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Teeth 'n' Smiles starring Rebecca Lucy Taylor aka Self Esteem (Duke of York's Theatre, West End) - ★★★★ REVIEW
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- [00:00]
A
Howdy, howdy ho, and welcome to Fantasy Fan Fellas. I'm Hayden, producer of the Fantasy Fangirls podcast and your resident lover of all things Sanderson.
- [00:08]
B
And I'm Stephen, your bookish Internet goofball, but you can call me the Smash Daddy.
- [00:12]
A
And we are currently deep diving Brandon Sanderson's fantasy epic Mistborn. But here's the catch. Steven here has not read Mistborn before.
- [00:21]
B
That's right.
- [00:21]
A
Hey.
- [00:21]
B
Hey. So each week, you'll get my unfiltered raw reactions to every single chapter.
- [00:26]
A
And along the way, we'll do character deep dives, magic explainers, and Steven will even try to guess what's next. So, spoiler alert, he'll be wrong.
- [00:33]
B
News flash, I'm never wrong. Episodes come out every Wednesday, and you can find Fantasy fanfellas wherever you get your podcasts.
- [00:40]
C
Let's be completely honest. Are you happy with your job? The fact is, a huge number of people can't say yes to that. Too many of us are stuck in a job we've outgrown or one we never really wanted in the first place. But we stick it out and we give reasons, like, what if the next move is worse? And I've put years into this place, and maybe the most common one. Isn't everyone miserable at work? But there's a difference between reasons for staying and excuses for not leaving. It's time to get unstuck. It's time for Strawberry Me. They match you with a certified career coach who helps you get from where you are to where you want to be, either at your existing job or by helping you find a new one. Your coach helps clarify your goals, creates a plan, and keeps you accountable along the way. Go to Strawberry Me Career and get 50% off your first coaching session. That's Strawberry Me Career. Acast powers the world's best podcasts.
- [01:40]
D
Here's a show that we recommend.
- [01:44]
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Hey, guys. Welcome to Giggly Squad, A place where we make fun of everything, but most importantly, ourselves. I'm Paige Desorbo. I'm Hannah Berner. Welcome to the squad. Giggly Squad started on Summerhouse when we were giggling during inappropriate time. But of course, we can't be managed. So we decided to start this podcast to continue giggling. We will make fun of pop culture news. We're watching fashion trends pep talks where we give advice, mental health moments and games. And guests. Listen to Giggly Squad on Acast or wherever you get your podcasts.
- [02:15]
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Acast helps creators launch, grow and monetize their podcasts everywhere.
- [02:21]
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Acast.com. they are actually playing rock instruments on stage. There is actually fire on stage. This is sex and drugs and rock and roll and for one brief moment, a real life Alsatian. Oh my God. Hey. Welcome back to my theatre themed YouTube channel or hello to those of you listening to this review on podcast platforms. My name is Mickey Jo and I'm obsessed with all things theatre and this evening I was invited to the Duke of York's Theatre in London to review the opening night performance of, wait for it, David Hare's Teeth and Smiles, a play which first premiered at the Royal Court Theatre in Lond in 1975, making this the 50th anniversary production. This, for those of you who are seeing me rather than just hearing my voice right now, is the playbill. It is tiny and red. That is not any kind of a cultural reference. From what I can tell, it's something that the producers Wessex Grove are simply enjoying doing recently. But this, in any case is a new production of the play starring Rebecca Lucy Taylor, the recording artist better known as Self Esteem, in a role originally created by Dame Helen Mirren. And the play, in the immediate aftermath of its premiere, was produced in various theaters around the country, starring various actors who would go on to become hugely successful well known names. It hasn't, however, been seen all that much in the decades since, and that's possibly because it feels so much like a chapter of its own era. And there has been perhaps the need to gain a little bit of distance from that so that we can look back on it as a real retrospective nostalgia piece. And yet, the world being as cyclical and inevitable as it is, it's interesting how much this play, which is set in 1969, was written in the 1970s, has to say about where society is right now. There is plenty for us to discuss about the