Podcasts about West End

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.

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.

Today's guest is the brilliant Francessca Daniella-Baker, who's currently appearing in Disney's Hercules in London's West End.Francessca's career has taken her from major UK tours to the West End and international stages, with credits including Hadestown, The Lion King, My Fair Lady, and Joseph and the Amazing Technicolor Dreamcoat at the London Palladium.In this episode, we talk about:

Christine Hentschel zu Sicherheit und Aktivismus in katastrophischen Zeiten Future Histories LIVE Das Gespräch mit Christine Hentschel ist Teil des Formats ‚Future Histories LIVE‘. In unregelmäßigen Abständen werden hierbei einzelne Episoden live – soll heißen vor Publikum – aufgezeichnet. Diese Folge Future Histories ist am 12. Juli 2026 auf Einladung des Hamburger Künstler*innenkollektivs Zollo entstanden. Shownotes Christine Hentschel Prof. Dr. Christine Hentschel an der Universität Hamburg: https://www.wiso.uni-hamburg.de/fachbereich-sowi/professuren/hentschel/team/hentschel-christine.html DFG Humanities Centre for Advanced Studies “Futures of Sustainability”: https://www.zukuenfte-nachhaltigkeit.uni-hamburg.de zur DFG-Forschungsgruppe "The Promise of Security in Catastrophic Times“: https://www.wiso.uni-hamburg.de/en/forschung/verbundprojekte/ru-promise/welcome.html Nina Perkowski zu Reimagining Security: Perkowski, N. (2025). Radical Imagination and Vernacular Security: Creating Spaces for Alternative Security Futures, International Political Sociology, Volume 19, Issue 4.  https://academic.oup.com/ips/article/19/4/olaf033/8255613 Garcés, M. (2024). Versprechen Können. Turia + Kant.  https://www.turia.at/titel/garces3.html zu Tadzio Müller und solidarischem Preppen: Müller, T. (2024) Zwischen friedlicher Sabotage und Kollaps. Wie ich lernte, die Zukunft wieder zu lieben. Mandelbaum. https://www.mandelbaum.at/buecher/tadzio-mueller/zwischen-friedlicher-sabotage-und-kollaps/ https://www.collapseclub.com/blog/five-elements-of-solidarity-prepping/ zur Letzten Generation: https://letztegeneration.org/ zu Just Stop Oil: https://juststopoil.org/ zu ‘Dernière Rénovation' (Riposte Alimentaire): https://en.wikipedia.org/wiki/Riposte_Alimentaire Christine Hentschel zu Endzeitaktivismus und Edgework:  Hentschel, C. (2023). Edgework in post/apokalyptischen Zeiten. Soziopolis.  https://www.soziopolis.de/edgework-in-post-apokalyptischen-zeiten.html zur Kollapsbewegung: https://taz.de/Kollapsbewegung-in-der-Klimakrise/!6110821/ zu Heat Strike: https://heatstrike.uk/ zu Les Soulèvements de la Terre: https://de.wikipedia.org/wiki/Les_Soul%C3%A8vements_de_la_Terre Bröckling, U. (2026). Invertierte Zukunft. Konturen der Zuspätmoderne. WestEnd, 23(1), 3–18. https://doi.org/10.5771/1860-2177-2026-1-3 https://www.inlibra.com/de/document/view/pdf/uuid/dd3d743d-12ac-3db9-8d17-af67ddb150ba?page=1&toc=5916333 Reckwitz, A. (2024). Verlust: Ein Grundproblem der Moderne. Suhrkamp Verlag. https://www.suhrkamp.de/buch/andreas-reckwitz-verlust-t-9783518588222 Folkers, A. (2022). Nach der Nachhaltigkeit: Resilienz und Revolte in der dritten Moderne. Leviathan 50, 239–262. https://doi.org/10.5771/0340-0425-2022-2-239 https://www.jstor.org/stable/27295246?seq=1 zu Mutual Aid: https://en.wikipedia.org/wiki/Mutual_aid Christine Hentschel und Susanne Krasmann über gegenwärtige „Collapse Awareness“: Hentschel, C., & Krasmann, S. (2024). Collapse awareness in the face of climate breakdown and urbicide. Critical Studies on Security, 14(1), 2–16. https://doi.org/10.1080/21624887.2024.2403795 https://www.tandfonline.com/doi/full/10.1080/21624887.2024.2403795 Vortrag von Christine Hentschel „Vom Retten der Welt zum Vorbereiten auf den Kollaps“ in der Ringvorlesung “Am Scheidepunkt: Zur Krise der Demokratie” in Frankfurt (22.01.2026): https://www.youtube.com/watch?v=tmn7g3vJPKg Marina Garcés zur postumen Kondition und Metapher der Nachspielzeit: Garcés, M. (2019). Neue radikale Aufklärung. Verlag Turia+ Kant. https://www.turia.at/titel/garces.html zu postapokalyptischem Umweltaktivismus: Cassegård, C., & Thörn, H. (2022). Post-Apocalyptic environmentalism. palgrave macmillan.  https://link.springer.com/book/10.1007/978-3-031-13203-2 Anaïs Maurer zur postapokalyptischen Agency im Pazifik & ‘fighting for what's left': Maurer, A. (2024). The ocean on fire: Pacific stories from nuclear survivors and climate activists. Duke University Press.  https://www.dukeupress.edu/the-ocean-on-fire zu climate change mitigation: https://climatepromise.undp.org/news-and-stories/what-climate-change-mitigation-and-why-it-urgent Jacob Blumenfeld zu Managing Decline:  Blumenfeld, J. (2024). Managing Decline. Cured Quail. https://www.academia.edu/121062536/Managing_Decline zu Climate Barbarism: Blumenfeld, J. (2023). Climate barbarism: Adapting to a wrong world. Constellations, 30, 162–178.  https://onlinelibrary.wiley.com/doi/full/10.1111/1467-8675.12596 zu Christine Hentschels und Ursula Schröders Forschungsprojekt „Infrastructures of Protection. Planning for Catastrophes to Come“: https://www.wiso.uni-hamburg.de/en/forschung/verbundprojekte/ru-promise/research-projects/rp2.html zu Adaptation: https://climatepromise.undp.org/news-and-stories/what-climate-change-adaptation-and-why-it-crucial zum Forschungsprojekt „Extreme Adaptation to Climate Change“ im DFG-Exzellenzcluster CLICCS: https://www.cliccs.uni-hamburg.de/research/projects-themes/projects/a4-extreme-adaptation.html Lacbawan, M. (2025). Escaping the Climate Crisis: Speculative Wealth and the Selling of a Smart City. Journal of Business Anthropology, 14(2), 94-117. https://www.fis.uni-hamburg.de/en/publikationen/detail.html?id=13f172b2-6f23-44cc-adc7-31b42fb376b4 Rothe, D., Boas, I., Farbotko, C., & Kitara, T. (2024). Digital Tuvalu: state sovereignty in a world of climate loss. International Affairs, 100(4), 1491-1509. https://academic.oup.com/ia/article/100/4/1491/7710472 zu Muscular Adaptationism: Carton, W. & Malm, A. (2025). The long heat: climate politics when it's too late. Verso Books. https://www.versobooks.com/products/3317-the-long-heat?srsltid=AfmBOort8KE2C2ggxjCJE1Q7GTyEoyzLypZO0Wd75hcCmJUTuuW0zGa6 Joshua KaewnetarasForschung zu Wiederaufbau nach der Flutkatastrophe in Valencia: https://urban-future-making.hcu-hamburg.de/research/disrupted-mobilities Solar Geo Engineering: https://www.umweltbundesamt.de/presse/pressemitteilungen/unberechenbare-risiken-solares-geoengineering-keine Geoengineering: https://www.umweltbundesamt.de/en/topics/climate-energy/geoengineering zur Securitisation Theory: https://criticallegalthinking.com/2025/03/31/key-concept-securitization-copenhagen-school/ Schröder, U. (2026). Schutz in Krisenzeiten. Piper. https://www.piper.de/buecher/schutz-in-krisenzeiten-isbn-978-3-492-07396-7 zu Sicherheit im Anthropozän:  Rothe, D., Hentschel, C., & Schröder, U. (2025). Recomposing the climate-security nexus: A conceptual introduction. Geoforum, 159, 104195. https://www.sciencedirect.com/science/article/pii/S0016718524002562 Von Redecker, E. (2023). Bleibefreiheit. S. Fischer Verlag. https://www.fischerverlage.de/buch/eva-von-redecker-bleibefreiheit-9783596711260   zum Begriff der Infrastrukturen in der Sicherheitsforschung: Hentschel, C., Schröder, U., 2020. Democratising Security in Turbulent Times: An Infrastructural Lens. S+F 38, 191–194. https://doi.org/10.5771/0175-274X-2020-4-191 https://www.jstor.org/stable/pdf/27260104.pdf?refreqid=fastly-default%3Abf575832edd748b4b77595527737cd25&ab_segments=&initiator=&acceptTC=1 zu Nina Perkowskis Forschungsprojekt zu „Counter-Communities' Protection Practices and Security Utopias in Catastrophic Times“: https://www.wiso.uni-hamburg.de/en/forschung/verbundprojekte/ru-promise/research-projects/rp8.html Staab, P. (2022). Anpassung. Leitmotiv der nächsten Gesellschaft. Suhrkamp, Berlin. https://www.suhrkamp.de/buch/philipp-staab-anpassung-t-9783518127797 Saito, K. (2026). Am Ende des Fortschritts. Überleben in den Ruinen des Kapitalismus. dtv. https://www.dtv.de/buch/am-ende-des-fortschritts-28534 Garcés, M. (2022). Critical Imagination. Artnodes.  https://www.academia.edu/73676938/Critical_Imagination zum Thüringen Projekt: https://verfassungsblog.de/wp-content/uploads/2025/06/Thueringen-Projekt_Abschlussbericht.pdf zu Verwaltung für Demokratie: https://verwaltung-fuer-demokratie.de/erste-hilfe-kit-demokratie/ zu Zukunftswerkstätten nach Robert Jungk: https://www.sowi-online.de/praxis/methode/zukunftswerkstatt.html_2 zu climate change boredom: Anderson, B. (2023). Boredom and the politics of climate change. Scottish Geographical Journal, 139(1–2), 133–141. https://doi.org/10.1080/14702541.2023.2197869 https://www.tandfonline.com/doi/full/10.1080/14702541.2023.2197869 Christine Hentschel zu „Apokalypse-Indifferenz“ (Günther Anders) im Kontext der Klimakrise: Hentschel, C. (2024). Im Angesicht der planetaren Zerstörung. Soziologische Perspektiven gegen die Indifferenz., in: Lessenich, S., Scheffer, T. (Eds.), Gesellschaften Unter Handlungszwang: Existenzielle Probleme, Normalität Und Kritik, IfS-Aus Der Reihe. Bertz + Fischer, Berlin, pp. 78–92. https://bertz-fischer.b-cdn.net/wp-content/uploads/2026/06/bertz-fischer-ifs-02-gesellschaften-unter-handlungszwang-9783865056528.pdf zu Verleugnung nach Alenka Zupančič: Zupančič, A.(2024) Disavowal. Polity Books. https://www.politybooks.com/bookdetail?book_slug=disavowal--9781509561193 Christine Hentschel zu affectiven investments in den Protesten gegen die Coronamaßnamen Hentschel, C.(2021) »Das große Erwachen«: Affekt und Narrativ in der Bewegung gegen die Corona-Maßnahmen. Leviathan 49, 62–85.  https://www.inlibra.com/de/document/view/pdf/uuid/1ed695c2-d459-32aa-a482-bf64a34a412c zur mobilisierenden Kraft von Wut bei Audre Lorde: Lorde, A. (1997). The uses of anger. Women's Studies Quarterly, 25(1/2), 278-285. https://americanstudies.yale.edu/sites/default/files/files/Lorde%20-%20The%20Uses%20of%20Anger.pdf zu Everyone hates Elon: https://www.everyonehateselon.com zu strategischem Hass nach Seyda Kurt: Kurt, S. (2023). Hass. Von der Macht eines widerständigen Gefühls. HarperCollins. https://www.harpercollins.de/products/hass-von-der-macht-eines-widerstandigen-gefuhls zum Begriff des Prozesses nach Rahel Jaeggi: https://www.fes.de/asd/buch-essenz/jaeggi-fortschritt-und-regression Jaeggi, R. (2023). Fortschritt und Regression. Suhrkamp. https://www.suhrkamp.de/buch/rahel-jaeggi-fortschritt-und-regression-t-9783518587140 White, J. (2024). In the long run: The future as a political idea. Profile Books. https://www.academia.edu/115206928/In_the_Long_Run_the_Future_as_a_Political_Idea_Profile_Books_2024_ Relevante Future Histories Folgen S04E07 | Kohei Saito, Christoph Sorg and Jan Groos on Creative Construction and the Struggle over Progress https://www.futurehistories.today/episoden-blog/s04/e07-creative-construction-and-the-struggle-over-progress/ S03E46 | Rahel Jaeggi zur Krise des Liberalismus, Fortschritt als Prozess und sozialistischem Utopisieren https://www.futurehistories.today/episoden-blog/s03/e46-rahel-jaeggi-zur-krise-des-liberalismus-fortschritt-als-prozess-und-sozialistischem-utopisieren/ S03E33 | Tadzio Müller zu solidarischem Preppen im Kollaps https://www.futurehistories.today/episoden-blog/s03/e33-tadzio-mueller-zu-solidarischem-preppen-im-kollaps/ S03E32 | Jacob Blumenfeld on Climate Barbarism and Managing Decline https://www.futurehistories.today/episoden-blog/s03/e32-jacob-blumenfeld-on-climate-barbarism-and-managing-decline/ S03E23 | Andreas Malm on Overshooting into Climate Breakdown https://www.futurehistories.today/episoden-blog/s03/e23-andreas-malm-on-overshooting-into-climate-breakdown/ S02E56 | Şeyda Kurt zu strategischem Hass https://www.futurehistories.today/episoden-blog/s02/e56-seyda-kurt-zu-strategischem-hass/ S02E38 | Eva von Redecker zu Bleibefreiheit und Demokratischer Planung https://www.futurehistories.today/episoden-blog/s02/e38-eva-von-redecker-zu-bleibefreiheit-und-demokratischer-planung/ — Future Histories Kontakt & Unterstützung: Wenn euch Future Histories gefällt, dann erwägt doch bitte eine Unterstützung auf Patreon: https://www.patreon.com/join/FutureHistories Schreibt mir unter: office@futurehistories.today Instagram: https://www.instagram.com/futurehpodcast/ Mastodon: https://mstdn.social/@FutureHistories Website mit allen Folgen: www.futurehistories.today   Episode Keywords #ChristineHentschel, #JanGroos, #Interview, #FutureHistories, #FutureHistoriesLIVE, #Sicherheit, #Aktivismus, #Katastrophe, #Klimakollaps, #Zukunft, #SolidarischesPreppen, #Kollaps, #MutualAid, #Adaptation, #Mitigation, #ExtremeAdaptaion, #Klimaaktivismus, #Klimakrise 

