:24 The Importance of Representation 44:25 Personal Connections and Impact  

LZ interviews West End leading man Bradley Jaden, recently seen as Inspector Javert in Les Misérables: The Arena Concert at Radio City Music Hall, about the show's renewed impact and Jaden's approach to portraying Javert with increasing vulnerability and a visible “slow demise.” Jaden discusses moving to New York and feeling lonely and overwhelmed by the sudden shift in attention, navigating introversion in an extrovert-facing career, losing significant weight after being told it would help his success, and living with body dysmorphia. He shares surviving a suicide attempt and how Les Mis has been therapeutic, enabling open conversations about men's mental health. They also cover his asthma as a childhood challenge that became a “superpower,” his stage name's origin, his support network, and end with a brief lyric exchange and Jaden's statement, “I… am beautiful because… I love deep.”Menu: 00:00 Welcome and Guest Intro01:23 Mirror Check In03:44 Les Mis Resurgence05:02 New York Adjustment09:09 Introvert in Spotlight10:16 Weight and Image Pressure13:57 Stage Name Origin15:09 Career Gratitude and Growth18:53 Support Network and Mentors24:57 Why His Javert Hits Different26:58 Javert Foundations and Auditions31:57 Mental Health and Method41:30 Audience Connection and Purpose43:30 No Singing Lessons Reveal44:01 No Sheet Music Needed44:51 Finding Purpose in Small Wins45:24 First Auditions and Miss Saigon Break47:12 Les Mis Praise and Afterglow48:09 Google Rumors and Relationship Truth50:17 Learning Self Love50:39 Five Things I Like About Me53:58 Asthma Turned Superpower55:58 Rapid Fire Broadway Picks59:15 Singing Challenge and Stars Tease01:05:58 Heartfelt Wrap Up and Beautiful Because

01. Rebuke - Along Came Polly (ZANS Edit) 02. Tujamo, BARTS - Magic 03. Lucas & Steve x Mike Bond - Be Like Bob 04. Justin Timberlake - Sexy Back (LUKE ALEXANDER REMIX) 05. RIOD & MARSHALL JEFFERSON - Move Your Body (Ibiza)= 06. FEZZO ft. Kosmo Kint - Follow The Road 07. Dimitri Vegas & Like Mike, Martin Garrix - Tremor (Calvin Remix) 08. A$AP Rocky - Trunks (WILL K Remix) 09. Gaskin, MALARKEY, Tom Did It - Late Night Baddies 10. BRANDON - Ayo Technology 11. VLUARR - What Is It 12. Travis Scott, Playboi Carti - FE!N (Rasster Remix) 13. Afrojack - Monopoly Man 14. Westend, Twin Diplomacy - Sensational 15. AC Slater - Beat Control 16. R3HAB & KSHMR - Karate (KTTK Remix) 17. PNAU, EARTHGANG, sadMONTH - Nirvana (Benny Benassi Remix) 18. 50 Cent - Disco Inferno (DUER x HIGHKEY Edit) 19. SHIMZA, ARCO - Fire Fire (HORIZON Remix)

This week TRYM picks his Up All Night tracks and Dead X is on Guest Mix duties1. Joyia, ForgiveMeTommy! & Dox - Control (DOX Remix) 00:00:432. Jark Prongo, Hernan Cattaneo & Brigado Crew - Movin' Thru Your System 00:04:323. KuKs - The Block 00:10:534. Rochelle Jordan - Ladida (Honey Dijon Remix) 00:13:255. Michael Bibi & KETTAMA - Mystery Of Raw 00:18:456. Sowel - Party People 00:23:177. Galoski - Come Closer 00:27:548. GoldRed - Power To The People 00:31:389. Illyus Barrientos - Be Hot 00:35:3810. OMNOM ft. Tommy Genesis - Pressure 00:39:0611. Vintage Culture & Kevin Brauer - Yoga 00:42:1812. Adronicus - Make You Whole (GEE LEE Remix) 00:47:0413. Oliver Heldens & Will Clarke - Lost In Music 00:49:0214. Westend & Twin Diplomacy - Sensational 00:52:2915. Sapian - Reason Why 00:55:5616. Walker & Royce & FENIK - Utopia 01:00:0717. Jacques Greene - Presence 01:02:4718. Robbie Doherty - Loneliness 01:06:3819. Club Angel - Til Death 01:09:5720. Skrillex & MPH - Mirage 01:13:3621. Komakino - Goldener Raver (Rave Mix) 01:18:0622. Sullivan King, TRYM & GRAPHYT - RUMBLE 01:22:1923. U96, Sunlike Brothers & ToneNation - Club Bizarre 01:24:5124. DEAD X Guest Mix 01:28:07

We're baaack! After an extended hiatus, we're dragging Priscilla icon Tony Sheldon back onto our torture bus for another round of Metal Vs Musicals fun!In this glorious return, we're Within Temptation for 'The Heart of Everything', before counting 70, Girls, 70 after being shamed by our legendary guest!Plus we chat the Stigma around Nepobabies, Falsettos, Missing NYC Friends- and hitching a ride back to NYC with them, Meeting Royals, Jumping in Puddles, and so-much more in this warm yet hilarious episode!-SOCIALS-Tony: https://www.instagram.com/aldonzamudd/Dave the New Kid: https://www.instagram.com/1_of_the_daves_you_know/Spencer the Old Kid: Spencer: https://twitter.com/SpencerSher_*****Juxtaposing Metal with Musicals - joined by iconic guests from the worlds of Music, Broadway, Hollywood, and more! -- https://www.patreon.com/bloomingtheatricals - https://twitter.com/thrashntreasurehttps://linktr.ee/thrashntreasure***** ★ Support this podcast on Patreon ★

Shaggy is on board! ✈️

Jordan Litz went from the US Olympic Trials in swimming to becoming the longest-running Fiyero in Wicked's history, first on Broadway and now in the West End's 20th anniversary production.Anya sits down with Jordan to talk about the wildest crossover of endurance and performance: running the New York City Marathon last year and then walking straight onto the Wicked stage for two full shows, forty minutes after crossing the finish line.Jordan talks about the discipline that carried him from a black line in a swimming pool to eight shows a week on stage, training for a marathon around fatherhood and a demanding schedule with Runna, and why he's changing everything for a redemption run at the 2026 New York City Marathon.In this episode:

Zeskullz Presents mixtape by: Oliver Heldens 01. Hot Since 82 - Life's Too Short (MK Remix) 02. Solomun - Raider On The Storm ft. Inéz 03. Corey James, Paul Green - Dimension 04. Gudfella, Yamagucci - Ride ft. Karen Harding 05. Westend, Twin Diplomacy - Sensational 06. Afrojack - Monopoly Man 07. Ronnie Spiteri - Double Up 08. Pnau, Earthgang & Sadmonth - Nirvana (Benny Benassi Remix) 09. Max Styler - Love Forever ft. Kuuda 10. Oliver Heldens, Kryder, The Young Punx - AEIOU 11. Alaia & Gallo - Lipstick (Tony Romera Mix) 12. Tini Gessler - 125 13. Ac Slater - Here To Dance 14. Kyle Watson - Keep Control 15. Joshwa - From The Back 16. Adam Beyer & DJ Jock - Let Loose 17. 48:29 Eli Brown - It's Like That 18. DJ Heartstring - Another Year Alone (i love you) 19. Funk Tribu - this is the moment (cuerpo) 20. Marlon Hoffstadt - You're The One

Alex and Sarah get back together to discuss Alex's trip to D23, Disney's huge fan event in California where the creator of Hamilton was celebrated and the West End production of The Greatest Showman was unveiled. Plus more highlights from the Edinburgh Festival and a cracking season of radio drama from the BBC to celebrate the 70th anniversary of the Royal Court. Hosted on Acast. See acast.com/privacy for more information.

I'm delighted to welcome the incredibly talented Lee Mead to Wellbeing with Manny in conversation with.... Lee first captured the hearts of the nation when he won Any Dream Will Do and stepped into the iconic role of Joseph in Joseph and the Amazing Technicolor Dreamcoat. What followed was a phenomenal career that has seen him become one of the UK's most respected and versatile performers, starring in leading West End productions including Wicked, Legally Blonde and Chicago, as well as building a hugely successful career in television. Many viewers will know Lee from his much-loved role as Ben "Lofty" Chiltern in Holby City and Casualty, where he spent years on our screens becoming a familiar and popular face with audiences across the country. However, beyond the impressive list of credits, Lee has earned an equally strong reputation within the industry for being one of its genuinely kindest people. Time and again, colleagues, performers and fans speak about his warmth, generosity and humility. In an industry that can often feel competitive and demanding, Lee is proof that talent and kindness can go hand in hand. In our conversation, we explore the realities of life in the spotlight, the challenges and rewards of sustaining a career in the performing arts, and the importance of looking after your wellbeing along the way. Lee shares insights from his remarkable journey, reflects on the lessons he has learned through success and setback, and talks openly about resilience, confidence, staying grounded and maintaining perspective. This is a warm, honest and inspiring discussion with a performer whose career spans stage and screen, but whose greatest strength may well be the compassion and authenticity he brings to everything he does. This was a beautiful conversation, and I am so grateful for your time! Thank you, Lee x, @leemead_official Hosted on Acast. See acast.com/privacy for more information.