writing, about the themes, about the way in which it has been brought back to the stage, about the direction by Daniel Raggett, and about the central performance by Self Esteem. And I'm going to dig into every detail of it right now, but I would also love to know what you thought. If any of you have had the opportunity to see this or a different version of the play, please let me know what you thought in the comments section down below. Just before I begin, a moment for the merchandise. This band, Merch Style T shirt, which does have their fictitious tour dates on the back as well. I look forward to spending the rest of my life telling people it's an indie band they wouldn't have heard of. And I did spend a good few Minutes as I was arriving to the Duke of York's Theatre, seeing instruments set up on the stage, thinking, close enough. Welcome back, Stereophonic. And there are similarities with that American play and also differences. Let me tell you everything about teeth and smiles. So I knew incredibly little about this play before going to see it this evening. I thoroughly enjoyed watching it. I enjoyed digesting it and considering it even more. This is the most thought I think I've had to give a play in quite some time. And that's because it has this sort of equality to it. Familiar of late night, inebriated, smoking area conversations in which it's hard to tell if the conversation that you're listening to or engaging in is incredibly profound and insightful and groundbreaking, or utterly vapid and meaningless. Neither of which is necessarily a bad thing. And I think it's actually very symptomatic of the anarchic rock and roll personalities being depicted on stage here at a time when they have begun to up hope. I'm going to tell you a little bit more about the events of the play, but one of the key details that you need to know is that it is set in 1969 and it's taking place at the end of this entire era of liberation and this dream of change and all of this radical free thinking. The social revolution of the 1960s is beginning to wane as we are heading towards a new decade. And throughout the play there is this recurring idea that multiple characters are experiencing what I would characterize as revolutionary fatigue, having spent years performing the same riotous anthems of rebellion and affecting scarcely any social change. That, I think is also an aspect of the play which finds a lot of parity with where we are now, at a moment of real political indifference and fatigue. But back to the plot of this play. It's taking place at an interesting event in an interesting location. We find ourselves at Jesus College, Cambridge, where they are celebrating their May Ball and this failing female fronted mess of rock band Maggie Frisbee and the Skins Peep the T Shirt have been booked to perform. They arrive 90 minutes late with no sense of haste in these glorious sort of stereophonic esque initial moments. I say stereophonic esque. Obviously this play was written first by multiple decades, but it's a similar sort of low stakes cold open in which we have a lot of cross talk and various different musicians entering the space and trying to figure out what's happening and who they're waiting for. The burden is on us, the audience, to discern the personalities that we are seeing introduced by these wild 1970s aesthetics. We see these bright red leather trousers that are laced up down the side, we see platform boots and cut off denim shorts and patchwork jeans and a roadie with a half shaved head. We have this unmistakable sense of when we are and we begin to figure out what it is that we are looking at. There is one character absent who is being conspicuously discussed in advance of her arrival and that is Maggie. Eventually, after much talk of her, she arrives on stage in this not so glamorous rock star entrance, carried unconscious by two other band members wearing silver platform boots and vomiting, prompting the long suffering staff member at the college, as well as one of the student organizers to become quickly very concerned, exacerbated by the fact that the band are sitting around doing absolutely everything except setting up for the gig that they're already very late to perform. Instead, they share competitively boring trivia, contemplate the offer of blowjobs, and critically do not seem to react to the chaos unfolding for their lead singer, Maggie, who is carried off to a bathtub and cleaned before she has to perform. There's a really great line in one of these introductory scenes after it's announced, before she said anything on stage, by the way, by another band member that she doesn't want to perform, that she's refusing to perform. Her former romantic partner and