Send us Fan MailAnna-Jane Casey is one of the West End's most celebrated performers, with a remarkable career spanning more than four decades. She made her professional debut at just 16 in Cats and has since starred in many of musical theatre's most iconic productions, including Cabaret, Kiss of the Spider Woman, Chicago, West Side Story and, more recently, Fawlty Towers, where she delighted audiences as Sybil Fawlty. A TMA Award winner for her performance in Mack & Mabel, Anna-Jane has also appeared in television favourites including Coronation Street and EastEnders, while continuing to enjoy a distinguished career as a concert performer with the BBC Concert Orchestra. We also talk about her upcoming challenge of stepping into the shoes of Judy Garland in the Irish premiere of Peter Quilter's Judy – End of the Rainbow. It was a real pleasure to welcome Anna-Jane to In The House Seats.

This episode of the Vegan Pod is a nostalgic celebration of how one man's commitment to the cause helped spread the vegan word around London's creative scene in the 1970s and 80s.   Geoff Francis ran a chain of record shops, All Change Records, in London's West End and was involved in animal advocacy, working alongside the likes of Linda McCartney, Carla Lane and Captain Sensible, before establishing himself as an artist, author and film-maker.   Geoff's story isn't just one for vegans of a 'certain vintage'; it's an inspiration for all vegans, young, older and somewhere in-between.