Welcome to the world of Hexagonia 01. [HEXAGON] Main Circus - I Want More02. CASHEW - It's All Good03. Motion Twin - Keep On Bouncin04. Sgt Slick - Get Closer05. Michael Gray, Barbara Tucker - I Get Lifted06. Funkerman, Sama(US) - Keep Up07. [HEXAGON THROWBACK] Needs No Sleep - Won't Stop08. A-Trak, SHEE - Dancefloor09. A.S.H.A. - JJ Tribute 2K26 (Lee Butler & Mark Simon Remix)10. [FUTURE] FEISTLING - DISCO FEVER!11. [DEMO OF THE WEEK] VASA - NEEDLE12. Devault - Keep Your Body Pumpin 13. Michael Bibi, Kettama, Wu-Tang Clan - Mystery of Raw14. [HΞXHIBITION] Molchan - Just Feel15. Digital Underground - Humpty Dance (Kue's Lower Valley Mix)16. Westend, Twin Diplomacy - Sensational17. Wax Motif & Spin Off - Naked Girls18. Deekline & Son of Sam ft. Logan - Watch DemHEXAGON SPOTLIGHT MIX: Efim Kerbut01. Efim Kerbut & Nicky Deyo - Blabber02. Efim Kerbut - Pull Up03. Efim Kerbut - Sexy Pic04. Efim Kerbut & Alex Helder - Vision05. Efim Kerbut - Abajo06. Efim Kerbut - 1 ON 107. Efim Kerbut - Dental Itch08. Efim Kerbut - Electro Level09. Skrillex x Efim Kerbut - Chicken Soup Wild (SpydaT.E.K Edit)10. Efim Kerbut - The Rubiks Cube11. Efim Kerbut - Margarine Head12. Efim Kerbut - Stack It 99 19. [CHILL TIME] molly, sandpiper - all i wanted

Is there still a dress code for Broadway, the West End, or live theater? Officially, no.Unofficially? Natalie has some very (very) strong thoughts.As a personal stylist, lifelong theater lover, and Broadway co-producer/investor, sheshares her take on what to wear, why she still believes dressing for the theater is part ofthe experience, and how to strike the balance between comfortable, polished, andauthentically you.Episode Notes & Resources:Need help with smart casual options, see my denim and core'drobe shopping guidesSubmit style questions you'd like answered in a future Wear Who You Are episodeJoin BU Style Circle online membership for more of Natalie's style resources, live Q&As, and more. Use code BUCIRCLE for one month off your subscriptionFollow Us:Follow the podcast on social media, and submit your questions by sending us a message here!@bustyle@natalie_tincherCheck out the website for more info at www.bu.styleSign Up for Nat's NewsletterRate, Review, & Subscribe to the podcast on Apple & SpotifyThis Podcast is brought to you by Upstarter Pods

Shaggy is on board! ✈️

PJ talks to Annette about the vigil Aug 21st 8pm at the Park Road near the bridge..walking up West End,stopping at Church Hosted on Acast. See acast.com/privacy for more information.

600!? Su Pollard is one of Britain's best-loved comedy actresses and entertainers, with a career spanning more than 50 years. She became a household name as the unforgettable Peggy Ollerenshaw in the BBC sitcom Hi-de-Hi!, before starring as Ivy Teasdale in You Rang, M'Lord? and Ethel Schumann in Oh, Doctor Beeching!. A hugely versatile performer, Su has enjoyed an extensive West End and touring theatre career, including Me and My Girl, Sweet Charity, Annie, The Pirates of Penzance and Shout!, as well as more than 40 pantomimes. She is also a successful singer, scoring a No. 2 UK hit with Starting Together in 1986. In 2023 she received the UK Pantomime Association's Outstanding Achievement Award, recognising her remarkable contribution to the genre.Su Pollard is our guest in episode 600 of My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .For Su Pollard's book and everything else Su, visit - https://supollardlive.com .Follow Su Pollard on Instagram: @officialsupollard .Visit our website! - https://mytimecapsulepodcast.com .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people .To support this podcast and get all episodes ad-free, please sign up here - https://mytimecapsule.supercast.com. All money goes straight into the making of the podcast. Hosted on Acast. See acast.com/privacy for more information.

Surprise! Alex has made the trip to Disneyland to mark the West End launch of The Greatest Showman, coming to Theatre Royal Drury Lane next spring. He sits down with Oliver Tompsett and Samantha Barks to discuss the gargantuan new musical's London run. What's more, he also caught up with the makers of Secret Cinema's Pirates of the Caribbean, running from February in Greenwich. Hosted on Acast. See acast.com/privacy for more information.

Crank It is a tech/house mashup music podcast. Please give this a listen and enjoy. Artist names and song titles are in the order they were played... MARTIN IKIN & MATRODA-4U, MR BELT & WEZOI vs KEANU SILVA & DAVE WINNEL-IT'S NOT RIGHT/TELL ME WHY/BANG IT, KATY PERRY-I'M HIS HE'S MINE, TONY ROMERA-DANCE NAKED, NELLY FURTADO vs ENREY & ADAM DARLING-MANEATER, ADAM PORT, STRYV, & KEINEMUSIC-MOVE, FOUNTAINS OF WAYNE vs DAMAGED GOODS-STACY'S MOM, THE BLOODY BEETROOTS & STEVE AOKI-WARP 9.1, SHOWTEK & SONNY WILSON-BOOYAH, FLO RIDA vs WESTEND & NOIZE-LOW, CLOONE & GREG-STILL MY BABY, CAMELPHAT & ELDERBROOK-COLA, DRAKE, WIZKID, & KYLA-ONE DANCE. End. Thanks for listening to Ken Steele Music.

It's that time of year again—the September issue is back and this year is Chloe's first September issue as Head of Editorial Content at American Vogue. Fifteen years ago, before she interviewed at Vogue, she watched the 2009 The September Issue documentary to prepare herself for what was to come. Now it's her moment to be at the helm of the issue celebrating “the January of fashion.” Co-host Nicole Phelps and Vogue's Director of the Global Fashion Network, Virginia Smith joined Chloe to talk about their favorite stories from the issue and the behind the scenes mania of the elaborate photoshoots. They began by discussing the cover shoot photographed by the inimitable Steven Meisel starring Kaia Gerber and Homer Gere, two of the leads from Ryan Murphy's adaptation of The Shards by Bret Easton Ellis. This cover, featuring the young starlets in beautiful Chanel, calls back to the 1992 cover shoot of their parents Cindy Crawford and Richard Gere, shot by Herb Ritts. As far as the fashion message being conveyed in the shoot, Virginia explained, “We kept talking about this idea of designers looking back at the past to reinvent their future, and that tied in with the whole nepo-baby thing, and certainly made sense for our cover stars.” In her Editor's Letter at the front of the book, Chloe spoke about connecting with the cover stars over their shared experience of having famous parents and her embrace of the “nepo-baby” label. Homer, in particular, is new to the limelight and Chloe called him up. "Look, as someone with famous parents, you can run away from it, but that's not gonna work,” she told him, “And you should be proud of your parents. I'm proud of my parents—they've certainly made me who I am.” Nicole then spoke about Nathan Heller's deep dive with Demna. “[Demna] accomplished so much at Balenciaga and I think that has given him an assurance that he can take on this new challenge of Gucci. And he's really leading with fun.” The story includes a portrait of Demna, which was shot just days after the flashy Times Square resort show. Anna politely, but pointedly insisted that he not show up in all black, and he obeyed her wishes, showing up in a white t-shirt. They also noted a few other standout stories including Gaby Wood's profile of Marta Ortega, who has been responsible for leading Zara into the future over the past few years, Baz Luhrmann and Catherine Martin's maximalist train car shoot featuring the West End's favorite actors, Mattie Kahn's profile of conductor Gustavo Dudamel, and Adrienne Miller's conversation with Julia Louis Dreyfus about her upcoming Broadway debut. Also on today's episode, Chloe and Chioma caught up after Chloe's family trip to France. They discuss Chioma's latest Nicole Kidman cover shot by Venetia Scott and written by Giles Hattersley. “She's just got such presence,” Chioma noted, recalling a starstruck moment she had while greeting her at the Met Gala, “this kind of quiet, sphinx-like presence.” They also chat about the book club pick and Chioma's upcoming travels to Switzerland and Greece! The Run-Through with Vogue is your go-to podcast where fashion meets culture. Hosted by Chloe Malle, Head of Editorial Content, Vogue U.S.; Chioma Nnadi, Head of British Vogue; and Nicole Phelps, Director of Vogue Runway, each episode features the latest fashion news and exclusive designer and celebrity interviews. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode of “Half Hour,” we take a deeper dive into The Devil Wears Prada, now playing at the Dominion Theatre in London's West End. We break down the musical's plot and concept, how the stage adaptation reshapes the story of Andy Sachs and Miranda Priestly, and what changed from its Chicago tryout to this West End production. We discuss Elton John's score, the lyrics by Shaina Taub and Mark Sonnenblick, Jerry Mitchell's direction and choreography, and the production design by Tim Hatley and Gregg Barnes, along with performances including Vanessa Williams as Miranda, Stevie Doc as Andy, Taila Halford as Emily, and Matt Henry as Nigel.  Follow and connect with all things @HalfHourPodcast on Instagram, TikTok, and YouTube. Share your thoughts on this production in the Spotify comments, and let us know what you would like us to cover next. If you enjoy these post-show discussions, follow Half Hour and leave a rating and review so more theater lovers can find the podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

We got a wild one today with a major debate from Honcho Hoodlum near the end! Subscribe to our YouTube Channel https://www.youtube.com/@WeLoveHipHopNetwork416 Intro Music: P Reign Money In My Pocket https://music.youtube.com/watch?v=Q22ndU33III&si=aQ0KZ1xa1TyKAVoz Bishop Brigante 6 up https://music.youtube.com/watch?v=repxI_V_Twc&si=qIKblFIhhggbkVrb Booggz - Auto Theft https://music.youtube.com/watch?v=N-AT_MYFGGo&si=bG8mTDs5ZJBh8k-5 Pengz & twotwo Griselda Blanco https://music.youtube.com/watch?v=RzLMjdbPZKM&si=a1OgWrzSqNcuyLuQ Savv4x - Clippers https://music.youtube.com/watch?v=sr1dHWKDhBM&si=gQp52SljFS1YjyDP Topics: - YouTube doubles requirements to counter AI - Donnell Rawlings exposes Mr. Lewinn - Drake backlash from 20 v 1 - Ak swatted - Toronto accent is racist from non-blacks - Top 5 West End rappers ( Hoodlum Call) - E Bikes causing fires in Toronto Thanks to: Exotic Hotpots: https://www.instagram.com/exotichotpot/ We Love Hip Hop: www.instagram.com/welovehiphopnetwork/ Friday: www.instagram.com/fridayrickydred/ Dusty Wallace: www.instagram.com/trappherajohn/ DJ Zar: https://www.instagram.com/djzartv/ DJ Natural Wav: https://www.instagram.com/djnatural.wav/ One Take Jake: https://www.instagram.com/onetakejaketv