songwriter who has come to watch the performance, tells the very nervous young student. The nights that she's not going on are fine. It's the nights that she can't wait to get on the stage that you have to watch out for. All of which is powerful and exciting foreshadowing for her eventual arrival and performance. Inelegant as all of this may be, it's a real star turn setup and that is eventually exactly what we get a star performance. As she bursts onto the stage in this wraparound, heavily fringed peach dress, which we've already seen handed between band members and brought to her backstage. We have seen the creation of this Persona from the mess that was carried in from the van, basically completed by what I would describe as an egregious smokey eye and the spectacular thigh high tiger print boots. She's something of a wild, untamable jungle cat herself, as we come to find out, and the entire plot unfolds over the course of this one chaotic, self destructive evening. They are performing this gig. They are meant to be doing multiple sets, but before they can even complete them, circumstances evolve beyond their control. They are surprised amidst all of this to be joined by by Their sort of sly and scheming manager, Seraphian, and a new act that is by his side. And while the increasingly off the edge of a cliff feeling that seeps in over the course of Stereophonic arises largely as a result of interpersonal tensions within the members of the group, here it, you know, there's a lot of that as well. There's a lot of resentment and irritation. But it also, more than anything, seems to have a lot more to do with their frustrations with the entire world, with society, and the little satisfaction that each of them is able to gain. This can be as small and specific as is what we're doing, even really rock and roll anymore. Or it could be as big as I don't know how to be happy in a world that is growing ever more complicated. And this emergence from the idealism and the belief of the 1960s is also evidenced by another younger character on stage, the nervous student organizer who I was telling you, who attempts to come out of his own shell by the second act, and who, in his attempt to interview the loaded gun that is Maggie Frisbee, finds himself as something more of a sexual conquest, albeit a slightly disappointed one. And the eventually pertinent questions that he asks while interviewing her, to which she initially responds with the same sort of stock answers and a possibly manufactured backstory, echoes some of the play's ideas and facilitates some of its conversation around, you know, whether rock and roll truly has affected any kind of major social change. The discussion of which surfaces occasionally alongside more personal exchanges and a little bit of a critique of the music industry. Throughout the play there are these flashes of impact and meaning in the things that are being said. But there's also this sort of drug addled sense of disconnect between consecutive ideas. And that feels very much by design in the mouths of these characters who are too bored, depressed, frustrated and some of stoned to even want to have this conversation in the first place. It's as much a depiction on this soul crushing, scarcely rewarding rock and roll touring lifestyle as it is a larger commentary. And in the first act, and after seeing David Hare's other sort of more incisive and focused work, I found myself slightly impatient in anticipation of, you know, a greater coming together of these thoughts and a more focused idea to the narrative. That isn't necessarily what emerges here, but it's a lot about character as well as the gradual instilling of this real sense of emptiness and despair, most of which we gained through the character of Maggie Frisby. Let me tell you Next, about the performance of Rebecca Lucy Taylor, AKA Self Esteem.
- [12:35]
A
Howdy, howdy ho, and welcome to Fantasy Fan Fellas. I'm Hayden, producer of the Fantasy Fangirls podcast and your resident lover of all things Sanderson.
- [12:43]
B
And I'm Stephen, your bookish Internet goofball, but you can call me the Smash Daddy.
- [12:47]
A
And we are currently deep diving Brandon Sanderson's fantasy epic Mistborn. But here's the catch. Steven here has not read Mistborn before.
- [12:56]
B
That's right.
- [12:57]
A
Hey.
- [12:57]
B
Hey. So each week, you'll get my unfiltered raw reactions to every single chapter.
- [13:01]
A
And along the way, we'll do character deep dives, magic explainers, and Steven will even try to guess what's next. Spoiler alert. He'll be wrong.
- [13:08]
B
News flash. I'm never wrong. Episodes come out every Wednesday, and you can find Fantasy fanfellas wherever you get your podcasts.