In this monthly episode of the Anglotopia Podcast, Jonathan Thomas returns with his August edition of What's On in London — and this one comes with a personal twist, because Jonathan will be in London himself later in the month. August is London's most contradictory month: the busiest tourist season of the year, a million-plus visitors, packed attractions and carnival streets — and yet simultaneously the month when Londoners themselves flee to Cornwall and France, leaving whole districts strangely quiet. Jonathan covers it all: the Notting Hill Carnival (August 30–31, its 60th anniversary this year, Europe's largest street festival, free entry); the major royal and historic building openings including Buckingham Palace State Rooms, Houses of Parliament summer tours, and the freshly restored Banqueting House reopening August 1st; London's brand new museum, Trent Park House of Secrets — just opened July 21st, telling the extraordinary wartime spy story that was kept under the Official Secrets Act for over 50 years; new West End openings including Jane Eyre the Musical and Kimberly Akimbo; the blockbuster exhibitions still running and closing this month; live music at Victoria Park and Wembley; family-friendly highlights; the VAT tourist discount reducing admission prices across major attractions this summer; and Jonathan's own personal list of what he's booked and planning to see — including the Ceremony of the Keys at the Tower of London, Buckingham Palace's East Wing tour, the Wallace Collection's Churchill as Painter exhibition, and Trent Park. Links The Big One — Notting Hill Carnival (August 29-31, 60th Anniversary) Notting Hill Carnival — Official Website Notting Hill Carnival 2026 Schedule & Info (Sat Aug 29 Steel Band Competition; Sun Aug 30 Children's Day; Mon Aug 31 Main Parade) Royal & Historic Building Openings Buckingham Palace State Rooms — Book Tickets (Open July 9 – September 27, 2026; daily 9:30–19:30 through August 31) Buckingham Palace East Wing Highlights Tour — Book Separately Houses of Parliament Summer Tours — Book Tickets (Reduced prices throughout summer recess; Westminster Hall, House of Commons, House of Lords) Banqueting House — Tickets & Info (Fully reopened August 1 after major restoration; open Thu–Mon 10:00–16:00; Adults £10, under 16s free) London's Newest Museum Trent Park House of Secrets — Book Tickets (Open since July 21; Tue–Sun 10:00–17:00; Adults £14/~$20; Oakwood tube station, Piccadilly Line) Ceremony of the Keys Ceremony of the Keys — Tower of London — Book Tickets (Next ticket release: August 3, 2026 at 13:00; suggested price £30, pay from £10; sells out immediately — set a reminder) Festivals & Outdoor Events Greenwich + Docklands International Festival — Free (August 21 – September 6, 2026; outdoor theatre, circus and dance across Greenwich, Woolwich and Docklands) Greenwich Fair — Free (August 22–23, Greenwich Park — no ticket required) 120 Years of the Piccadilly Line with Tim Dunn — London Transport Museum (August 22) All Points East — Victoria Park, East London (Two weekends; headliners include Lorde, Tyler the Creator, Twenty One Pilots) BBC Proms at the Royal Albert Hall (Running all month, ends September 12; day tickets available on the door) New West End Theater Openings Jane Eyre the Musical — UK Premiere (from August 28, Southwark Playhouse) Kimberly Akimbo (from August 28, Hampstead Theatre) The Mischievous Team — New spy farce (from August 1) West End Tickets via Londontopia TKTS Half-Price Tickets, Leicester Square Exhibitions — Running & Closing in August Frida Kahlo — Tate Modern (runs to 2027) (Plenty of time — but book ahead) Winston Churchill the Painter — Wallace Collection (until November 29) Richard Dadd — Royal Academy (running) Anish Kapoor — Hayward Gallery (until October) Schiaparelli: Fashion Becomes Art — V&A (until November) Marilyn Monroe — National Portrait Gallery (closing September) (Last chance — closing soon) Jurassic Oceans: Monsters of the Deep — Natural History Museum (Great for families) Star Trek at 60 Trail — Science Museum (closing September) (Free) Young Artist Summer Show — Royal Academy (until August 30, Free) Exhibitions Closing in August — See These Now Holy Pop at Somerset House — closes August 9 Patrick Caulfield — Royal Academy — closes August 16 Titanic Exhibition — Olympia — closes August 16 Fairy Tales — British Library — closes August 23 Zurbarán — National Gallery — closes August 23 Hervien Anderson — Tate Britain — closes August 23 David Hockney: A Year in Normandy — Royal Academy — closes August 23 Tracey Emin: A Second Life — Tate Modern — closes August 31 Family Activities Paddington Bear Summer Special — Immersive Experience The Big Dig: Archaeology Adventure (until August 21) Boleyn is Back — Tudor Living History, Tower of London (until August 14) Live Music All Points East — Victoria Park The Weeknd — Wembley Stadium (August 14–19) Practical Resources Met Office App — London Weather Forecast Londontopia London Events Calendar TfL Elizabeth Line — Air-Conditioned Travel Across London Anglotopia Wallace Collection Churchill Episode — Listen Now (Our earlier episode with Dr. Lucy Davis) Friends of Anglotopia Club Takeaways August 2026 is the 60th anniversary of the Notting Hill Carnival — Europe's largest street festival, free to attend, taking over Notting Hill and Ladbroke Grove on August 30–31. The Saturday Steel Band Competition (August 29) requires a ticket; Sunday Children's Day and Monday main parade are free. Arrive early, follow your nose to the food stalls, and keep your wits about you in the crowds. Trent Park House of Secrets — London's brand new museum, opened July 21st — tells the extraordinary story of the WWII intelligence operation where 59 captured German generals were housed in apparent luxury, never knowing the entire house was bugged. Often called "the other Bletchley Park." Tickets are £14 (~$20), open Tuesday–Sunday, and it's on the Piccadilly Line at Oakwood station. Jonathan is going. Buckingham Palace State Rooms are open daily through August 31, 9:30am to 7:30pm — the longest opening hours of the season. Jonathan has booked both the State Rooms tour and the newly opened East Wing tour. If you haven't booked yet, check for remaining availability immediately; the best slots are gone but cancellations do appear. Banqueting House on Whitehall — Inigo Jones's 1622 masterpiece with its Rubens ceiling, the building outside which Charles I was executed — reopens fully on August 1st after a major restoration. Adults £10, under 16s free, open Thursday–Monday. New lift for step-free access. One of London's most underrated experiences. The Ceremony of the Keys at the Tower of London — the world's oldest unbroken military ceremony, performed every night for at least 700 years — releases the next month's tickets on the first working day of each month. The next release is August 3rd at 1pm. Jonathan got a ticket; it requires an early wake-up and sells out within hours of release. The UK government has instituted a 15% VAT discount on tourist attraction admissions this summer — which means lower prices at major London attractions. If you booked in advance, you may be entitled to a partial refund for the difference; check with each venue. Lower prices also means slightly larger crowds. The Greenwich + Docklands International Festival runs August 21 to September 6 — 17 days of completely free outdoor theatre, circus and dance across Greenwich Park, Woolwich, and the Docklands. The two-day Greenwich Fair on August 22–23 in Greenwich Park is the unmissable centerpiece. No ticket required — just show up. Several major exhibitions close on or around August 23rd — a critical date. Zurbarán at the National Gallery, Fairy Tales at the British Library, David Hockney at the Royal Academy, Hervien Anderson at Tate Britain, and Patrick Caulfield at the Royal Academy all close that day. If you're arriving after August 23rd, these are gone. The BBC Proms at the Royal Albert Hall run all month and into September — the world's largest classical music festival, with day-of standing tickets potentially available on the door. Jonathan hasn't managed to go yet and still wants to. It's worth trying even if you can't book ahead. August in London is genuinely two cities at once: over a million tourists fill the attractions and the carnival streets, while large swaths of residential London go quiet as locals escape. The wise visitor uses this: the tourist attractions are busy, but the parks, the residential neighborhoods, and the early mornings are surprisingly peaceful. Soundbites "August is London's most contradictory month. Every guidebook tells you it's peak season — and every guidebook is right. And yet at exactly the same time, London kind of empties out. Locals flee to Cornwall, to France, to anywhere that isn't a stuffy office in a heat wave. Whole districts can go completely quiet." — Jonathan on August's strange duality. "The Notting Hill Carnival is that one weekend where London's multicultural and diverse character — which can feel oddly invisible at other times of the year — is front and center. It's loud. It's joyful. And it's entirely free." — Jonathan on why the carnival matters. "They captured high-level German officers and put them all in one place. What the prisoners didn't know was that the entire house was wired with microphones. And hidden in a concealed basement, around a hundred secret listeners — many of them German-speaking Jewish refugees who had fled the Nazis — were recording and transcribing every careless word." — Jonathan on Trent Park House of Secrets. "I have wanted to go inside Buckingham Palace for twenty years. I'm finally doing it this year. I've got my tickets booked. I'm going to do the State Room tour, I'm going to see the freshly rehung picture gallery, and I've booked the East Wing tour. That is going to take a whole Saturday. I cannot wait." — Jonathan on his long-awaited Buckingham Palace visit. "The Ceremony of the Keys is considered the world's longest military ceremony. They say it's been running for a thousand years — I'm skeptical, but at least as long as there's been a Tower of London. I woke up early and managed to snag a ticket before they sold out. Because they do sell out immediately." — Jonathan on booking the Ceremony of the Keys. "Banqueting House. Inigo Jones's masterpiece on Whitehall, with its Rubens ceiling. The one surviving fragment of the old Palace of Whitehall — the very spot where Charles I was executed in 1649. It reopens for the summer on August 1st. That is a lot of history in one place." — Jonathan on Banqueting House reopening. "The government has instituted a fifteen percent discount off the twenty percent VAT for tourists visiting tourist attractions this summer. So this month you will see lower prices at all of London's major tourist attractions. And if you booked in advance, you should be getting a refund." — Jonathan on the summer VAT tourist discount. "I love Star Trek. I have seen every episode of Star Trek dozens of times. You can't see over there, but I'm building the LEGO Enterprise D model right now. And I'm going to go see this exhibition because it's the 60th anniversary and the producers don't seem to want to celebrate it much — but everybody else is." — Jonathan on his plan to visit the Star Trek at 60 Trail at the Science Museum. "Several things close on August 23rd. I'm arriving after August 23rd. So I'm going to miss the David Hockney, the Zurbarán, the Tracey Emin. It's a bit annoying. But it is what it is." — Jonathan on the painful August 23rd exhibition closing cliff. "If you see a slightly sun-birthed Anglophile wandering the food stalls at one of the festivals going on later in August — do say hello. It might just be me." — Jonathan's closing invitation. Chapters 00:23 Introduction & Personal Note — Jonathan is heading to London this August 01:14 Weather Warning — England's driest summer in years, three heat waves, and what to expect 02:35 Episode Overview — Carnival, openings, exhibitions, practical tips 03:16 The Strange Duality of August — A million tourists arrive as Londoners flee 04:05 NOTTING HILL CARNIVAL — Europe's largest free street festival, 60th anniversary, August 29–31 05:28 Carnival Practical Tips — Go early, follow the food, wear comfortable shoes, stay safe 06:37 Festivals & Outdoor Highlights — Greenwich + Docklands International Festival (free, Aug 21–Sep 6) 07:07 Greenwich Fair — Free outdoor theatre in Greenwich Park, August 22–23 07:17 120 Years of the Piccadilly Line — Tim Dunn at the London Transport Museum, August 22 07:50 Edinburgh Fringe Previews & Al Fresco Dining — London venues hosting previews; Soho streets 08:22 ROYAL & HISTORIC BUILDING OPENINGS 08:25 Buckingham Palace State Rooms — Open daily; freshly rehung picture gallery; Jonathan's booked visit 09:31 Buckingham Palace East Wing — Newly opened tour; Jonathan's full Saturday plan 10:07 Houses of Parliament Summer Tours — Westminster Hall, Commons, Lords; reduced prices 10:36 Banqueting House — Fully reopens August 1st after major restoration; Rubens ceiling; £10 adults 11:03 TRENT PARK HOUSE OF SECRETS — London's brand new museum, opened July 21st 11:22 The Story of Trent Park — Philip Sassoon, 59 German generals, hidden microphones 13:03 The Secret Listeners — Jewish refugees transcribing Nazi generals in a concealed basement 14:16 Visiting Trent Park — Hours, tickets £14, Oakwood station, Piccadilly Line 15:43 NEW WEST END THEATER OPENINGS 15:53 The Mischievous Team — New spy farce from August 1st 16:04 Jane Eyre the Musical — UK premiere, Southwark Playhouse, August 28 16:19 Kimberly Akimbo — Tony-winning musical, Hampstead Theatre, August 28 16:32 BLOCKBUSTER EXHIBITIONS STILL RUNNING 16:47 Frida Kahlo at Tate Modern — Runs to 2027; Jonathan plans to go 17:03 Marilyn Monroe — National Portrait Gallery; closing September — last chance 17:13 Anish Kapoor — Hayward Gallery; Schiaparelli — V&A; Richard Dadd — Royal Academy 17:58 Winston Churchill the Painter — Wallace Collection; Jonathan booked since March 18:44 Royal Academy Summer Exhibition — Closes August 23rd; last chance 18:52 Jurassic Oceans — Natural History Museum; Jonathan has never been 19:03 Star Trek at 60 Trail — Science Museum; free; LEGO Enterprise D confession 19:30 EXHIBITIONS CLOSING IN AUGUST — CRITICAL DATES 19:37 August 9 & 16 — Holy Pop (Somerset House), Patrick Caulfield & Titanic (RA & Olympia) 19:54 August 23rd Mass Closings — Fairy Tales, Zurbarán, Hervien Anderson, David Hockney 20:16 August 31 — Tracey Emin: A Second Life (Tate Modern) 20:29 LIVE MUSIC 20:31 All Points East — Victoria Park; Lorde, Tyler the Creator, Twenty One Pilots 20:44 BBC Proms — All month to September 12; day standing tickets on the door 21:11 The Artist at Wembley — August 14–19; Luke Combs this weekend only 21:28 FAMILY ACTIVITIES — School holidays mean packed attractions 21:48 Paddington Bear Summer Special — Immersive experience for younger children 21:56 The Big Dig — Hands-on archaeology through August 21st 22:08 Boleyn is Back — Tudor living history at the Tower, through August 14th 22:16 Young Artist Summer Show — Royal Academy; free; closes August 30th 22:30 JONATHAN'S PERSONAL AUGUST ITINERARY 22:40 Ceremony of the Keys — Booked; how Jonathan got a ticket; arrive at 9:30pm 23:54 What Else Jonathan Is Doing — National Gallery, Wallace Collection, Royal Academy, Natural History Museum 24:49 Star Trek + Natural History Museum Double Bill Plan 25:05 Notting Hill Carnival — In London for it but sitting it out without his wife 25:32 PRACTICAL SECTION — CROWDS, WEATHER & SHOULD YOU GO? 25:37 August Weather Reality — Warm and dry; long days; twilight till after 9pm; pack layers 26:35 Peak Season & School Holidays — Why it's busy even when Londoners leave 26:39 Weather Detail — Pack layers; rain is rare but intense; humidity by the Thames 28:13 THE VAT TOURIST DISCOUNT — 15% off admissions; possible refunds for advance bookers 29:27 Should You Visit in August? — Jonathan's honest verdict 29:52 Top Tip — Don't travel over bank holiday weekend (Jonathan breaks his own rule) 30:51 Wrap-Up — Londontopia events calendar, Friends of Anglotopia, and see you in London Video Version