On today's episode of The Sisterhood of S.W.E.A.T., Linda sits down with powerhouse British singer and actress Sydnie Christmas, winner of Britain's Got Talent 2024. Since her unforgettable BGT victory, Sydnie's career has taken off. She has sold out headline shows in the UK and New York, performed at the Hollywood Bowl, starred as Cruella De Vil in 101 Dalmatians in London, appeared in the West End premiere of Don Black's From the Heart, and performed for the King and Queen at the Royal Albert Hall. Now Sydnie is entering another exciting—and deeply personal—chapter with her first album of original material. Sydnie joins Linda to talk about what life really looks like after winning Britain's Got Talent, the moments when she questioned whether her dream would happen, handling a rapidly changing career, and the relationship she has developed with the fans she affectionately calls her "Fanmily." She also shares what it means to finally tell more of her own story through original music, including her new singles "Lean on You" and "Run." Sydnie returns to the U.S. for performances in Philadelphia, New York City and Homer, New York in August, followed by the PBS broadcast of Sydnie Christmas: Live in London beginning in October. A larger U.S. tour is planned for spring 2027. In this episode: What Sydnie remembers about winning Britain's Got Talent What nobody tells you about life after a major television win The years of work behind her "overnight success" Performing at the Hollywood Bowl and for the King and Queen Going from powerhouse vocalist to Cruella De Vil Why creating original music feels different The story behind her relationship with her "Fanmily" What Sydnie wants American audiences to experience Why this next chapter may be her most exciting yet Listen to Sydnie's new singles "Lean on You" and "Run," and watch for her new album coming this fall. Summary Cindy Christmas shares her inspiring journey from auditioning in musical theater to winning Britain's Got Talent, performing at iconic venues, and releasing her first original album. She discusses the importance of perseverance, staying true to oneself, and connecting deeply with her fans.  Key  Topics Cindy's experience winning Britain's Got Talent Her journey through musical theater and retraining Performing at the Hollywood Bowl and for royalty Releasing her first original album and songwriting process The significance of her fan community, Fan Malie Her upcoming US tour and PBS special The importance of perseverance and staying true to oneself  Takeaways Opportunities often come after years of hard work and persistence. Staying authentic and true to your voice is crucial for artistic success. Building a supportive community of fans can sustain and motivate an artist. Reinvention and vulnerability are key to growth in a music career. Dreams are achievable if you never give up and keep fighting.  Sound Bites "Opportunities come after years and years of showing up." "Writing songs since I was eleven, now sharing my diary with the world." "My voice is of a different era, and I am proud to represent that." Chapters 00:00 Introduction to Cindy Christmas's Journey 01:47 Winning Britain's Got Talent and Its Impact 03:54 Life Changes After the Talent Show 06:04 Performing at Iconic Venues and Royal Audiences 06:58 Releasing Her First Original Album 08:10 The Meaning of Fan Malie and Community 08:50 Her US Tour and PBS Special 09:47 Encouragement for Aspiring Artists

Singer, sitcom star and stage queen Vanessa Williams joins the show. Over tuna tostadas and butternut squash salad, Vanessa tells me about repeatedly having to prove herself across careers – from Miss America and the controversy that forced her resignation, to building success in music, Broadway and television – meanwhile, dealing withjudgement, racism and being underestimated as a performer. We also reminisce about her iconic role as Wilhelmina Slater in ‘Ugly Betty,' her chemistry with costar Michael Urie, and why it stands out as one of her favorite jobs to date. Also, we get into her role as Miranda Priestly in The Devil Wears Prada musical, now on the West End. This episode was recorded at Flute at the Broadwick Soho in London. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Blood on the Sawdust: The Brutal World of Victorian Boxing Episode Overview In this 9th Anniversary Special, we step out of the West End drawing rooms and into the blood-flecked, sawdust-covered floors of 19th-century “Fancy” public houses. Inspired by the depiction of East End street culture in A Thousand Blows, this episode explores the history of Victorian boxing—from the illegal bare-knuckle bouts of the Regency era to the gentrified, gloved sport codified under the Marquess of Queensberry Rules. We examine how prizefighting evolved from a brutal survival strategy into a national obsession, the legal cat-and-mouse games played across county lines, and the medical and physical toll extracted from the fighters. We also dive into the remarkable life of international combat instructor Colonel Thomas Hoyer Monstery and uncover the overlooked history of 19th-century female prizefighters. Key Topics Covered: Housekeeping & AI Voice Policy: Why the podcast is permanently stepping away from AI-generated voice models in favour of human research, along with updates on replacement recording equipment and audio access. The “Sweet Science” & Prizefighting History: How bare-knuckle fighting functioned as a mix of martial arts, local wrestling, and survival in an era where the body was often a worker’s sole asset. The Structural Cage of the Law: The jurisdictional loopholes that allowed fights to flourish on county borders, and the evolution of legal precedents from R v Billingham (1825) to R v Coney (1882). The Aristocratic “Fancy” & Early Pioneers: The rise of sports journalism via Pierce Egan's Boxiana, and landmark international contests like the 1810 bout between Tom Cribb and former American slave Tom Molineaux. Case Study – The Ruin of Harry Broome: Following the career arc of Harry Broome from his controversial match at Acorn Bridge to his defeat by Tom Paddock and his eventual death in poverty. The Queensberry Transition: Why the introduction of gloves in 1867 was viewed with suspicion by working-class fighters, and how padded gloves inadvertently increased the long-term risk of chronic brain injury. Gentlemen, Self-Defence & Martial Arts: Highlights from Colonel Thomas Hoyer Monstery's C19th treatise Self Defence for Ladies and Gentlemen, including his views on boxing over firearms and his praise for female swordmasters. Women in the Ring: The subversion of Victorian gender norms, focusing on the 1888 world championship bout between Hattie Leslie and Alice Leary, and the legal outrage that followed. Sources & Footnotes Academic Articles & Published Journals Anderson, Jack. “The Right to a Fair Fight: Sporting Lessons on Consensual Harm.” New Criminal Law Review, vol. 17, no. 1, 2014, pp. 55–75. Betts, John Rickards. “Sporting Journalism in Nineteenth-Century America.” American Quarterly, vol. 5, no. 1, 1953, pp. 39–56. Brayne, Hugh, Lincoln Sargeant, and Carol Brayne. “Could Boxing Be Banned? A Legal and Epidemiological Perspective.” BMJ, vol. 316, no. 7147, 1998, pp. 1813–15. Burnett, John. A History of the Cost of Living. Penguin Books, 1969, pp. 219–220. Cone, Carl B. “The Molineaux-Cribb Fight, 1810: Wuz Tom Molineaux Robbed?” Journal of Sport History, vol. 9, no. 3, 1982, pp. 83–91. De la Cova, Carlina. “Cultural Patterns of Trauma among 19th-Century-Born Males in Cadaver Collections.” American Anthropologist, vol. 112, no. 4, 2010, pp. 589–606. Di Méo, Grace. “Women, Gangs, and Criminal Networks: A Social Network Analysis of the Forty Elephants Gang.” Social Science History, vol. 50, 2026, pp. 1–25. Early, Gerald. “The Black Intellectual and the Sport of Prizefighting.” The Kenyon Review, vol. 10, no. 3, 1988, pp. 102–17. Godfrey, Emelyne. “Urban Heroes versus Folk Devils: Civilian Self-Defence in London (1880–1914).” Crime, Histoire & Sociétés, vol. 14, no. 2, 2010, pp. 5–30. Gorn, Elliott J. “John L. Sullivan: ‘The Champion of All Champions’.” The Virginia Quarterly Review, vol. 62, no. 4, 1986, pp. 614–33. Gorn, Elliott J. “The First American Championship Prizefight.” OAH Magazine of History, vol. 7, no. 1, 1992, pp. 19–23. Huggins, Mike. “Reading the Funeral Rite: A Cultural Analysis of the Funeral Ceremonials and Burial of Selected Leading Sportsmen in Victorian England, 1864–1888.” Journal of Sport History, vol. 38, no. 3, 2011, pp. 407–24. Juengel, Scott J. “Bare-Knuckle Boxing and the Pedagogy of National Manhood.” Studies in Popular Culture, vol. 25, no. 3, 2003, pp. 91–110. Kerr, Douglas. “The Straight Left: Sport and the Nation in Arthur Conan Doyle.” Victorian Literature and Culture, vol. 38, no. 1, 2010, pp. 187–206. McCrory, Paul. “Boxing and the Risk of Chronic Brain Injury.” BMJ, vol. 335, no. 7624, 2007, pp. 781–82. McLeod, Hugh. “The ‘Sportsman’ and the ‘Muscular Christian’: Rival Ideals in Nineteenth-Century England.” Gender and Christianity in Modern Europe, edited by Patrick Pasture et al., Leuven University Press, 2012, pp. 85–105. Monstery, Thomas Hoyer. Self-Defence for Ladies and Gentlemen: A Nineteenth-Century Treatise on Boxing, Kicking, Grappling, and Fencing with the Cane and Quarterstaff. Edited by Ben Miller, Blue Snake Books, 2015. Moore, Louis. “Fit for Citizenship: Black Sparring Masters, Gymnasium Owners, and the White Body, 1825–1886.” The Journal of African American History, vol. 96, no. 4, 2011, pp. 448–73. Obi, T. J. Desch. “Black Terror: Bill Richmond’s Revolutionary Boxing.” Journal of Sport History, vol. 36, no. 1, 2009, pp. 99–114. Oswell, George E. “Antedatings of Some Prize-Fighting Terms.” American Speech, vol. 32, no. 2, 1957, p. 155. Reynolds, Margaret. “‘In Chancery’ Again: Dickens and Prize-Fighting.” Dickens Studies Newsletter, vol. 14, no. 2, 1983, pp. 48–50. Ross, Ellen. “‘Fierce Questions and Taunts’: Married Life in Working-Class London, 1870–1914.” Feminist Studies, vol. 8, no. 3, 1982, pp. 575–602. Ross, Macintosh. “The Boxing Boys in Blue: Gloved Sparring and Bare-Knuckle Prizefighting in the Union Army, 1861–65.” Journal of Sport History, vol. 44, no. 3, 2017, pp. 438–55. Ryan, James Emmett. “Fight Club, 1880: Boxing, Class, and Literary Culture in John Boyle O’Reilly’s Boston.” Journal of American Studies, vol. 54, no. 4, 2020, pp. 706–36. Sandhu, Sukhdev. “London Calling.” AA Files, no. 49, 2003, pp. 50–56. Siegler, J. “The Dangers of Boxing.” BMJ, vol. 307, no. 6900, 1993, p. 379. Standen, Jeffrey. “The Manly Sports: The Problematic Use of Criminal Law to Regulate Sports Violence.” The Journal of Criminal Law and Criminology, vol. 99, no. 3, 2009, pp. 619–42. Wood, Michael T. “Review of Prizefighting and Civilization… by David C. LaFevor.” Mexican Studies/Estudios Mexicanos, vol. 37, no. 3, 2021, pp. 479–81. Legal Cases Cited R v Billingham (1825) R v Perkins (1831) R v Hunt (1845) R v Coney (1882) Digital & Regional Archival Sources Chevallot, Isabelle. “18th and 19th Century Fight Club: The Beginnings of British Boxing.” Guildhall Library Blog, 2014. Cox, Sarah Elizabeth. “A Quick Note on A Thousand Blows, Black Boxers in 1880s London, and ‘Woke History’.” Rediscovering the Wrestlers and Boxers of Late-Victorian London, 2025. Faith-Kelly, Killian. “The True Story of A Thousand Blows‘ Boxing Behemoth Sugar Goodson.” British GQ, 2025. Shrivenham Heritage Society. “The Prize Fights at Acorn Bridge.” Shrivenham Heritage Archive, Access Date May 2026. WBAN Member Archive. “Hattie Leslie vs. Alice Leary: The Prizefight That Sent Victorian Era Buffalo into an Uproar.” Women Boxing Archive Network. The post 9TH ANNIVERSARY SPECIAL 2026 “Put ’em up!” appeared first on AGE OF VICTORIA PODCAST.