- [13:15]
C
Let's be completely honest. Are you happy with your job? The fact is, a huge number of people can't say yes to that. Too many of us are stuck in a job we've outgrown or one we never really wanted in the first place. But we stick it out and we give reasons, like, what if the next move is worse? And I've put years into this place, and maybe the most common one. Isn't everyone miserable at work? But there's a difference between reasons for staying and excuses for not leaving. It's time to get unstuck. It's time for Strawberry Me. They match you with a certified career coach who helps you get from where you are to where you want to be, either at your existing job or by helping you find a new one. Your coach helps clarify your goals, creates a plan, and keeps you accountable along the way. Go to Strawberry Me Career and get 50% off your first coaching session. That's Strawberry Me Career.
- [14:17]
D
So, like I said, she has this real gift of foreshadowing, of being so anticipated by the time that she arrives, and also this sort of prejudgment that has been created in her absence or during her unconsciousness thereafter. She is so compelling and so convincing a presence and so surprisingly sharp and to an extent, lucid in spite of being inebriated. As we have been told, characters who know her and know her well consistently ask throughout the play, can somebody tell me what this woman is on? But through this clearly giddy manic haze, there is a real sharpness and a focus to her, very much communicated not only through piercing dialogue, but also through her eyes. And it makes us question the extent to which we're gonna buy into everything that we have been told about her before she began to speak. And we sort of have to turn this over as we are presented with a version of her that feels very different to the one that we were expecting. This then changes again when everything that we have heard her say is later discussed. She basically gives all of these interview answers and then leaves the stage and the band members come on and sort of poke fun at her by repeating all of the things that she says as if they were stock expressions that she would deliver if you were to pull a string in her back. And throughout the rest of the first act, it feels as though she has you constantly guessing what's real and what's artificial. What there can be no doubt about, however, is what a staggering performance this is from Rebecca Lucy Taylor, who is an extraordinary theater actress in the making. I say this because her background is principally as a recording artist, and in the 2020s, she began to appear a little bit on screen. She made a major theatrical debut as a replacement, Sally Bowles, in the current West End revival of Cabaret. This is her first play as such, only her second major theatre role. And she is such a gifted natural actress. The genuine, in the moment, real, raw, honest choices that she makes in the various different exchanges she has with different characters throughout this play are so believable and so heartfelt and so spontaneous. It feels completely genuine, hugely naturalistic. Her character is this kind of an active volcano in asymmetrical tights, harboring this blazing frustration that could go off at any moment like unexploded shrapnel. And yet, beneath and behind and beyond all of that passion and rage that bursts out of her spontaneously and at the drop of a hat, there is such a profoundly vulnerable quality as well. I was just so struck by the fluency of this portrayal from someone who is still objectively an early career actor. It feels inevitable that she was eventually going to arrive at stage performance in this kind of way, because she's so bloody good at it. And to play such a gutsy role like this takes enormous power. Obviously, a huge component of it as well is the live vocal performance and fronting this rock band and being able to put that across convincingly, which she absolutely can, drawing on all of her own music performing experience. Not only that, she has also penned a new song that has been added into the script. I believe it's the one that takes place in the second act and is in a distinctly different voice to the rest, which are very sort of 1960s, 1970s British rock and roll, moving slightly towards a kind of punk sound. But this song that she sings accompanying herself on acoustic guitar and feels a little more Joni Mitchell, a little more Tapestry, and it's just captivating. But also it's this contrast between a lyric that she lives inside of that she finds truth in and that really bears her soul, in contrast to a song that she couldn't bring herself to keep performing at the Cambridge Jesus College May Ball hours beforehand because it had begun to feel false to her. This image of her which eventually crystallizes over the course of the play as somebody exasperated, as if by a world that isn't turning fast enough. The best quality of her work in this play is the spontaneity of it all and the truth of it all, and these unspoken micro expressions and responses to the dialogue that she is participatory in this sweet creeping smile or penetrating stare or grisly temper turn