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In 1986 the North and West End neighborhoods of Tacoma trusted their parks. That was, until two girls disappeared from public parks in Tacoma, Washington within a few miles and a few months of each other, both stories ending in tragedy. Twelve-year-old Michella Welch disappeared from Puget Park on a bright Wednesday afternoon in March. Thirteen-year-old Jennifer Bastian vanished from Point Defiance Park while riding her brand-new Schwinn bike that same year in August.For nearly three decades, investigators believed the girls had been killed by the same man. The circumstances were too similar to imagine otherwise. As Jennifer's mother Pattie put it, there couldn't possibly be two monsters in Tacoma. And yet – there were. In this episode we walk through what happened to Michella and Jenni, the assumption that shaped multiple decades of the investigation, the evidence that finally broke that assumption apart, and the two very different paths that led to justice.Their cases also led to Jennifer & Michella's Law – the 2019 Washington legislation that expanded mandatory DNA collection for convicted felons and now stands as a legislative legacy for both girls. Michella Welch and Jennifer Bastian were just little girls who should have had the chance to grow up. Both were blonde, blue-eyed girls on their bikes, doing exactly what kids had always been trusted to do – enjoying their local park. If the story moves you, we'd love it if you shared the episode - it helps the show, and most importantly these two girls deserve to be remembered by name.Visit our website! Find us on Facebook, Instagram, TikTok, Patreon, & more! There are so many ways that you can support the show: BuyMeACoffee, Spreaker, or by leaving a rating & review on Apple Podcasts. SourcesBecome a supporter of this podcast: https://www.spreaker.com/podcast/pnw-haunts-homicides--5955451/support.

In ep 184 of “How Do You Say That?!” sponsored by britishvoiceover.co.uk, Brigid Lohrey joins Sam and Mark to talk about approaching an Apple News script in a very specific way - bringing it to full conversational, but not too rounded. We explore performances where you're left feeling, "Surely you want more than this?" Are we being told to make everything blander?? We talk about how directors can be really helpful in setting the scene for us, and how nothing moves fast underwater! Plus is it a help or a hinderance if a script is labelled as "corporate"? Our obsessions are West End theatre and summer night attire!Our VO question this week is all about whether you should be upfront about your natural accent if you come from more than one place!Get involved! Have you got a Wildcard suggestion that we should try or an idea for the show? Send it to us via Mark or Sam's social media or email it directly to podcast@britishvoiceover.co.ukScript 1Compared to the bustle of spring, it's quiet in the autumn forest; I miss the hoards of gently pulsating sea jellies that cloud the water all summer long and lament the absence of spider crabs that have migrated back to deeper water. Territorial by nature, ballan wrasse remain in residence, patrolling their patch among the kelp. I spot a chunky male, coloured amber to match the scene and greet him with a broad smile that lets a trickle of cold water into my dive mask.Script 2Murder in Paradise: The Unsolved Killings on Australia's East Coast. The NSW north coast has a disturbing history of unsolved murders and disappearances. Have its beaches, roads and rainforests been a killing ground for one or more serial killers? Written for Australian Women's Weekly. A young woman is standing on a road leading to the Pacific Highway, her thumb out, hitching. With her long hair and cut-off jeans she doesn't wait long to be picked up. She is never seen again. This scenario has happened again and again on the north coast of NSW.We'd love your feedback - and if you listen on Apple Podcasts or Spotify, hit the follow button today!**Listen to all of our podcasts here - you can also watch on YouTube, or say to your smart speaker "Play How Do You Say That?!"About our guest: Brigid Lohrey is a Tasmanian actress, who trained in London, and has been acting on stage and screen for over 20 years. She 's in the BBC's Hope Street and HBO's Game of Thrones spin-off House of the Dragon. On stage she's played Panto villains and Shakespearean leads up and down the country. As a Voice Actor she started 15 years ago with Audio Drama for Dr Who and the Dark Shadows series, then with audiobooks for the RNIB. Since then she has voiced 80 audiobooks, and has branched into commercials and gaming. She has done radio presenting and commentates medieval jousting and fun dog shows.Resources: Click here for the Wildcard Generator and don't forget to think of an action your character can be doing!About your hosts:With over 40 years representing major international clients such as Google, Emirates and HSBC; Mark Ryes has been trusted to be the voice for some of the world's biggest brands. If your business needs a fresh voice to represent you, then make it Mark's British voice. As a voiceover, TV presenter, podcaster or product demonstrator - Mark makes your brand truly sparkle!Mark's demos & contact details: https://linktr.ee/britishvoiceovermarkElegantly British with an intelligent, warm and seductive voice, Samantha Boffin helps creatives and production companies create great audio that really connects with their audience. BBC-trained and with over 20 years of broadcast experience on both sides of the mic, she's created award-winning promos, narration and commercials for companies all around the globe, including the BBC, Sky, Games Workshop, John Lewis, Audible and Penguin Random House.Samantha's demos & contact details: https://linktr.ee/samanthaboffin