August 8, 2026 is the 45th anniversary of the Reduced Shakespeare Company's first performance at the Northern California Renaissance Faire in 1981, and co-artistic directors Reed Martin and Austin Tichenor discuss the RSC's legacy from their respective locations in California and Edinburgh, Scotland. Reed and Austin share the subtle nuances between being a pack-rat and an "archivist;" how it's nearly impossible (or at least too time-consuming to bother) to count the number of performances the RSC has given over the years; favorite moments they've experienced; memorable Edinburgh Fringe highlights; how the RSC helped changed the reputation of the Criterion Theatre, their West End home for almost ten record-breaking years; the generations of artists they've inspired; and how the Reduced Shakespeare Company Podcast has acquired more than four million listens in its 20 years and maybe skipped a week here and there but never missed one. (Length 22:20) (PICTURED, top: RSC founding members Jess Winfield, Daniel Singer, and Adam Long in the early 1980s; bottom: Doug Harvey, Geoffrey Barnes, and Austin Tichenor in 2025.) The post RSC 45th Anniversary appeared first on Reduced Shakespeare Company.

Gaby welcomes bestselling author, speaker and ordained Buddhist monk, Sam Yo, to the podcast. Sam chats about his early career in the West End and what motivated him to move to Thailand to become a monk. They discuss energy, soul, mentors and of course...joy! Sam has dedicated his life to helping others achieve their physical and mindset potential. He is a graduate of the Laban Center with a degree in movement and dance, a certified Pilates instructor, a NASM personal trainer too.

You may not recognize his name, but Buddy Bradley was an artistic genius whose talent reshaped Broadway musicals, the West End, jazz dance, and classical ballet, creating a new language of movement that endures today. American dance history has long overlooked Black performers and choreographers, but Buddy Bradley taught white stars such as Eleanor Powell, Ruby Keeler, and Adele Astaire and influenced every major choreographer who followed, including George Balanchine, Frederick Ashton, Agnes de Mille, Jerome Robbins, and Bob Fosse. We speak to Maureen Footer who wrote "Feel the Floor: Restoring the Life and Legacy of Jazz Choreographer Buddy Bradley" to shine light on this incredible choreographer. https://maureenfooter.net/about/books/feel-the-floor-restoring-the-life-and-legacy-of-jazz-choreographer-buddy-bradley/ Find the book on Amazon: https://www.amazon.com/Feel-Floor-Restoring-Choreographer-Bradley/dp/0807045241

Episode 431: In the fall of 2011, the first of three indigenous women disappeared from a stretch of Winnipeg's West End that those who worked there called the Street of Tears. Their families searched, put up posters, and made phone calls that went nowhere. The man believed responsible had been known to police for decades. His criminal record ran to 109 convictions. He was already on their radar when the final woman disappeared. This is the story of Tanya Nepinak, Carolyn Sinclair, and Lorna Blacksmith. Sources: Shawn Lamb coverage index — CBC News Tanya Jane Nepinak — CBC News Shawn Lamb sentenced to 20 years for two slayings — CBC News Police paid killer Shawn Lamb $1,500 for information — CBC News Winnipegger speaks about life on streets, alleged assault by convicted killer Shawn Lamb — CBC News Shawn Lamb gets statutory release — CBC News Convicted killer Shawn Lamb must stay at halfway house — CBC News Shawn Lamb pleads guilty to killing 2 women — Global News Landfill search progressing for Ashlee Shingoose; Tanya Nepinak family hopeful — Global News Parole Board grants Indigenous Winnipeg killer Shawn Lamb statutory release — APTN News Statement on Brady Road Landfill Search for Ashlee Shingoose and Planning for Tanya Nepinak — Assembly of Manitoba Chiefs NFSC Calls for Justice and Accountability Following Statutory Release of Shawn Lamb — National Family and Survivors Circle Learn more about your ad choices. Visit megaphone.fm/adchoices

Join the Millionaire University AI Mastermind at ⁠⁠⁠⁠⁠⁠MillionaireUniversity.com/AI #1030 What if the secret to building an unstoppable creative team has nothing to do with resumes — and everything to do with psychology, personality, and energy? Larry Walshe — founder of the globally renowned Larry Walshe Studios — joins host Brien Gearin to break down how he recruits and builds high-performance teams in the creative industry. Larry shares his journey from West End performer to world-class event designer serving elite clients across the globe, and reveals the unique framework he uses to curate teams for multimillion-dollar events, including Chinese zodiac archetypes, personality colors, and learning styles. If you want to hire smarter, lead more effectively, and attract top creative talent, this episode delivers a fresh, practical perspective! (Original Air Date - 12/3/25) What we discuss with Larry: + Larry's journey from performer to designer + Building a $12M global events brand + Recruiting through archetypes and energy + Using Chinese zodiac in team building + Personality colors for team harmony + Matching roles to learning styles + Avoiding “vibe-based” hiring mistakes + Why small jobs create big opportunities + Scaling creative teams across locations Thank you, Larry! Check out Larry Walshe at ⁠LarryWalshe.com⁠. Follow Larry on all social platforms @larrywalshe. Watch the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠video podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ of this episode! Get your FREE 5 Minute Business Plan at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MillionaireUniversity.com/Plan⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ To get exclusive offers mentioned in this episode and to support the show, visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MillionaireUniversity.com/Sponsors Learn more about your ad choices. Visit megaphone.fm/adchoices

New York congresswoman and Democrat Alexandria Ocasio-Cortez has revealed she has decided to freeze her eggs and will be documenting the process on social media - despite what she called a “political risk” for sharing her decision. She also confirmed over the weekend that she had not "ruled out the possibility" of running for president. Dr Emma Long Associate Professor of American History and Politics at the University of East Anglia joins Nuala McGovern.Actor, Tamzin Outhwaite talks about her latest role as the iconic Beverly in Mike Leigh's ferocious black comedy, Abigail's Party. Opening in London's West End next week they'll be discussing suburban life, social class, materialism and sexual tension in 1970s England. For those who don't know - the luteal phase refers to the second part of the menstrual cycle. Dr Nighat Arif & Charlotte Dodds discuss why so-called ‘luteal uglies' are going viral - videos of women sharing the physical and emotional changes they experience during this time. Nuala is joined by Bethany Bell, Germany reporter for the BBC, to shine a light on surrogacy laws there after a recent story involving a high-profile German politician, a baby born through surrogacy, and accusations of hypocrisy. And Kelly Latimer, flight test pilot and aeronautical engineer, is retiring this year after decades spent launching satellites, flying the world's most advanced planes, and even going into space. She reflects on a truly remarkable career. Presenter: Nuala McGovern Producer: Kirsty Starkey

The restoration of the monarchy in 1660 brought a flurry of changes to London life. Women were allowed to appear on stage for the first time, the Royal Society was founded and the West End, with its squares, parks and fashionable ‘season', was born. But the social whirl stopped abruptly in 1665 with the arrival of plague, which was followed in 1666 by the catastrophic Great Fire of London. To talk about these events and the new city that emerged from the ashes, Rosemary is again joined by Vanessa Harding, emerita professor of London history at Birkbeck. They look at the invaluable observations of Samuel Pepys, the continental ambitions of Christopher Wren and the emergence of political parties from the succession crisis of the 1680s. Reading by Duncan Wilkins Non-subscribers will only hear an extract from this episode. To listen in full, and to all our other Close Readings series, sign up: Apple Podcasts: ⁠⁠https://lrb.me/applesignuplr⁠⁠ Other podcast apps: ⁠⁠https://lrb.me/scsignuplr⁠ Further reading in the LRB: Margaret Anne Doody on Aphra Behn: ⁠https://lrb.me/lrep801⁠ Deborah Friedell on Samuel Pepys: ⁠https://lrb.me/lrep802⁠ Simon Schaffer on Christopher Wren: ⁠https://lrb.me/lrep803⁠ James Shapiro on plague writing: ⁠https://lrb.me/lrep804⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

PJ chats with comedian Chris Kent about the vertical drink ban and how the way we drink has changed in recent years Hosted on Acast. See acast.com/privacy for more information.