like symbols on a fruit machine. Of course, she's not alone on stage. It's actually a surprisingly large company of whom standout performances are given by. By Phil Daniels as the manager Seraphian. He has this extraordinary sort of thenardier in the Blitz kind of anecdote monologue in the second act, which is really just the stuff of dropped pins. There's a real hierarchy of power at play here, with him at the very top of this as the manager. And there are conversations and insights that only he and Maggie and Arthur the songwriter are party to. Arthur is played by Michael Fox, who spends the majority of the play looking for Maggie or sharing these sort of loaded, emotionally meaningful exchanges with her about the relationship that they once had and the people they have, each now become complicated by the fact he has this sort of an ongoing situationship with Laura, who, it transpires, holds a real torch for him. She's played by Aisha Carla. She's an old school friend of Maggie's who continues to support her and dress her and work and tour with the band. She seems to exist in many of the corners of this script to exemplify a lot of the overt misogyny of this era and this industry. David Hare has said one of the experiences that informed the writing of Teeth and Smiles was when he was touring with an almost entirely male company around the UK and noticed the very misogynistic humour that one actress was just repeatedly subjected to to. But with so many characters on stage, including members of the band and others who they encounter, some of whom I'll tell you about in just a moment. It can be hard to find real depth and clarity in some of these relationships beyond what we take as resentment and just unspoken romantic history and disdain. And I think especially, and I promise this is the last time I'll draw this parallel. But coming from a play like Stereophonic, which concerns itself almost entirely with these dynamics and thoroughly exploring them, that can feel in this, a little more dissatisfying. A couple more great performances I want to mention. Jojo Makkari plays the bassist Peyote, who is even more off his face, considerably more off his face than Maggie, spending the entirety of the play in a slightly troubling but mostly funny hysteria. Roman Asda does some very good work as the young and self conscious Cambridge student Anson, who has this encounter with Maggie and seems sort of fundamentally changed by his exposure to the group and at one point says how he's just desperate to drop out of university, but not until after he gets his degree. Perhaps my favorite in the supporting cast though, Samuel Jordan, who plays the band's guitarist who goes by the name of Smeggs. He really shines in the few moments of material that he has and this real, genuine frustration. Everyone in the band is frustrated and what's interesting is what eventually brings them joy and satisfaction and has them leaving Cambridge and heading back to the bus saying God, what a great and memorable evening is this act of arson and vandalism and destruction as they, you know, unable to do this through their music, have through the increasingly chaotic events of the evening, being participatory in the burning down of a tent. Only by literally setting fire to the whole thing and then trying to have sex amongst the blades, have they finally experienced some kind of a meaningful release, some powerful metaphorical work.
- [22:19]
A
Howdy, howdy ho, and welcome to Fantasy Fan Fellas. I'm Hayden, producer of the Fantasy Fangirls podcast and your resident lover of all things Sanderson.
- [22:27]
B
And I'm Stephen, your bookish Internet goofball, but you can call me the Smash Daddy.
- [22:31]
A
And we are currently deep diving Brandon Sanderson's fantasy epic Mistborn. But here's the catch. Steven here has not read Mistborn before.
- [22:39]
B
That's right.
- [22:40]
A
Hey.
- [22:40]
B
Hey. So each week you'll get my unfiltered raw react to every single chapter.
- [22:44]
A
And along the way we'll do character deep dives, magic explainers, and Steven will even try to guess what's next. Spoiler alert. He'll be wrong.
- [22:51]
B
News flash. I'm never wrong. Episodes come out every Wednesday and you can find Fantasy Fan Fellows wherever you
- [22:57]
C
get your podcasts let's be completely honest. Are you happy with your job? The fact is, a huge number of people can't say yes to that. Too many of us are stuck in a job we've outgrown or one we never really wanted in the first place. But we stick it out and we give reasons. Like what if the next move is worse? And I've put years into this place and maybe the most common one Isn't everyone miserable at work? But there's a difference between reasons for staying and excuses for not leaving. It's time to get unstuck. It's time for Strawberry Me. They match you with a certified career coach who helps you get from where you are to where you want to be, either at your existing job or by helping you find a new one. Your coach helps clarify your goals, creates a plan, and keeps you accountable along the way. Go to Strawberry Me Career and get 50% off your first coaching session. That's Strawberry Me Career.