Bradley Gibson is starring as Hercules in Disney's Hercules at the Theatre Royal Drury Lane.Inspired by the 1997 Disney film, Hercules features music by Alan Menken, lyrics by David Zippel and a book by Robert Horn and Kwame Kwei-Armah. Directed and choreographed by Casey Nicholaw, with co-choreography by Tanisha Scott, the musical opened in the West End in 2025. Bradley previously played the role in the show's run at at Paper Mill Playhouse in New Jersey and is now reprising his performance for his West End debut.Bradley's starred as Simba in Disney's The Lion King on Broadway. His other theatre credits include: Fremont Ave. (Arena Stage and South Coast Repertory Theatre), A Bronx Tale (Broadway), Rocky (Broadway), Love's Labour's Lost (The Public Theater) and The School for Scandal (Red Bull Theater). His screen credits include Mid-Century Modern (Hulu), Disney's The Lion King at the Hollywood Bowl (Disney+), Partner Track (Netflix), Power Book II: Ghost (Starz), Kung Fu (The CW), Mozart in the Jungle (Prime Video) and Fire Island (Hulu). Bradley's music is available on streaming platforms. Recorded backstage at Theatre Royal Drury Lane, in this episode Bradley discusses his journey with Hercules and why this West End chapter is extra special. He also talks about being unapologetic about who he is, adapting to London life and lots more. Hercules runs at Theatre Royal Drury Lane until 5th September 2026. Visit www.herculesthemusical.co.uk for info and tickets.This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more 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.

This hour, The New Orleans City Council is taking expanded control over the Sewerage and Water Board (SWBNO) effective Saturday, August 1, 2026. Also, Scoot asks if paid parking would ruin West End? Then, President Trump just cannot get past his legal entanglement with E. Jean Carroll, who a jury determined he sexually assaulted in the 90s.

On today's show, Canal Street used to be a destination and men and women dressed up to go to Canal Street. Not anymore. But that could change now. Mayor Moreno announced the Canal Street Renaissance project. Dr. Anthony Fauci repeatedly invoked his Fifth Amendment right against self-incrimination, refusing to answer a single question during a highly contentious Senate committee hearing Saints training camp opens today! This is the beginning of the new season. How optimistic are you? How many games will the Saints win? The New Orleans City Council is taking expanded control over the Sewerage and Water Board (SWBNO) effective Saturday, August 1, 2026. President Trump just cannot get past his legal entanglement with E. Jean Carroll, who a jury determined he sexually assaulted in the 90s.

Nick and Hannah head to the theatre for two of the biggest musical revivals currently touring the UK—but come away with very different reactions. It's sunshine, optimism and red-headed charm as they celebrate the UK tour of Annie, asking why this classic musical continues to captivate audiences nearly fifty years after its Broadway debut.  Then, things take a decidedly darker turn as they tackle the West End production of Beetlejuice. With a hit Broadway incarnation and a devoted fanbase setting sky-high expectations, why does this London production leave them feeling so underwhelmed? Is it the direction? The performances? The staging? Or does the transfer simply lose the anarchic magic that made the original such a phenomenon? Nick and Hannah discuss why a musical with so much potential can end up feeling surprisingly lifeless.

Killing Eve and Grey's Anatomy star Sandra Oh joins the show. Over steak rosti and tomato, peach and ricotta salad, we reminisce over our time together in the Twelfth Night in Shakespeare in the Park and Sandra reflects on her iconic role as Dr. Cristina Yang in Grey's Anatomy and its legacy. Plus, we get into her chemistry read with Jodie Comer for Killing Eve and her experience doing British theater on the West End, leading The Misanthrope. This episode was recorded at Dorian in Notting Hill, London. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode of Theatrically Authentic, Sarah Atherton-Knight and Simon Scott dive deep into Hamilton — the cultural phenomenon that transformed modern musical theatre and became a hyperfixation for an entire generation of neurodivergent fans.From lyrical density and internal rhyme to reprises, motifs, and layered historical storytelling, they explore why Hamilton feels less like a musical… and more like a system built to be decoded. Sarah reflects on her experience working on Hamilton in London's West End as a member of the sound department, sharing behind-the-scenes insight into learning and mixing one of the most structurally complex musicals ever staged — and how the show shaped both her career and understanding of her own neurodivergence.

Heather Headley is known for her prolific career on Broadway, in music, and in TV and film. Headley has a multifaceted career, which she considers a blessing.Headley in 1997 made her breakthrough by being cast as the titular role of Nala in the Tony Award Winning Musical ‘The Lion King.' She then starred as the leading role of Aida in Elton John's and Time Rice's ‘Aida' where she won a Tony Award for Best Leading Actress. She also has been in the West End's “The Bodyguard,' the Broadway Revival of ‘The Color Purple,' and Encores ‘Into the Woods.'Heather Headley will be at The Mahaiwe Performing Arts Center on Friday July 31st with 'An Evening with Heather Headley' at 8pm.

In the 1960s, London's East End was ruled by a singular, terrifying force: identical twin brothers Ronnie and Reggie Kray, who seamlessly blended brutal gangland violence with West End celebrity glamour. This episode tears down the mythos of "The Firm" to examine the volatile psychological cocktail of Reggie's controlled sociopathy and Ronnie's escalating paranoid schizophrenia. By analyzing their most notorious murders, we explore how a symbiotic twin dynamic transformed a childhood bond into a lethal, co-dependent criminal empire.

Welcome to this bonus episode of the WhatsOnStage Podcast! Phelim McDermott has staged everything – gargantuan operas, intimate shows and even forays into the world of Studio Ghibli with My Neighbour Totoro. He now brings his show Tao of Glass to @sohoplace for a West End season – mixing puppetry, the music of Phillip Glass and pseudo-memoir in an experience hoping to redefine what a West End show can be. Hosted on Acast. See acast.com/privacy for more information.

pWotD Episode 3372: David Jonsson Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 340,693 views on Sunday, 26 July 2026 our article of the day is David Jonsson.David Jonsson (born 4 September 1993) is a British actor. He began his career on the West End, winning a Black British Theatre Award for his performance in the play and breathe... (2021). He is known for his performance in the BBC Two and HBO television series Industry (2020–22), as well as his roles in the films Rye Lane (2023), Alien: Romulus (2024), and The Long Walk (2025).In 2022, Jonsson appeared on the Evening Standard list of Londoners to watch and was one of British GQ's Men of the Year Honourees. He was named a 2023 Bright Young Thing by Tatler and a Screen International Star of Tomorrow. In 2025, he won the BAFTA Rising Star Award and was nominated at the British Independent Film Awards in the Best Lead Performance category for his role in the film Wasteman (2025). At the 2026 Comic-Con, Jonsson was announced as the new actor to portray Black Panther in the Marvel Cinematic Universe.This recording reflects the Wikipedia text as of 03:05 UTC on Monday, 27 July 2026.For the full current version of the article, see David Jonsson on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Olivia.

MLS is back and so are we! Adam and Adam return for Part 2 of the 2026 MLS season and this first one is a good one as FC Cincinnati take down the Western Conference leading Whitecaps 4-3 Wednesday night in the West End.Listen up as we recap the performance and talk about what the clubs needs to make a big move up the standings in the second half.@TheKingAdRock73 @NinoOne @sbucks67 @crackityFC @ComeOnYouFCC @fccincinnati @Zuhause513 @MLS #AllForCincy #FCCincy #YAL #WestEndBoys

FRIDAY HR 5 Ryan Holmes, The King of Denmark. His Royal Highness wants to maintain his level of street cred and coolness using the lingo of the kids today. And Russ just heard the word Goon for the first time. Angel on the 1s & 2s! Monsters BOTW with Dom from West End! See omnystudio.com/listener for privacy information.