THIS IS A PREVIEW PODCAST. NOT THE FULL REVIEW. Please check out the full podcast review on our Patreon Page by subscribing over at - https://www.patreon.com/NextBestPicture "Hadestown: The Musical" is a 2026 musical film presenting a live stage recording of the Tony Award-winning musical of the same name. It tells two versions of the ancient Greek myths, Orpheus and Eurydice and Hades and Persephone, to explore enduring and contemporary themes such as poverty. Brett Sullivan directed the film, which features five principal cast members of the original Broadway production: Reeve Carney, André De Shields, Amber Gray, Eva Noblezada, and Patrick Page. Recorded at the Lyric Theatre, London, the remainder of the cast are performers in the West End production. Bleecker Street division Crosswalk launched a limited release for North American cinemas after the film premiered at the Tribeca Festival to rave reviews. What did we think of it? Please tune in as Cody Dericks, Lauren LaMagna, Josh Parham, Dan Bayer, and Tom O'Brien talk about the pro-shot version compared to the stage version and other pro-shot films such as "Hamilton," their favorite musical numbers, the performances, and more in our SPOILER-FILLED review. We appreciate your support and hope you enjoy our review! https://youtu.be/VXWbrMKn51E Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

On Friday's show: We get updates from Houston Public Media reporters on several stories from Fort Bend County, Galveston County, and Harris County.Also this hour: Classes begin for HISD students on Monday. Kids returning to class means another year of close contact, germs getting passed around, and a variety of other health-related questions and considerations. We talk through them with pediatrician Dr. Desiree Evans from Texas Children's.Then, we break down The Good, The Bad, and The Ugly of the week.And we meet the director and one of the actors from the regional premiere of the newly revised West End production of Mean Girls: The Musical, on stage at Queensberry Theatre through Aug. 16.Watch

Jinkx Monsoon – two-time ‘Drag Race' winner, actress, singer and the new star of ‘Oh, Mary!' – has a table booked in the Dream Restaurant this week. And she loves a British accent…If you're using the Apple Podcasts app you can now watch this episode too.Jinkx Monsoon stars as Mary Todd Lincoln in ‘Oh, Mary!' in at the Trafalgar Theatre in London's West End from 17 Aug-26 Sep. Get tickets from ohmaryplay.co.ukFollow Jinkx on Instagram @thejinkx, TikTok @jinkxmonsoonofficial and YouTube @jinkxmonsoonofficialWatch the full video episode on the Off Menu YouTube.Off Menu is now on YouTube: @offmenupodcastFollow Off Menu on Instagram and TikTok: @offmenuofficial.And go to our website www.offmenupodcast.co.uk for a list of restaurants recommended on the show.Off Menu is a comedy podcast hosted by Ed Gamble and James Acaster.Produced, recorded and edited by Ben Williams for Plosive.Video production by Ben Williams and Megan McCarthy for Plosive.Artwork by Paul Gilbey (photography and design). Hosted on Acast. See acast.com/privacy for more information.

Today on AirTalk: SoCal Edison equipment caused Eaton Fire (0:30) Utah monuments (25:26) West End resurgence (43:43) AI news (51:33) Prettiest California towns (1:19:40) Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency.

In the first of our special programmes from the Edinburgh Festivals, actress Stockard Channing - star of Grease, Six Degrees of Separation and Practical Magic - joins us alongside her friend, actor David Westhead, to discuss their production of Samuel Beckett's Krapp's Last Tape, in which a cynical and disillusioned older man reflects on his early life as an ambitious and idealistic writer.Jeff Whitty, Tony Award winning creator of the hit musical Avenue Q, which is currently running until 2027 in London's West End, tells us about Midsummer!, his new production inspired by Shakespeare's Midsummer Night's dream, set in the Gilded Age and performed in a contemporary verse translation. We have a live performance from siblings Maddie and Marcus Rice from their show with songs Goodbye Dandelion, an exploration of an unlikely friendship between an 87 year old and their much younger friend, which is the recipient of the inaugural Underbelly Futures Fund Award. And we hear how deaf actors and artists are taking centre stage at this year's Festival, with Stijn Van Opstal, the director of the acclaimed production [seagull], performed in Flemish sign language by Belgian company Olympique Dramatique - and with director Cora Bissett and deaf performer Jamie Rea, whose gig theatre production The Singer, centres on Joe, a deaf artist who 'sings' with his hands, and Andy, a washed-up musician seeking a comeback, and features music by KT Tunstall. Presenter: Kirsty Wark Producer: Mark Crossan

How would you react if you got more than you bargained for from a dodgy copy of Beauty and The Beast? William and Jordan find out the answer to that question and more. Jordan's also complaining that your favourite holiday card game has gone "woke" and William wraps up his time on the West End, never to be mentioned again! Hosted on Acast. See acast.com/privacy for more information.

Trigger warning: This episode contains discussion of miscarriage and pregnancy loss. If you think you may find this difficult to listen to, please choose another episode xYou might know her from Pop Idol, starring in the West End as Tina Turner, or her recent stint joining Take That on tour, but this week Zoe Birkett is reflecting on her role as a mum.Zoe shares with Gi how she never imagined motherhood for herself, how meeting her husband changed everything, and why returning to a career she loves has made her a better mum.She also opens up about her experience of pregnancy loss while performing as a leading lady in the West End, opening up about navigating grief behind the scenes, and the support that helped her through. Hosted on Acast. See acast.com/privacy for more information.

Daily marijuana use tops cigarettes and alcohol, new report says. Mike Lyons, military analyst, gives the latest on the Iran talks. Anti-Dodger hysteria reaches new heights after Tarik Skubal trade as MLB lockout looms. 2 deaths reported in cyclosporiasis outbreak, health officials say. Ariana Grande ditches West End debut over ‘public scrutiny' amid weight loss concerns. 

We have such an issue with: what should we educate children with?Today we meet Dr. Helen Webberley and we're talking about the queer book that saved her life: My Daddies! by Gareth Peter. And Gareth joins us for the conversation!Dr. Webberley is a doctor, gender specialist, and medical educator with years of experience across medicine, science, sexual health, and gender identity. In 2015, Dr. Webberley supported a young trans boy who had been left without care by UK's National Health System. That's when she founded GenderGP. The small medical service quickly became a lifeline for trans people across the UK and beyond. Now, her goals include developing training for healthcare professionals, improving legal protections for the trans community, and championing a global shift towards patient-led, rights-based models of care.Gareth Peter has had a career as a composer and lyricist for theater, with his songs performed on stage by West End and Broadway voices across the United Kingdom and internationally. He founded the Broadway School of Performing Arts, a part-time theater school, in 2004. In 2018, he was a top-ten Penguin Random House Write Now finalist. Recent books include a series with Scholastic titled This Book is Full Of, including This Book Is Full of Unicorns and this Book Is Full Of Bunnies. Gareth lives in Nottingham with his partner and his two wonderful adopted children.My Daddies! is a funny, heartfelt picture-book celebrating same-sex parents and shared story time, perfect for introducing children to the different kinds of family in the world today.Connect with Dr. Webberley and GarethDr. Webberley's website: helenwebberley.comGenderGP: gendergp.comGareth's website: storywise.uk/gareth-peterInstagram: @gareth.peterOur BookshopVisit our Bookshop for new releases, current bestsellers, banned books, critically acclaimed LGBTQ books, or peruse the books featured on our podcasts: bookshop.org/shop/thisqueerbookBuy your copy of My Daddies! here: https://www.penguin.co.uk/books/314591/my-daddies-by-peter-gareth/9780241405772Become an Associate Producer!Become an Associate Producer of our podcast through a $20/month sponsorship on Patreon! A professionally recognized credit, you can gain access to Associate Producer meetings to help guide our podcast into the future! Get started today: patreon.com/thisqueerbookCreditsHost/Founder: John ParkerExecutive Producer: Jim PoundsAssociate Producers: Archie Arnold, K Jason Bryan and David Rephan, Bob Bush, Natalie Cruz, Troy Ford, Jonathan Fried, Joe Perazzo, Bill Shay, Sean Smith, and Karsten VagnerPatreon Subscribers: Stephen D., Stephen Flamm, Ida Göteburg, Thomas Michna, Sofia Nerman, and Gary Nygaard.Creative and Accounting support provided by: Gordy EricksonQuatrefoil LibraryQuatrefoil has created a curated lending library made up of the books featured on our podcast! If you can't buy these books, then borrow them! Link: https://libbyapp.com/library/quatrefoil/curated-1404336/page-1Real quick: yes, you too can be a guest on our podcast! If you have a queer book that had a life-saving impact for you, then please visit thisqueerbook.com and fill out the form on the homepage! Looking forward to hearing back from you!Support the show

1. Ariana Grande pulls out of West End debut as she takes step back from limelight after weight loss concerns (Page Six) (26:14) 2. ‘Barbie' Sequel Stalls as David Zaslav Won't Approve Bigger Salaries for Ryan Gosling and Margot Robbie (Variety) (31:40) 3. Dolores Catania's Son Frank Jr. Marries Nicole Perricho in ‘Elegant' Wine Country Wedding in Portugal (PEOPLE) (38:23) 4. John Galliano Is the Subject of the Next Costume Institute Show (Vogue) (50:50) 5. ‘Spider-Man: Brand New Day' Swings to Mind-Blowing $355 Million Debut, Second-Biggest Opening Weekend in Box Office History (Variety) (56:33) The Toast with Jackie (@JackieOshry) and Claudia Oshry (@girlwithnojob) ⁠The Toast Patreon ⁠⁠  ⁠⁠Toast Merch⁠⁠ ⁠⁠Girl With No Job by Claudia Oshry⁠⁠ ⁠⁠The Camper & The Counselor⁠⁠ ⁠⁠Lean In⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Grammy winning singer and Oscar nominated actress Ariana Grande should be enjoying her multiple recent successes: from the “Wicked” movies to her world tour, to her newly released studio album and what was going to be a starring role on the West End in London. Instead, the 33-year-old released a statement that she will no longer be gracing that London stage and instead will be taking a step back from the public eye after some celebrities and fans have shared concerns about her thin weight. Grande has explained and defended her health for years now, pointing out that the comfortability people have in commenting on her looks is what is dangerous, not her weight.See omnystudio.com/listener for privacy information.

Grammy winning singer and Oscar nominated actress Ariana Grande should be enjoying her multiple recent successes: from the “Wicked” movies to her world tour, to her newly released studio album and what was going to be a starring role on the West End in London. Instead, the 33-year-old released a statement that she will no longer be gracing that London stage and instead will be taking a step back from the public eye after some celebrities and fans have shared concerns about her thin weight. Grande has explained and defended her health for years now, pointing out that the comfortability people have in commenting on her looks is what is dangerous, not her weight.See omnystudio.com/listener for privacy information.

Grammy winning singer and Oscar nominated actress Ariana Grande should be enjoying her multiple recent successes: from the “Wicked” movies to her world tour, to her newly released studio album and what was going to be a starring role on the West End in London. Instead, the 33-year-old released a statement that she will no longer be gracing that London stage and instead will be taking a step back from the public eye after some celebrities and fans have shared concerns about her thin weight. Grande has explained and defended her health for years now, pointing out that the comfortability people have in commenting on her looks is what is dangerous, not her weight.See omnystudio.com/listener for privacy information.