- [23:54]
D
They're from David Hamm. Let's finish them by talking a little bit about the creative team, the choices they've made for this production, as well as as all of the live on stage music so this production has been directed by Daniel Raggett on a set by Chloe Lamford, which is deep and which has walls. There are only a couple points of entry and exit. In spite of all of these unceasing comings and goings, many of which happen through the auditorium. There's at one point a conga line that goes down the side of the stalls. I also love that this very dark and gloomy set comes equipped with hiding places and is deep enough that characters can sort of lurk in the background. There are a couple of moments where we aren't necessarily able to place the location of a voice for a few lines at a time. Sometimes that's because they're hidden behind musical equipment. Sometimes it's because they're still in the dark. The lighting design of the entire thing, let me tell you who by. Matt Dore Great lighting design, brilliant lighting design, atmospheric and complex. So many different bulbs at play. You have the rock concert performance of it all on this little stage which rolls forward when they are performing. You have this moment of fire, you have the aftermath. You have all these various different cold and uncompromising and increasingly harsh and unfriendly lighting states of the midnight hours. And you know what 11pm looks like and what 1am looks like and what what 3am looks like and the uncomfortable clarity that that time affords all of that is felt to my mind through the lighting design. There's also one song which curiously feels non diegetic. Which is to say it's a song they're singing in more of a kind of musical theater ethereal context. Rather than an actual song that they are actually performing as a band. Realistically within the narrative in which the different characters on stage are under lit. Helping us to kind of separate it into this different world. Let's talk about these musical performances. The majority of the songs having been written by Nick and Tony Paquette. With Ben and Max Ringham on sound design and Liam Godwin as musical supervisor. These instruments are genuinely being played live on stage. These performances are being given live. We have the real authentic feel of a rock band, but one who aren't necessarily finding cohesion. And not because they don't know how to do this, but because they've been doing this for such a long time. And each of them quite possibly no longer really has their heart in it. This is another inspiration that David Hare talks about for the play is seeing a university performance of a rock group. I think it was Manfred Mann, who clearly weren't having a good time. And the songs are really rousing. They do a great job of placing us recognizably within that era. And the ones in the second act, especially the final song that we hear, Rebecca, Lucy Taylor's new song that she performs, and also the non diegetic one that I mentioned, are all really compelling numbers, really exciting. Got to talk about Alex Mullen's costume design. I told you about some of the most striking pieces already. But the other outfits that Maggie wears and all of this 1970s costuming, whether it's deliberately flamboyant stage outfits or just the casual attire of the time, it's gorgeous to look at. I absolutely love this era and its fashion. And obviously not having seen a production of this play before, I can't necessarily speak to how it's been molded and shaped by director Daniel Raggett. But the things that seemed to emerge to me from his direction were holding these ideas of chaos and comfort and what feels safe amidst this environment of self destruction. And how at ease the band were with these circumstances until they weren't. How much of the turmoil they take in their stride. This feeling of community and internal support that seems to expire when the going gets tough. There's a really interesting scene in the second act when they are busking and improvising a song based on events earlier in the evening and the men of the band are dancing around and singing along with Seraphian's new recruit, while Maggie is lying sort of visibly lifeless on the floor after having just received really damning news, and they dance on her sort of metaphorical grave. We're on a knife edge the entire time, of tension and comedy in a way that you could experience on a drunken night out, when things are very close to the surface and incredibly volatile and you can move suddenly in a different direction at any moment. And that's how this dialogue shifts and that's how the entire production feels as well. It's also been described this play as this sort of fateful night when everything goes wrong for this band, but there are specific moments in the dialogue that kind of highlight the