As the summer season continues on Global DJ Broadcast, Markus Schulz is preparing for the imminent release of Dive - the gateway to In Search of Sunrise 22 - with the single available to playlist from Friday. He showcases Dive on the show this week alongside offerings from Matt Fax, Das Pharaoh, Ciaran McAuley and ilan Bluestone. Rising talent Pavlo Vicci checks in for the guestmix, ahead of his appearance with Markus at the Young Island Festival in Romania next week.   The Essentials with Markus Schulz 01. Ronski Speed - Nuru Mpya 02. Matt Fax - Till You Let Go [In Bloom] 03. Jardin Owens - 1991 04. Dance 2 Trance - Take a Free Fall (Nick Coles & Mike Cosford Remix) 05. Marsh - Home 06. Das Pharaoh & SHERRNX - Astral Abyss [Deeper Shades] 07. Ciaran McAuley, Azam Ali & Jeff Rona - Serenity (Ciaran McAuley presents Eli Remix) [A Moment of Sunrise] 08. Joris Voorn - Horizon (Eelke Kleijn Remix) 09. Markus Schulz featuring RVYM - Dive 10. Roddy Lima - Awake [Down the Rabbit Hole] 11. Ørjan Nilsen - Hurts 12. Westend & Darla Jade - Lighter 13. Ilan Bluestone & Gid Sedgwick - Save a Prayer 14. Boxer - Verde (Jerome Isma-Ae Remix) 15. Mike EFEX - Never Be Alone 16. Aerofoil - Caress 2 Impress (Markus Schulz Big Room Reconstruction) [Hall of Fame]   Pavlo Vicci 01. ARTBAT & SIX40TWO - Take You There 02. ID 03. Kotier - Smalltown Boy 04. Disco Lines & Maesic featuring Mason & Princess Superstar - Push It 05. Armin van Buuren featuring Sharon den Adel - In and Out of Love (Pavlo Vicci Remix) 06. Pavlo Vicci x Claudia Pavel - Win it All 07. Pavlo Vicci - Freak No More 08. John Summit - Lights Go Out (Pavlo Vicci Remix) 09. The Prodigy - Voodoo People (Pavlo Vicci Remix)   The Final 30 17. Rank 1 featuring Notelle - Serotonin 18. Eli Brown - Electrify 19. ALAT - Kreator 20. Sarah de Warren - Games 21. Push - Back When We Believed 22. The Rocketman & Joyhauser - That Feeling 23. John Askew - Dialled In 24. Aeon Shift - Point of No Return  

It's time once again for our Best of the Midwest feature for 2026! Are you trying to come up with some quick getaway ideas that are only a quick trip from the Chicago area? Well, John Williams has some great recommendations for your trip! Today, we take another trip north and visit with the always […]

It's time once again for our Best of the Midwest feature for 2026! Are you trying to come up with some quick getaway ideas that are only a quick trip from the Chicago area? Well, John Williams has some great recommendations for your trip! Today, we take another trip north and visit with the always […]

  Listen to the Show Right Click to Save GuestsThe Jigglewatts Burlesque ReviewDevin FinnAlex Garza Aye No! What We Talked About Les Mis in Concert Hadestown in theatres Oh, Mary West End to start at 6:30? They're playing Our Song – Espanol Theater Games App Real Women have Curves – Pasadena Thank you to Dean Johanesen, lead singer of "The Human Condition" who gave us permission to use "Step Right Up" as our theme song, so please visit their website.. they're good! (that's an order)   

It's time once again for our Best of the Midwest feature for 2026! Are you trying to come up with some quick getaway ideas that are only a quick trip from the Chicago area? Well, John Williams has some great recommendations for your trip! Today, we take another trip north and visit with the always […]

Nat & Ben are a bit hysterical this week, and consequently there's a lot of tangents as they pick their way through Episode 5: a particular scene from Billy Madison, cultural criticism and review, being a terrible spy, considering West End theatre choices and so much more. But don't worry, your intrepid pair do manage a bit of chatter about the episode itself, including Aegon's well-deserved kill & brotherly comparison, Ormund's strategic genius and personal awfulness, Criston Cole's death march, Daemon being right all the time, and the sassy genius of Torrhen Manderly. Enjoy (add in intervals if you need them)!

Fluor Field is more than a ballpark. Greenville Drive president Jeff Brown shares how a family-owned mini Fenway sparked $300M in economic impact and transformed Greenville's West End through public-private partnership.Episode Resources:Fluor Field Economic Impact StudySimple Civics:Simple Civics: Greenville County is a project of Greater Good GreenvilleGet in touchSupport Simple Civics with a tax-deductible contributionSign up for the Simple Civics newsletter.View our entire catalogueSimple Civics: Greenville County is produced by Podcast Studio X.

Jen Schriever is a Tony Award–nominated lighting designer working across Broadway, the West End, Off-Broadway, regional theatre, and opera.  Most recently, Schriever received the Drama Desk Award and Outer Critics Circle Award for Outstanding Lighting Design for The Lost Boys at the Palace Theatre, a 12-time Tony Award–nominated production that earned her a Tony Award nomination for Best Lighting Design, shared with co–lighting designer Michael Arden.  She received two Tony nominations for her lighting design of A Strange Loop at the Lyceum Theatre and Death of a Salesman at the Hudson Theatre. She is also an Obie Award-winner for Sustained Excellence in Lighting Design and received an Obie Award Special Citation as part of the creative team and ensemble of A Strange Loop.  On Broadway and in the West End, her work includes Art (Music Box Theatre), Glengarry Glen Ross (Palace Theatre), Eureka Day and Lackawanna Blues (MTC, Samuel J. Friedman Theatre), Death of a Salesman (Hudson Theatre), 1776 and Birthday Candles (American Airlines Theatre), A Strange Loop (Lyceum Theatre, The Barbican), Mother Play; Grand Horizons and What the Constitution Means to Me (Helen Hayes Theater), The Lifespan of a Fact (Studio 54), Eclipsed (Golden Theatre), and John Leguizamo's Ghetto Klown (Lyceum Theatre and HBO).  Off-Broadway and New York credits include Antigone (This Play I Read in High School) and The Other Americans (Public Theater), Strategic Love Play (Audible, Minetta Lane Theatre), Spain (Second Stage, Tony Kiser Theatre), Shhh (Atlantic Theater Company), Power Strip (Lincoln Center Theater, Claire Tow Theater), Usual Girls (Roundabout Theatre Company), Strange Interlude (Irondale Theatre, Transport Group), Emmet Otter's Jug-Band Christmas (New Victory Theater), and Selling Kabul (Playwrights Horizons).  Regionally, her work includes Uncle Vanya (Berkeley Repertory Theatre), Highway Patrol (Goodman Theatre), Hippest Trip: The Soul Train Musical (American Conservatory Theater), A Transparent Musical (Mark Taper Forum), A Strange Loop (Woolly Mammoth Theatre Company). She earned a Helen Hayes award for Private Jones at Signature Theatre DC.  In opera, Schriever has designed A Thousand Splendid Suns (Seattle Opera), Iphigenia (tour), The Pearl Fishers and Die Fledermaus (Metropolitan Opera), and La Traviata, Faust, and A Midsummer Night's Dream at the Mariinsky Theatre in Russia, as well as The Pearl Fishers for English National Opera in London.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on Sustainability Now!, we bring you highlights from The Exchange: Data Centers 101, a summer series of weekly community conversations organized by UofL's Envirome Institute to examine data center impacts in areas such as health and the environment. The June 10th event was focused on Data Centers & Health, examining the threats they pose to human health. The guest was LaTricea Adams, founder of Young, Gifted and Green, exploring the health impacts of rapid data center development and expansion. Watch the full presentation at https://www.youtube.com/watch?v=MqNhuz0yxok&list=PL3EGWMSHI12br0ncQSSC9GP4aOB3pHOwf&index=2 The Exchange: Data Centers 101 is a new initiative from the Green Heart Project and the Superfund Research Center at UofL's Envirome Institute. Community interest in understanding more about the potential impacts of data centers led to the focus on this topic. You can watch all of the webinars in the series at https://www.youtube.com/playlist?list=PL3EGWMSHI12br0ncQSSC9GP4aOB3pHOwf The series concludes with a Film Screening and Panel coming up this week on Thursday, July 23rd at the YMCA, 1720 West Broadway, with a Film Screening at 6:00pm, followed by a panel discussion starting at 7pm. UofL's Envirome Institute, Green Heart Louisville and the UofL Superfund Research Center invite you to the culmination of their summer series called The Exchange: Data Centers 101 with an in-person film screening and panel. The evening will begin with a 6pm screening of The Beginnings of the Internet's Energy Crisis, followed by a panel discussion at 7 pm. The panel will cover community perspectives, health impacts, environmental impacts, and policy implications related to data centers. Panelists include: Byron Gary - a Senior Attorney at Kentucky Resources Council. He holds degrees in political science and philosophy from the University of Louisville and a J.D. from the University of Louisville Brandeis School of Law. Elisa Owen - a Senior Energy Organizer in Kentucky. She works with the Sierra Club's Beyond Coal Campaign, collaborating closely with the Kentucky Chapter as their cheap energy specialist. Before joining the Sierra Club in February 2025, Elisa served as Kentucky Interfaith Power and Light's Executive Director. Donovan Taylor - who has been leading tours in Louisville's historic West End since 2012 and now operates a guided bus tour throughout the West End's 10 neighborhoods. Taylor's goal is to teach people more about West End neighborhoods, including the triumphs of residents there. He also serves as a Chickasaw community leader. Moderated by Dr. Ted Smith - the Director of the Center for Healthy, Air, Water and Soil, Co-founder of the Envirome Institute, and Interim Associate Dean for Research in the School of Public Health and Information Sciences. Register to attend in person: https://www.eventbrite.com/e/the-exchange-data-centers-101-film-screening-and-panel-tickets-1992856537550?aff=oddtdtcreator Register to attend virtually: https://us02web.zoom.us/meeting/register/0jZWH5BHQ1uXzHHzn_q7jg#/registration  As always, our feature is followed by your community action calendar for the week, so get your calendars out and get ready to take action for sustainability NOW! Sustainability Now! is hosted by Dr. Justin Mog and airs on Forward Radio, 106.5fm, WFMP-LP Louisville, every Monday at 6pm and repeats Tuesdays at 12am and 10am. Find us at https://forwardradio.org