Ariana Grande is hitting pause after months of intense scrutiny over her appearance, stepping away from the spotlight following her Eternal Sunshine tour and shelving her planned West End debut. Meanwhile, Jared Leto is facing renewed scrutiny after a Michigan bartender accused the Oscar winner of unwanted advances following a 2011 concert. And Gwyneth Paltrow is making headlines for a very different reason, launching her TikTok account with a playful European travel video featuring a blink-and-you'll-miss-it topless moment that has fans buzzing. Rob’s latest exclusives and insider reporting can be found at robshuter.substack.com My novel, It Started With A Whisper, is available nowSee omnystudio.com/listener for privacy information.

How can building an audience in advance help your stories reach the people who make movies? And how can you prove there's demand for your book or screenplay before you've written it? Brooks Elms shares his advice after more than 20 years as a WGA screenwriter. In the intro, what doesn't work for book marketing and what does [Amy Chan SubStack; Unsingle; Rephonic]; Goodreads giveaway for Bones of the Deep; FutureVision XPrize. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to see the opportunity in AI when others only see the threat How to test a story with samples, and what a 16-second movie can do Building the trailer before you write the screenplay Letting your audience finance the film once they have validated the idea Why Hollywood still wants existing IP, and what makes them pay attention Feeling safe enough to write the truth, and finding a concrete path forward You can find Brooks on LinkedIn or email him at brooks@brookselms.com. Transcript of the interview with Brooks Elms Jo: Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. So welcome to the show, Brooks. Brooks: Thank you. It's awesome to be here. Jo: Fantastic. So first up— Tell us a bit more about you and how you got into screenwriting. Brooks: I started filmmaking first. A buddy came up to me in high school and said, “Hey, we're making a karate movie, do you want to help us?” I was like, “Oh my God, yes, that sounds amazing.” So next thing I know, I had this karate outfit on, and we were just making this completely ridiculous and totally fun movie, and it was amazing. It was so fun. Then it went to a whole other level when we shared it with a friend, this guy Jay Sharon, and he watched the movie and he laughed so hard he literally fell out of his chair. I was like, “Oh my God,” the fun I had making it could actually transfer to somebody else. I was hooked. So from there I went to NYU film school, and then made a few independent feature films which were good but not great in terms of how they were received. They were great for me in terms of enjoyment, but I knew I needed to iterate faster at that point. So then I was like, “Well, it's expensive and it takes a long time to make a movie,” at least back then. So I pivoted to screenwriting, and pumped out two, three scripts a year, got signed at UTA, got writing assignments, and basically launched a screenwriting career. Then I still tried to get some stuff going, but it's hard when movies are so expensive. It's not hard, it's just that it takes a lot of precision in the marketing, and a lot of conversations to find the right matches to finance something, and you're either interested in doing that or you're not. I just was like, “Well, I'll just mostly write screenplays.” Then I started teaching at UCLA Extension and then coaching after that, along with writing. Then all the way up to the future. What's great about moving forward is that with AI, shot-making is becoming very close to cinematic quality. You can actually match cinematic quality in moments in some genres, but probably by next year. Right now you could actually do a really good horror movie all AI for 10, 20,000 bucks, depending on how much you're doing yourself or getting other people to do. So the economics are going to absolutely explode. So I'm sitting on dozens of scripts that didn't get through the Hollywood packaging bottleneck because they're too expensive, and I now have this giant slate that's ready to go, and I'm just absolutely thrilled. It's been a lifelong dream for me. Jo: Oh, so much to come back on there. Where to start? I do want to talk about what you just said there, sitting on dozens of scripts and now seeing the opportunity. I actually wrote down in my journal about a year ago, I see what's coming with AI, and I think that the best thing I can do is create as much original IP as possible, so that I can make the most of the opportunity ahead. So let's just get into the AI, because a lot of people feel it's a super bad thing. Talk about the opportunities and the attitude that you've got [around AI], and that you've seen others have around this, for what is ahead in a positive way. Brooks: It's fascinating to see how people respond to AI. I wonder, when the printing press rolled around, if there was some sort of backlash. Books must be handwritten. They can't be mass-produced. Here's one of my theories. At a deep psychological level, it's so profoundly powerful that I think the default setting is, “Oh, crap.” When I was a kid, some things were hard, and that power imbalance, when something big, new and powerful comes along: I'm going to get screwed, and so this is somehow a bad thing. I think that's the base psychological thing going on with most of the noise. Obviously there are some legit problems, in terms of copyright infringement from learning models, or from some of the environmental situation. So I'm not saying it's all rainbows and butterflies, but I think 90% of the noise around it comes from a fear of change. Here's the other one—a fear of, “Oh, yikes, I'm going to get taken advantage of somehow by either robots, or the corporations are going to use the robots against me,” or something like that. I have real empathy for me when I feel that way a little bit, but I don't feel it much, and for other people that do feel it. The other thing is, you know what it is? I think they fear their own empowerment even more. I had a therapist who was really good. He said, people aren't so much afraid of failing as they are afraid of succeeding. Because if we fail, we're stuck in act one and we don't go anywhere. The fear is answering the call and going to act two, when everything effing changes in the new world. So I think people are afraid of how goddamn powerful they're going to be when they can have a team of AI agents helping them do everything they want in business or life or whatever. I think it's the same thing with the internet. People are like, “Oh, I don't like social media, blah, blah, blah.” And I get it. There's a lot of noise and a lot of crap. Yet we have access to billions of people, and the algorithms in social media right now I think are level three out of 10. They're just going to get better and better. Even as it is now, if I do a post about something and it gets ignored, that's on me. The algorithms are trying to match me to my people. So if I'm not unique enough and authentic enough and aware enough of how virality works, that's on me, and it's a learnable skill that I can embrace and then change and then get better at. So I think people then resist that change. They resist the empowerment of learning the art of virality, or learning the art of some sort of social media stuff or whatever. The last thing I'll say about this rant is, I don't want to act like I'm the guru on the hill that has all the answers. I refuse calls all the time. I'm scared about all sorts of things. I'm certainly not perfect. I feel frustrated when I'm trying to put my big ideas into action and I can't get this technology thing to work or that one, and I throw tantrums. I'm trying to come at it from a real human perspective, but by and large, I've got stars in my eyes. I'm like, “This is amazing. This is going to be so powerful.” For so many people, you just have to be ready to embrace it and just go along for the ride, because there's going to be some big-ass changes. There already are, and that's going to accelerate. Jo: You mentioned there learning the art of whatever it is. One of the things is, I've spent 20 years, and so have you, learning our craft and our art, and now it can be done very easily. I'm generating video, as you mentioned, which is a craft I haven't spent 20 years on, but now I can generate. So things have definitely changed in that way. Just coming to the screenwriting side. Probably about a decade ago now, I did my first screenwriting course. I've written screenplays. Then I looked at the game you have to play and, like you said, the conversations you have to have, the events you have to go and network at, all the things that you have to do to put a screenplay in front of the right person at the right time. I was like, “I cannot do that. It's just not going to happen. I can't do that along with everything else.” So I put it aside, but now I feel maybe it's time to bring it back because things are changing. So can you maybe talk about, if someone has a screenplay now that they've written, or some IP like a book that they have now— What would you recommend people do in terms of wanting to get that [IP] in front of somebody, or doing something with it themselves? Brooks: It's such a good question. By the way, not even a screenplay—you could do the same things with a novel. Let me try to be succinct here, which is a good challenge for me. A simple way to look at it is, you're giving samples. Let's say it's a lemonade stand, and you give out a little shot of your… maybe you have cayenne pepper lemonade, some sort of fun lemonade. If you give out a sample and people are into it, they're going to come back and they're going to tell friends. If you give a sample of the lemonade and they're not into it, then you go back to the kitchen and you mix up a different flavour. So that's some basic business, but the internet allows us to do that at scale. So what I like to encourage people to do when I coach them is come up with the minimum viable material. It can be a 10-second clip. There's a writer in my community who made a really beautiful 16-second movie. It's one shot. I love it so much. It's two wine glasses. There's a lipstick smudge on one of the wine glasses. They're half full, and it's just that shot. It's sitting there, and all of a sudden you hear this thundering, thumping down these stairs, dun, dun, dun, dun, dun, dun. Then you see out of the corner of the frame one person runs by, and then the other person behind her runs by and goes, “Wait.” That's it. That's the whole movie. It's 16 seconds. He did that with his phone. So there's so much going on. There's a couple of basic elements, but he just did it with his phone, and you can evoke enormous emotional impact on people through social media, whether it's just words. You guys have a big advantage as novelists because you're so good with words. Whether it's a little bit longer, like sudden fiction, that's a couple of pages or whatever. Even just copywriters are really in a good position for the future because they're super potent with two words or three words or 10 words. Then novelists are probably really advantageous because it doesn't cost anything to just put some words out on the internet. The point is, if you put something out, it's a signal, and you're talking about billions of people who could find that signal. If you do it and then you look at the response, and then you try again, you look at the response, we can do this iteration infinitely for free. So you can do it already. You've been able to do it for 10, 15, 20 years, just with words. But now you're going to basically be able to do that with movies or clips or trailers. So the thing that I'm leading in my community of writers is having people build trailers in advance, or clips. When a book or a movie is done, how the heck do we get people to see it? One way is a trailer or some sort of behind-the-scenes material. You can just do that stuff now before even writing the screenplay. I saw that you were doing this project, a trailer for this competition. And then you mentioned, “Oh, I've got to write the screenplay.” Not really. You have to develop the story enough to know what you're referring to, and then it's about studying the craft of either trailer construction, or whatever the clips are, or viral clips. They all have a structure, and then you just test it. If you enjoy that testing process, which I find absolutely thrilling, it feels like the filmmaking version of a stand-up comedian. If I did stand-up, I say a joke, they laugh or they don't laugh. It's really beautiful feedback from the universe. Nerve-wracking, right? But we can do that now as storytellers. We put a story out there in any format, and the audience responds. Just like you have to read any room, you have to learn how to read the engagement on social media. What do likes mean? What do shares mean? What do comments mean? How do you deal with trolls? All that is just part of the new art. Once you get good at it, holy smokes, that's the key to the kingdom. You can build audiences in advance, and for movies you could even have them finance your movie in advance, if you've built an email list of 20,000, 30,000, 40,000 people because you kept putting out all these viral clips around your story, novel, or screenplay. Then you go, “Okay, now 30,000 people are on my email list and I tell them about me and my perspective and my world. We're going to make this darn thing with AI for 20,000 bucks. You guys have got to pony up some money. Put in a dollar, five, 10, or you get the VIP $500 experience.” It's like crowdfunding, but much more sophisticated, because most crowdfunding was like begging friends and family to donate to your crazy dream. What I'm talking about is going to the audience directly, developing enough of the story, then going to the audience second, and then only when they validate the idea, to the extent that you're happy with. You could do a crazy idea that's going to have a small audience, and you don't have to have a blockbuster audience. You get to pick the audience size that you want, and then put the samples out there and see if you have a relevant audience size for this next project. Once the audience tells you, “Yes, we want this,” then you go make it. So you're ultimately reducing risk to almost zero. It takes time and you have to learn how to do this stuff, but it's thrilling to me because we just have the capacity to test the material and listen to the audience upfront. The last thing I'll say, and I've rambled a lot, I'm sorry. When I made a movie in 1994, a feature film right out of NYU, it took me three years to find out what the audience thought about that movie. I had to make the damn thing, and then I ran out of money, and that took me years to edit it, and I finally got it, blah, blah, blah. And again, I loved it. I loved every facet of it, and it was fine, but it was super inefficient. Today, I could take those same elements, create an AI trailer this weekend, put it in front of hundreds of thousands of people, and they could tell me right away, “This sucks,” or, “This is interesting,” or, “Holy smokes, this is amazing. I want this.” If it's not, “Holy smokes, this is amazing, I want it,” I can go ahead and re-edit the whole damn trailer, and just keep reiterating at almost no cost. Then once the demand is there, I can take that demand and that audience and go to Hollywood, and that's when they're going to want to work with me. Then it doesn't take a million conversations and finding the needle in the haystack, because Hollywood sees the numbers and they go, “Oh, you're the people we do want to do business with. You've proven demand. We want to do business with you.” Jo: Yes, it's so interesting. I can hear people listening and they're like, “Easier said than done, getting an email list of 40,000 people.” And in fact— It's exactly the same as building up a career as an independent author. This is as a filmmaker, as a visual person, and the industry is visual, so doing a visual trailer is the obvious thing. And as you say, the tools I use just to do this one, I use Midjourney, and I've used Seedance as the main video model. It does take a while, but it is pretty fast now, if you have a visual image of what you want in your head, which obviously you're a visual person as well. But is it… Brooks: Hold on. I want to push back on that a little bit, because I think it's really important. So yes, that's true, but underneath that, my friend, it's a relationship. It's the relationship, and the media is secondary. You have been prolific in connecting with your audience, and that's why I think a lot of people like you, because you share and they get to know you in that sort of cadence. I saw you in another podcast, you mentioned Seth Godin, who just said, “Hey, I want to be the type of person that has this relationship with my audience. I'm going to share some of my thoughts every day.” He happened to do it with words, with his background in marketing, but you could do the same thing with still images. You could do the same thing with a five-second movie clip once a week. It's the relationship you want with your fans. I'm not saying you snap your fingers and you have 50,000 people on your email list. What I'm saying is, what else are you doing? If we're artists and our impulse is to create and share, and if you do it in this way, if I can create and share and inspire trust in this relationship with a stranger because they like my genre thing and they like the way they felt when they experienced my media, words, images, movies, it doesn't matter. They just like the feeling, and they go, “Ooh, I want more of that feeling. How do I get more of that? Oh, this person has this email list or community.” If I can do it with one, then I can scale it out. So getting the first one, or the first 5 or 10 samples, that is a whole process. But then once you do that, scaling up is more of a mechanical thing. It's not even that hard, especially when you can do paid ads. So you can scale up very quickly if you have the sauce. If you don't have the sauce, it doesn't matter who you're related to, you've got to get the sauce right. Jo: Yes, and again, it's so parallel to the indie author community. I've just got to ask you, in the olden days, an author might write a screenplay, or a screenwriter write a screenplay, and then they would send it. They'd find an agent. They'd pitch an agent, and I guess then they'd hope that someone would turn that into a movie. So is that just dead now? Is it realistically that you need to get yourself out there, build the audience in the same way that it often is for authors? Brooks: So, no. I've got two screenplay deals going right now. So here's how it's going to work. Think about Broadway, or the theatre district in Britain. It's like West End or East End or whatever… Jo: The West End. Brooks: Sorry for my American ignorance. West End, okay. So every town on the planet has a stage, but there's only one Broadway, there's only one West End, right? And every town has its own festival, but there are a few significant tastemakers. There's Cannes, there's Sundance, there's Toronto. Hollywood is always going to be a tastemaker in our lifetime, for sure. What they don't have anymore, what they enjoyed for the first 100 years of the industry, is that they had a stranglehold on basically the equipment, the financing, and the audience, and that's all going away. Do you want to hear a fun story about the birth of cinema? Do you know why Hollywood started in Hollywood? Jo: No. Brooks: So Thomas Edison invented the camera, or the type of model camera that they were using in, I don't know, 1910 or something around there. They didn't want to pay his patent. They didn't want to pay the patent to make these movies, so they went all the way across the country, a bunch of outlaws, and they set up shop in California because he couldn't enforce his patent that they were basically stealing. And reason number two, LA enjoys amazing weather almost all year round. The weather here is either nice or really nice. You have mountains, you have beach, you have desert, you have all these different locales. So when it was really important to be on location, LA was the perfect place. Anyway, that is all going away. For many decades, more people could make movies. In the early '90s, Robert Rodriguez made a movie for 9,000 bucks. There was a book in the '80s that I bought that I loved, it was Feature Filmmaking at Used-Car Prices. This guy, Rick Schmidt, I think his name was. There were the independent filmmakers really in the '60s and the '70s. So the cost has been going down and down and down, and now it's less than ever. Once social media came along, now you have access to the audience, so why do you even need Hollywood? That being said, there are tons of people. There are 400,000 people already working in the movie and the TV industry here. And they're voracious. We have a voracious demand. Humans need stories. We need big stories, long stories. We need stories, and Hollywood is so good at giving them stories. And so they have a need for these things, and they're still spending a lot of money on those budgets. So yes, there's still a demand for turning books and optioning them and turning them into movies. Books are great. Any sort of existing IP is great because there are marketing efficiencies there. People already know that stuff, know the vibe of it, and so it's easier to market than something that's totally creative and new. When you're spending that much money, you want those marketing efficiencies. They're really important. So the point being, the power is shifting away from Hollywood. Hollywood will still be a tastemaker, but you and me can reach anybody on the planet now. Almost. Billions of people. If it's making a movie, right now you could make a movie that most people wouldn't realise is an AI movie. If it was a horror film, I know a handful of people that could make a feature-length horror film right now with AI and 99% of the audience couldn't tell, if it was professionally written. Jo: I think the point here though is, I'm an author, the people listening are authors, and we don't want to make movies. We want to license our IP to people who want to make movies. Brooks: Yes. Great. Okay, good. So then you could, if you wanted, build an audience. Hollywood loves when something's already proven, so that's that IP thing, right? So if you just have a great book, then it's all about the sales. You guys have Dragons' Den, we have Shark Tank here. And what's amazing about that show is these are people or entrepreneurs pitching an idea, and there's an amazing rhythm that happens. They say, “We've got this great idea. It's this sort of company.” And the sharks, or the dragons, will listen. And there's a huge turning point when they reveal sales. They're either really excited about the idea and then they go, “Well, how are the sales?” And the person goes, “Well, we don't have any sales yet.” And they go, “Uh,” and they're not interested. Or they might even be like, “Eh, it doesn't seem like a good idea.” And they're like, “Well, how are the sales?” And they're like, “Oh, well, we've sold through the roof.” And then all of a sudden they perk up. So it's all about the sales. So step one is writing something that you want. Step two is making sure other people in your target audience are also loving it as much as you do. Step three is proving in some way at scale that there's real demand for it. So you could do that with trailers, you could do that with clips, you can do that as an indie publisher. There's all sorts of things that you can do. Humans are much more persuaded by concrete data than they are by just vibes. So if you can bring Hollywood concrete data of any type, like viral videos, like audience, like obviously bestsellers. Awards mean something, but not quite as much as sales. Then you're going to get Hollywood's attention because that reduces risk for them. So even now, when Hollywood's definitely shrinking and contracting, there's still very significant money being spent because it's a huge demand. If you ever walk around a studio lot, those things are opulent places. It's stunning. Like, how are they paying for all this stuff? These lots are enormous. It's because humanity is voracious for stories, and movies are one premium type of storytelling. The demand for stories is steady if not going up. It's just that we have a wider variety of types of stories that we can do, whether we're an indie author. So anyway, did I answer the question? You get me too excited with these questions, Jo. It's a problem. Jo: Yes. I think there's a lot of opportunity and a lot of ways in, but the parallels with being an indie author I think are quite clear. One of the things I found interesting about your profile and what you do is that you help clients who are already accomplished but not quite breaking through, and that sounds like a lot of mid-list indie authors, probably a lot of mid-list screenwriters, mid-list filmmakers. This is a hard place to be because, on the one hand, we are grateful for what we have achieved and what we can do, and yet wanting more, wanting that big Hollywood deal or the Netflix deal, or wanting the massive bestseller or whatever. So if someone wants to get to that next level, what are some of the ways that they can perhaps try and get there? Brooks: It's a great question. Coaching is a really wonderful way to learn anything of this sort of complexity and challenge, especially if it's a hyper-competitive business. We need two things, I think, to write a great novel or screenplay or both. A, we need to feel profoundly safe in our space. If we can't really feel deeply authentic about the things that are embarrassing, or that we feel shame about, or just our shadows, or anything that we don't feel completely comfortable saying and sharing in public usually. We need to be able to touch those things, and be articulate about those things, and that's one part of it. Then we need a concrete path forward. Maybe you're thinking about some tragedy that you had in childhood, and how you dealt with it and how difficult that was. So you need to be able to be real precise in those observations about what it felt like, and how you tried to compensate for it, and that didn't work and it made it worse. Whatever your observations are about your life journey, you need to be really specific and really deeply felt. A good coaching relationship allows you to be in that space, to be really honest with yourself and authentic. g Aood coach will push you back and say, “You know what? That sounds interesting, but maybe not quite as true to you deeply.” So that's one piece of it. Then there's a concrete path forward. You need to have the emotional access to that truth, and then you need to know what to do with that truth in a step-by-step way. Because most people, the ones that you're talking about, they're accomplished in something else. What happens is when we first start writing, and maybe this happens with novelists, but for sure it happens to screenwriters, you just start typing words. But you haven't really thought through the theme, the concept, the structure, the