inevitability of the whole thing and how events had actually been set in motion prior to that evening that were always going to bring them to a similar dissolution. This was always going to happen. And it's that particular quality of despair and hopelessness which I feel runs throughout Daniel Raggett's production here and throughout the play. I keep coming back to the very end of the 1960s and the death of this dream and the thing that brought them all together in the first place and this thing that they were holding on to and the belief that they were actually going to be able to change the world. That I think beyond the emotional arc of any individual character here is the most striking thing about this entire play, this idea of the people who keep having to sing the songs that they no longer believe in. And those have been my thoughts. Thoughts about the 50th anniversary production of Teeth and Smiles, currently playing at the Duke of York's Theatre in London. If you have had the chance to see this production or a previous production of the play, please let me know what you thought about it in the comments section down below. Thank you so much for listening to what I had to say. I'm seeing a lot of plays at the moment and early next week I'm going to be sharing a four play roundup, hopefully including my thoughts on Slippery at the Omnibus Theatre, on Summerfolk at the National Theatre, Jar Jar's African Hair Braiding at Lyrichammersmith, and Choirboy at Stratford East. Stay tuned for that. If you don't want to miss it, make sure you're subscribed right here on YouTube with the notifications turned on so that YouTube lets you know as soon as I've shared that review roundup or if you would prefer, of course you can follow me on podcast platforms. And if you want to stay up to date with everything that I share on the Internet across various different places. The easiest way to do that is to sign up for my free Substack newsletter. The link to it should be in the top of this video's description. Description. In the meantime, thank you so much for being a part of this conversation and listening to what I had to say about this play, which I thoroughly enjoyed. I can highly recommend it. Go and check it out for yourself. It's cool, it's edgy, it's dark, it's accessible, but thought provoking at the same time. And it features a powerhouse performance from Rebecca Lucy Taylor, one which I still think we're going to be talking about come next Olivier Awards season. It's a little late for this one. In the meantime, there will be many more shows and I look forward to discussing them all with you right here. For now, I have been Mickey Jo and I hope that everyone is staying safe and that you have a stagey day for 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe
- [31:45]
A
Howdy, howdy ho, and welcome to Fantasy Fan Fellas. I'm Hayden, producer of the Fantasy Fangirls podcast and your resident lover of all things Sanderson.
- [31:53]
B
And I'm Stephen, your bookish Internet goofball. But you can call me the Smash Daddy.
- [31:57]
A
And we are currently deep diving Brandon Sanderson's fantasy epic Mistborn. But here's the catch. Steven here has not read Mistborn before.
- [32:05]
B
That's right. Hey hey. So each week you'll get my unfiltered raw reactions to every single chapter.
- [32:10]
A
And along the way we'll do character deep dives, magic explainers, and Steven will even try to guess what's next. Spoiler alert. He'll be wrong.
- [32:18]
B
News flash. I'm never wrong. Episodes come out every Wednesday and you can find Fantasy fanfellas wherever you get your podcast.
- [32:25]
E
Get in the game with the college branded Venmo Debit Card. Wreck your team with every tap and earn up to 5% cash back with Venmo Stash, a new rewards program from Venmo. No monthly fee, no minimum balance, just school pride and spending power. Get in the game and sign up for the Venmo debit card@venmo.com collegecard the Venmo MasterCard is issued by the Bancorp Bank NA Select Schools available Venmo Stash terms and exclusions apply at Venmo me stash terms max $100 cash back per month.
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Acast powers the world's best podcasts.
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Here's a show that we recommend
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run out in the middle of the night and purchase diapers, but the hospital is still charging as if they still have these items.
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We are digging into every topic we've ever wanted to cover on this show. It's a space spinning plate analogy. The second that you stop spinning those plates, that crashes. So you can never stop working. The Dream Season 4 comes at you weekly. Starting Monday, January 20th.
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