What if addiction isn't the problem, but the solution to pain you never knew you were carrying? Anita Chellamah looked like she had everything. She appeared on Top of the Pops with Legs & Co, fronted and co-wrote The Cherry Bombz, supported Poison on tour in America, performed at the legendary CBGB in New York and on the Reading Festival Main Stage, was a member of Toto Coelo, who reached No. 6 in the UK charts and No. 4 in Australia, and became one of the first presenters on Sky Television and one of its first presenters of colour, hosting her own shows and performing Sky's 5th Anniversary song. From the outside, it looked like success in every direction. Behind the scenes, however, she was quietly battling addiction. At just 19, while performing in the West End production of Bubbling Brown Sugar, she was prescribed amphetamines by a private doctor who was later struck off. By her late twenties, nights began with champagne, continued with cocaine and ended with Night Nurse. At 29, she stopped. She hasn't had a drink or a drug since.Today, Anita is a trauma, addiction and DBT therapist with nearly four decades of sobriety. Qualified since 1998, she works in private practice, receiving referrals and working with organisations including the Priory, Steps Together and Castle Craig, specialising in addiction, trauma and Dialectical Behaviour Therapy (DBT) with individuals, couples, families and groups. Anita explains why rock bottom rarely looks like the movies, why childhood trauma, shame and emotional pain so often drive addiction, and why recovery is about far more than simply putting down the drink or the drug.We explore the hidden links between trauma, ADHD, binge drinking, cocaine addiction, alcoholism, codependency, self-worth, mental health, emotional regulation and long-term recovery. Anita shares how recovery transformed not only her relationship with alcohol and drugs, but also the way she understands herself, her emotions and the world around her.The conversation also tackles some of the biggest debates in recovery today, including trauma therapy, 12-step fellowships, medication in recovery, antidepressants, ADHD medication, relapse prevention, addictive personality and why there is no single path that works for everyone. Nearly 40 years sober, Anita's humility, honesty and wisdom offer hope to anyone wondering whether lasting recovery from addiction and alcoholism is really possible.Oliver is an ambassador for Alcohol Change UK and you can access support here - https://tinyurl.com/5dt5773eThank you to Gavin Sisters for sponsoring this episode! Visit -www.gavinsisters.co.ukand use promo code SCHOOLOFROCKBOTTOM for 10% off!Podcasting is an expensive passion. To help me keep going, I'd really appreciate it if you could buy me a coffee, thank you!https://buymeacoffee.com/olivermason1Or via PayPal - https://www.paypal.me/olivermason1paypalTopics -0:00 Trailer & Intro2:55 A rock bottom moment 5:25 Binge drinking & progression9:25 Childhood 12:45 ADHD and intrusive thoughts 14:30 Using performing arts as medicine 17:25 Access vs genetics 18:45 Dealing with denial 20:15 Recovery in 198825:35 Do all addicts have trauma?30:35 We are all different 33:35 How therapy helped Anita 38:25 WE ARE NOT DOCTORS!43:50 Still an addict after 38 years?48:20 Humility & labels 51:35 Addictive personality & escape?57:20 Boundaries Follow Anitahttps://www.instagram.com/anitachellamahFollow OliverInstagram - https://tinyurl.com/2vt29sjvFacebook - https://tinyurl.com/34cwz59rTikTok - https://tinyurl.com/ujw4vxn9LinkedIn - https://tinyurl.com/yuemhnd7Threads - https://tinyurl.com/yk7vdeahX - https://tinyurl.com/3u5mnpdsPlease subscribe, follow, like, leave a review and comment!YouTube - https://tinyurl.com/y5bwbcaySpotify - https://tinyurl.com/58jp2jyjApple - https://tinyurl.com/y3n2chk3#Addiction #Recovery #Sobriety

West End performer. Wicked film cast member. House renovation survivor. And our kind of person.This week Cara and Bronagh are joined by the brilliant Courtney Mae Briggs — West End actress, content creator, mum to two year old Minnie, and the woman who played the mum in the Wicked film alongside Ariana Grande and Cynthia Erivo. Yes, really. And somehow we nearly got through the whole episode without anyone realising quite how major that is.Courtney tells us about growing up in Surrey, training at drama college and going straight into work — including the original London cast of Hamilton, Back to the Future the Musical, In the Heights and Strictly Ballroom. She opens up about what it's actually like doing eight shows a week in the West End, the adrenaline of coming offstage at half ten in Covent Garden and immediately going out, and the surreal experience of filming Wicked — singing live on set, doing the whole duet sequence in one Steadicam take, and her costume ripping between takes while sixty crew members stood watching. Oh, and she once farted on stage during Hamilton and the skirt wafted it directly into the audience. 1200 people. She's fine about it now.House renovations, the chaos of coming home from hospital with a newborn to a building site, why Courtney is completely unbothered about people scuffing her nice kitchen, and the old school video camera she uses to document family life that had everyone reaching for their phones to order one.Courtney's route from Surrey to drama college to the original London cast of HamiltonWhat it's really like performing eight shows a week — the fitness, the injuries and the adrenalineThe Wicked film — how she got the role, filming live on set and why the costume kept splittingHouse renovations, newborns on building sites and why Cara is still waiting for her showerFive beauty must haves — Charlotte Tilbury Flawless Filter, Biodance collagen masks, Sunday Riley Good Genes, Pearl Beauty bronzer and Medicube pore padsThe wardrobe malfunction that shall not be named. (It was the fart. On stage. In Hamilton.)Find Courtney: @courtneymae_briggs on InstagramInstagram: @schoolrunwaypodLeave us a voice note: https://sayhi.chat/oeks4Don't forget to leave us a review on Apple Podcasts & Spotify! x Hosted on Acast. See acast.com/privacy for more information.

What impact do hormones have on women with ADHD? A pioneering study by Kings College and Queen Mary University in London is putting the link to the test, by asking 50 women who are medicated for their ADHD to track their menstrual cycle. Report academic Dr Jessica Agnew-Blais and Laura Mears-Reynolds from the charity ADHDAF+ join presenter Nuala McGovern to discuss why the research matters.This weekend Dalia Stasevska conducted the first night of the BBC Proms. The Finnish-Ukrainian Principal Guest Conductor of the BBC Symphony Orchestra also has a new album, Ukrainian Mixtape, recorded with the BBC Symphony Orchestra, showcasing rarely heard works. Dalia joins presenter Anita Rani to discuss her route into conducting and her passion for Ukrainian music.New analysis in The Economist suggests that, after years of progress, fewer women are reaching executive positions and there may also be signs that younger women are becoming less interested in promotion. Nuala speaks to the author of that report, Vinjeru Mkandawire, and Sanchia Neilson who left an executive role to rebalance her life.Australian surf and fashion photographer Cait Miers is photographing 1,000 women globally, bare-faced, for a project she has called Laugh Lines. Anita talks to Cait about her mission to challenge beauty standards and also Alexis Zahner, one of the first women to be photographed for the project.Actor Sarah Hadland will be a familiar face to many, having played numerous roles over the years, but is probably best known as Stevie in the BAFTA-nominated sitcom Miranda. Currently on stage in London's West End, she joins Nuala to discuss her latest role as Alice in The Truth, a fast-paced comedy of infidelity and duplicity.Presenter: Anita Rani Producer: Kirsty McQuire

West End star and Olivier Award winner Ruthie Henshall has a new memoir and as you might expect it's very glamorous and full of tales about the cast of Cats, Les Mis and Crazy for You. It also tells the story of her secret five year relationship with a young Prince Edward, how the now-King of England mixed her first martini and Princess Diana encouraged her to belt out a show tune after dinner.Performer and all-round master entertainer Joe Pasquale is making his Edinburgh Fringe debut this year - before now he's always been too busy presenting The Price Is Right or competing in Dancing on Ice or winning I'm a Celebrity. Find out about his show - 11 and a half Angry Men. The comedian Tez Ilyas, star of Man Like Mobeen and The Tez'O Clock Show is also heading for Edinburgh and then out on tour with his new show - Tez Things I Hate About You. He's entered his "uncle stage", he says, and thrives on deinfluencing.Plus music from soul singer Mica Millar and from The Zutons front man Dave McCabe, now solo.Presenter Kiri Pritchard-Mclean Producer Olive Clancy Assistant producer Lizzie Foster Production co-ordinator Pete Liggins Technical producers Amy Brennan and Kelly Young

On the day Scoot announced bringing an 80s Night to Felix's at West End in an effort to revive partying at West End, the city of New Orleans and Jefferson Parish agree to a plan to redevelop West End as a destination for fun. What do you remember about West End when it was thriving?

On the day Scoot announced bringing an 80s Night to Felix's at West End in an effort to revive partying at West End, the city of New Orleans and Jefferson Parish agreed on a plan to redevelop West End as a destination for fun. What do you remember about West End when it was thriving?

On today's show, Scoot reacts to President Trump's address to the nation. What important things did the president address? On the day Scoot announced bringing an 80s Night to Felix's at West End in an effort to revive partying at West End, the city of New Orleans and Jefferson Parish agreed to a plan to redevelop West End as a destination for fun. What do you remember about West End when it was thriving?