character, all the deeper questions that really matter. The milestones, like a North Star: winning a major award, or getting a publisher. That's the direction that we're heading towards, and then you set it and forget it, but you want to keep checking it every week, every month or whatever. But you want it very specific. “I would like to sell a book, or sell a book to Hollywood, or write a screenplay, or get a producer attached to a screenplay.” Whatever the milestone is, make it really specific, really concrete, and then reverse engineer. This is what I do on the concrete path. I reverse engineer every step to get there, starting with a really tiny one we can do today, and I make sure they feel really safe, and then we just walk through. Then what happens is, if you do that, if you feel safe, if you're showing up authentically and you have a process that's repeatable, not just willy-nilly, it's got to be something that's proven to work. It wasn't an accident I wrote 45 scripts. I've got a whole system. But by the way, the first five scripts took me forever. The last movie that I made took me three years to write that script. I can write a better script with those same elements in three months now, because I know I have a concrete path. So if you want to do something new, whether it's playing the piano or getting six-pack abs or writing a screenplay, work with somebody who's got a system that's already proven, and make sure you relate to them, and then just follow the system. Then when the doubts come up, and they will, that's where the feeling safe is really important. Because, oh, I want the six-pack abs, but I don't feel like going to the gym. I want the extra donut. If I'm working with a really good trainer, they go, “Dude, do you want the six-pack abs or not?” And then you go back and forth, and I go, “Okay, now I can make peace with myself and say I can take one tiny bite of the donut and then still do my workout,” and then I'm moving towards that North Star. Does that make sense? Jo: Yes. I think, like many independents, I resist anything that is systematised. I'm a discovery writer, and I follow the muse, and all of that kind of thing. I think I would say something in a similar vein, which is sustainable creativity for the long term, because your 45 scripts are also years of work, and my books are years of work, and we get better at what we do. So my system, I do have a system really, because— My system is that I do the work, and I write my stories, and I get them out there, and I do the marketing. So even if it's not as systematised as such, it's still a process that I have repeated over and over again. Brooks: That's fascinating to me. Would you consider yourself a pantser? You're like, “I've got an idea,” and you just start writing? Jo: I don't use the word pantser. I guess I call it discovery writing, which is… Brooks: That's a better term. Jo: Yes. What I'm writing for this prize, for example, I know the characters, I know now what's happening. When I had the idea, it was very much a vision and a theme, and the competition has a theme: a positive future with AI and technology. But the things that came around that, I then started playing with ideas around the treatment. I haven't written the screenplay yet. I don't do a plot, or I don't follow Save the Cat or any of that kind of thing. When I write a novel, I just explore and I never write in order. Then at some point I stop and then I have to think about the structure and putting it all together, so the edits are quite big. But my fun is in that discovery, really. Brooks: Oh, that's awesome. Okay, so let me ask, that's really fascinating. And by the way, that doesn't, to me, negate the system that I use. The one that I use is ultimately… the thing is, these questions, the audience is wanting your unique answers to. You don't necessarily need to do it in a certain order. I think that's actually really cool that you write out of order and you have a few elements in mind. All that stuff sounds awesome. The only thing that then makes me curious is, how's your pace? Are you actually completing novels at a pace that feels good, or do you feel like you go too fast, too slow? Jo: I do one or two a year at the moment. Well, two a year, really. But I would say I'm not as successful as I'd like to be, so I'm not saying that my system is the best. I'm saying I want to be better. It's just that my fun is this sort of creative chaos, which I then try and control later. One of the things I really like about screenplays and treatments and doing this kind of thing for film is that it is much more structured, I think, than a 70,000-word novel. You can go in all kinds of directions, whereas with screenwriting you do have to be more disciplined really. Brooks: Yes, so this is going to be fun probably, to hear my view for your audience, and the differences as I see them. For starters, you're talking about what, 10, 20, 30 hours reading a novel sometimes, or maybe less, whereas a movie's a 90-minute experience, right? So that's different. Or if it's a TV series, you might see an hour and then an hour. So that's a very different experience. What happens is when it's condensed like that, you're loading up layers. So every scene is stacked with exposition beneath the drama, and done in a certain way. So specifically, movies are only what you can see and only what you hear. Whereas novels, if you can think it, you can write it, it can be in there. So you don't need to have a plot, but if you want to sell your book to Hollywood, it helps. So I was very resistant about structure. I went to NYU film school, where we really just made short films. It was funny, I had friends that were in the dramatic writing department, and I was like, “You guys are wasting your money. You're just learning to write scripts. We learn to write the scripts and make the movies.” What I hadn't realised is it's a different skill set to hold somebody's attention across an hour-long play, or a 90-minute movie, than it is to make a movie that holds their attention for two minutes or five minutes. I found out years later when I made a feature that was like a lot of shorts patched together, and people were not… They liked it, but they didn't love it. I was like, “Well, what's going on?” And so then I learned to really love Save the Cat in particular. It completely changed me. What happened was, I got a big old slice of humble pie. I had made my second feature, and I put everything I had into it, and it had loose structural beginning, middle, end, blah, blah, blah. But I was still, “Eh, Hollywood BS. What do they know? It's all fake.” So I was very anti-Hollywood structure. Then I was like, now I've got two independent films out there, people saw them, liked them, whatever, but it wasn't getting me consistent work. It wasn't really advancing my career in the way that I wanted. And I was like, “Well, maybe there is something to the Save the Cat.” So I went to the Save the Cat workshop with Blake when he was still alive, and he was delightful, a really awesome guy. He's got this kind of cutesy style, for people that don't know. For context, Blake Snyder was a working Hollywood screenwriter, and he had this system called Save the Cat, which actually has some really interesting ideas. He's got this very light, breezy sort of style. A lot of people don't like him and some people really love him, and everything in between. But I took his weekend seminar, and it completely changed me, because at that point, like I said, I took three years to write a script. Then once he had a process and he had a way of thinking about craft that was just much more screenwriter-friendly, I was like, “Oh my God.” It was so much easier, because I was just focused on the right thing at the right time. So it just sped everything up. After that, I was banging out two to three scripts a year, and better and better quality. So for me, because I went from winging it and wrote five scripts in 13 years, and then wrote two to three scripts every year, I became a huge proponent of system and process. Then my own system really came from that, but it's modular. I have a nine-step system, but you don't necessarily have to go in that order, other than the last three steps, but I won't get into the details. Sometimes you kind of jump from two to three and then back to two and then back and forth. So I love that you get the feel for those elements, and then you just felt your way through. But writing screenplay pages doesn't make sense until you really understand concept, you get a deep sense of beginning, middle, end, character arcs, and these other threads. There are just way better tools for those jobs than screenplay format, because it's a really weird format. It's got these weird slug lines at the top that are all in caps, because a screenplay is a blueprint for somebody else to make the movie. It's not an end-user document like a novel. I don't let my clients even go to that format because it just gets them focused on the wrong things. What they really need to know is, what is your perspective about this theme? What happened in your life that you're fascinated with, that you'd even want to write about this? And tell me what your real life lessons are. So we go into… again, I go back to relationship. What's your relationship to the universe? And what's your relationship to your best friends, or where you got your heart broken, or whatever you want to write about. And then we get that clarity, and then I show you how to express it in terms of developing a screenplay. It's really long-form storytelling, and then the structure just makes it build on itself. But with the structure, because you're talking about so much money and people involved to make it, at least traditionally, what ended up happening was narrative structure that was not so much rigid. Because here's the thing, you can look at 50, 100 years of European cinema and you can look at Hollywood cinema, and Hollywood laps them. When I taught at UCLA Extension, I had lots of foreign students. Let's say there'd be two or three students… if there were 12 people in the class, two or three people would be from America, and everybody else would be from other countries. I would go around, I'd be like, “What movies and TV shows have you been watching?” Almost in every single country, they watch half from their own country, half from Hollywood. So Hollywood storytelling works, that's just the data, and they're dominant. The reason it works is what Aristotle was saying thousands of years ago.. There's a way of thinking about beginning, middle, end that just deeply speaks to the psyche, and you can ignore it if you want. I think Godard said, “You need beginning, middle, and end, but not necessarily in that order,” right? Which is great. Just the way we experience life, there's a beginning, a middle, an end to this podcast interview. There's a beginning, middle, end to the day, a beginning, middle, end to me eating lunch. So if you don't lean into the beginning, middle, end psychological aspect of your story, you're going to bore your reader. But to your point, you don't necessarily have to sort that out in the beginning. It's more efficient probably if you do, but you don't have to. Go into it wherever the muse tells you to go, and then at some point, like you do, then you go, “Okay, now I go back and I edit.” If you're saying there's another level, you have another gear in you, then yes, I'd be curious to slowly go through how you're making those decisions. Because what's happening probably is there are ways you're holding back a little bit. There's maybe something you're afraid of being vulnerable about. That's usually where me or other writers are holding themselves back, and we can take a look at that. There are different ways I show writers to do it. Then you can go, “Oh, I was doing it here, and now I can do it there.” And it could be with process, or just a certain creative choice. With story, it's clear and compelling. Those are the simple things. So, is this clear enough? Is it compelling enough? And there are almost always ways to up-level on any facet, whether it's one sentence, or a sentence that describes the whole concept of the book, or a chapter. Each one of those can be looked at with that lens and we can just say, “Hey, this is 70%, 80%,” whatever, and then we say, “Well, how do we get a little bit more?” And then when you do that enough, it piles up. Then especially if you bring in an audience and people are flipping out for your work, they'll tell you. Jo: Yes, I love a challenge, so thank you for everything you've shared today. So where can people find you and everything you do online? Brooks: Well, one way you can find me—if anything I said seemed helpful for you, if you have questions about Hollywood or you have a screenplay in your heart—you can just email me, brooks@brookselms.com. You could look me up on LinkedIn. I'm at Brooks Elms. I also have a Skool community called Screenwriter Marketing, but it's really for any sort of storyteller, and it talks about my favourite way to engage an audience and get through it. So anybody can jump into that if you like my vibe. If you really think anything I've said, or the way I said it, seems like it could be helpful for you, just reach out. Let me know what you're up to, and maybe there's a way I can help you. Jo: Fantastic. Well, thanks so much for your time, Brooks. That was great. Brooks: You're welcome. It was a total pleasure. It was lots of fun, and I really appreciate you.The post How To Prove The Demand For Your Stories And Get The Attention Of Hollywood With Brooks Elms first appeared on The Creative Penn.