New Orleans and Jefferson Parish leaders have reached an agreement on redeveloping West End. We talk with Councilmember Aimee McCarron about the news.

* President Trump and his family have benefited from a number of trade deals. Is it abnormal? * New Orleans and Jefferson Parish leaders have reached an agreement on redeveloping West End.

This episode we are joined by performers Posi Morakinyo and Shaun Escoffery! Posi and Shaun are currently starring as Simba and Mufasa in The Lion King UK. Shaun has been with the production of The Lion King in the UK for the last 18 years and Posi making his return to the West End in the show. If you're in London, make sure to see Posi and Shaun in the Lion King!

Multi-hyphenate actor, producer, writer, and director, Sarah Drew is best known for playing 'Dr. April Kepner' for nine seasons on the hit ABC series "Grey's Anatomy" and Hannah Rogers in Warner Bros' "Everwood". Her recent TV credits include Freeform's hit series "Cruel Summer" which was the recipient of the Hollywood Critics Association Award for Best Cable Drama Series, and the critically acclaimed Apple TV+ series "Amber Brown," written, directed and produced by Bonnie Hunt. Sarah released four films in 2023, producing and starring in Lifetime's "The Girl Who Caught a Killer", Sony Affirm's "Birthright Outlaw", and starring in Hallmark's "Guiding Emily". "A Cowboy Christmas Romance" marks Sarah's second feature film that she's written and executive produced for Lifetime, in 2022, Sarah produced and starred in her writing debut "Reindeer Games Homecoming" as part of Lifetime's holiday slate. Sarah made her directorial debut in "Grey's Anatomy: B-Team the Webisodes" which was nominated for the Primetime Emmy Awards for an Outstanding Short Form Comedy or Drama Series. She recently directed a radio play for LA Theater Works called "Fever Syndrome" which is set to be released later this year. In film, some notable projects include her debut in Columbia Picture's "Radio" alongside Ed Harris and Cuba Gooding Jr., as well as the lead in the hit Sony comedy "Moms' Night Out" alongside Patricia Heaton and Sean Astin. In 2022, she received a Canadian Screen Award Nomination for her lead role in Lifetime's "Stolen By Their Father". She began producing with Provident Films' "Indivisible," in which she starred alongside Tia Mowry. Sarah got her start in the arts at a young age before booking the lead role of the critically acclaimed production of Romeo and Juliet at McCarter Theatre Center, an award winning regional theater, in her fourth year of university. The opportunity catapulted her career, opening doors thanks to rave reviews by critics. She went on to make her Broadway debut in Vincent and Brixton, a classic play based on Vincent van Gogh, at the Lincoln Center Theater, then London's West End, before moving to Los Angeles to pursue a career in television and film. From stage to screen, Sarah emphasizes the importance of leading with your strengths by sharing a story of how a last-minute gut decision to perform a monologue instead of a musical number at a casting director workshop launched her career. You won't want to miss this episode as Sarah discusses how she approaches text, what makes for a dynamic self-tape, and the love she's found for producing, writing and directing. These are the unforgettable stories that landed Sarah Drew right here. Credits: The Stars Between Us Mistletoe Murders Grey's Anatomy Birthright Outlaw Guiding Emily How She Caught a Killer Reindeer Games Homecoming Cruel Summer Glee Everwood Mad Men Amber Brown Private Practice Mom's Night Out Radio Guest Links: IMDB: Sarah Drew, actor, producer, director, writer Instagram: @thesarahdrew THAT ONE AUDITION'S LINKS: For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me: @alyshiaochse & @thatoneaudition THE BRIDGE FOR ACTORS: Become a WORKING ACTOR (50% off special) THE PRACTICE TRACK: Membership to Practice Weekly CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com APPLE PODCASTS: Subscribe to That One Audition on Apple Podcasts SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher EPISODE CREDITS: HOST/PRODUCER: Alyshia Ochse WRITER: Maddie McCormick WEBSITE & GRAPHICS: Chase Jennings SOCIAL: Alara Cerikcioglu

Mark Kermode and Jack Howard discuss Matt Johnson's Canadian comedy Nirvanna the Band the Show the Movie at the Sun pub in London's West End.Other films mentioned in this episode:Back To The Future (1985)Bill & Ted's Excellent Adventure (1989)The Hangover (2009)Borat (2006)Backrooms (2026)Obsession (2025)Bo Burnham: Inside (2021)The Holdovers (2023)Blackberry (2023)With thanks to Richard Gay and The Sun Pub on London's Drury Lane.Kermode on Film is an HLA Agency productionProduced by Hedda Lornie Archbold and Nicki Glossop© HLA Agency Hosted on Acast. See acast.com/privacy for more information.

Sarah Hadland will be a familiar face to many, having played numerous roles over the years, but is probably best known for her role as Stevie in the BAFTA-nominated sitcom Miranda. Currently on stage in London's West End, she joins Nuala McGovern to discuss her latest role as Alice in The Truth, a fast-paced comedy of infidelity and duplicity. The second phase of the Southport inquiry will resume in September. It was set up after Bebe King, Elsie Dot Stancombe and Alice da Silva Aguiar were murdered at a dance class in 2024. Its chairman Sir Adrian Fulford wants to find ways to respond to the dangers posed by violence-fixated individuals - individuals who may carry out extreme violence, where ideology is not the primary driver. The government programme Prevent focuses on tackling extremist ideologies that lead to violence and aims to stop people from becoming terrorists or supporting terrorism. Lord Anderson was the Independent Prevent Commissioner from January 2025 to April 2026, who published an independent review 'Lessons for Prevent' which also looked at why Prevent failed to stop the Southport attack. Some are asking whether misogyny should be considered an ideology within government schemes. Nuala discusses with Lord Anderson and Dr Ruth Tulley, a consultant forensic psychologist. We're in the middle of our third heatwave of the year - and temperatures are set to climb again later this week. Scientists say that what makes this year's heatwaves distinct is that right across Europe temperatures have remained high overnight as well as in the day. In June, London alone recorded five consecutive nights over 20 degrees Celcius, what meteorologists call "tropical nights". The temperatures inside many homes will have been much higher. Lots of us are reporting struggling to sleep. Consultant Paediatrician, Dr Guddi Singh and GP, Dr Sarah Jarvis join Nuala to discuss what to do if you are caring for a baby. The author Jennifer Saint has retold some of the best-known stories from Greek literature and mythology through the eyes of women: Ariadne, Atalanta, Electra and Hera. In her latest novel, This Immortal Heart, Jennifer turns to Aphrodite, the ancient Greek goddess of love and reimagines Aphrodites' relationship with Ares, the god of war. Jennifer joins Nuala to talk about how stories that originated over two thousand years ago and their themes can tackle contemporary questions about female agency and identity – and what happens when two seemingly opposite forces – love and war - are drawn irresistibly together.Presented by Nuala McGovern Producer: Louise Corley

Marti Webb, Gemma Craven, and Diane Langton--do you know them? Here's your chance: my favorite West End musical heroines of the 1970/80s, singing from The Good Companions, Trelawny, Windy City and, yeah, a couple of other shows you've actually heard of. . . 

Jinkx Monsoon is a legend in the world of drag. For fans of RuPaul's Drag Race she is often referred to as "Queen of All Queens" – she's the only performer to win that competition show twice. Monsoon is set to make her debut on London's West End this August in London in Cole Escola's Tony award-winning play Oh Mary. We discuss Jinkx's latest gigs on the stage and how she found herself through drag performances. A version of this interview originally aired in September of 2025.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Will and Trevor are back for Episode 374 of The Dore Report.With fall camp now just one month away, the guys kick things off by discussing the countdown to football season, what they're watching over the next few weeks, and why the excitement around Clark Lea's program continues to build.Then it's over to the hardwood, where Mark Byington landed his biggest high school commitment yet as Vanderbilt secured four-star wing Gabe Nesmith, the program's highest-rated commitment since Darius Garland and Simi Shittu. The guys break down what makes Nesmith such a special prospect and why his commitment is another major step toward building an elite program on West End.Finally, the attention shifts to the VandyBoys, where Tim Corbin continues his aggressive transfer portal overhaul with the additions of Michigan left-hander Shane Brinham, Wake Forest catcher Matt Conte, and Western Kentucky left-hander Dominic Monaco. The guys discuss what each player brings to Nashville, how the roster is taking shape for 2027, and whether Corbin has fully embraced college baseball's new reality.Plus - another TDR Cocktail Break, and another outstanding round of Premium Message Board Questions.Let's have ourselves a Wednesday.SUBSCRIBE TO THE DORE REPORT TODAY FOR JUST $1 AND GET 50% OFF YOUR FIRST YEAR - https://www.on3.com/sites/the-dore-report/join/

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Steve catches up with FAMOUS MULTIHYPHENATE Joey Richter, from Team Starkid, and The Tin Can Bros.! Joey eats lunch and crunchy chips while they discuss his career, the YouTube series they worked on together, The Wayward Guide for the Untrained Eye, and his London's legendary musical West End debut!Advertise on Dynamic Banter via gumball.fmJOIN the Patreon: patreon.com/dynamicbanterGET the MERCH: dynamicbanter.clothingSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.