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Why is TITANIQUE going to Broadway?! | Thoughts on the cult hit musical's newly announced transfer
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Mickey Jo
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Mickey Jo
Honestly, you gotta love Titanique for looking at the proverbial sinking ship that is this Broadway season as far as new musicals are concerned and saying, do you know what? Shall we go for it? They really turned to investors and said, in spite of the fact that none of these new musicals are recouping, what do you say to taking chances? I'm actually going to give up because no pun, I could possibly come up with is going to match the one that they are using in their new Broadway marketing push, which is Jack and Rose's story isn't done. It's Dionne. Oh my God. Hey, welcome back to my theatre themed YouTube channel or hello to those of you listening to this Broadway news update on podcast platforms. My name is Mickey Jo and I am obsessed with all things theatre. I'm a theatre critic, content creator and pundit here on social media and today we are going to be discussing the breaking theatrical news, at least at the time of filming. I have no idea when you are seeing this because it's a very busy week that Titanique, the Off Broadway cult hit musical that became an international sensation, will not only return to New York, but will be heading to the St James Theatre on Broadway for a limited run this season amongst fairly few other new musicals. Now, I don't make a habit of covering every single show that announces for Broadway, but this one is interesting for a number of reasons because on the one hand, it's a great barometer for where we are right now in the Broadway ecosystem in this very puzzling season that we find ourselves in. But also Titanique has had such a specific voyage, shall we say, to this Broadway opening. It's had a really interesting run and development and it's going to become enduringly, I think beyond this Broadway run, a fascinating case study for other emerging small Off Broadway musicals. Because it started, and I'll tell you the full story, but it started as this west coast conceived dinner theater parody musical that inadvertently became, like I said, an international sensation, an Olivier Award winning multi continent hit and somewhere along the way it became legitimized and attained enough prestige to be able to open on Broadway. We're going to talk through the details of this Broadway run. We're going to talk through some of the possibilities when it comes to casting. We know that co create and original leading lady Marla Mindel is going to reprise her award winning performance as Celine Dion. We're going to talk about how Titanique got to Broadway and also whether or not, in my opinion it is going to be successful once it opens and additionally whether we ought to reframe our idea of success for new musicals perhaps beyond their initial Broadway lifetime. I will explain what I mean, but first I want to know what you think as I am talking through all of this. Share all of your thoughts, your feelings, your own experiences of seeing Titanique from around the world in the comments section down below. Who would you like to see alongside Marla in the cast? Share those manifestations. And if you enjoy listening to my thoughts on this and you want to stay up to date with West End and Broadway Theatre news, make sure to subscribe here on YouTube or follow me on podcast platforms. In the meantime, shall we go for it and talk about Titanique sailing to Broadway, icebergs notwithstanding? So I assume by virtue of the fact that you've clicked on this, that you will have some understanding of what Titanique is. But if you have heard the news and are watching this out of sheer curiosity, I will explain very briefly, because occasionally people from outside of the theatre community bubble will find out about this show. It happened not too long ago with a performance by the current London cast on the TV show Strictly Come Dancing, and there was a lot of anger in the social media response that they had turned this terrible tragedy into a comedy musical. And A there is in fact a musical about the Titanic tragedy. It is called, unsurprisingly, Titanic and B the presence of Jack and Rose and I don't know, Celine Dion ought to alert audiences to the fact that what this is specifically depicting on stage and parodying on stage is of course, the huge 1990s film from James Cameron. Yes, Titanique is not just telling the story of the sinking of the Titanic, it is specifically telling the story from the film. And you have to understand this came from Ty Blue, Constantine Rasooli and Marla Mindel, who were colleagues and friends working on dinner theater shows in Los Angeles, many of which are still available to watch on YouTube. I have watched like 14 different angles on different nights of Mahler performing Wrecking Ball as Emily in an unauthorized dinner theater musical parody of the Devil Wears Prada before the Devil Wears Prada musical actually existed on stage, but they were doing like Devil Wears Prada and True Beverly Hills as these silly parody shows jukebox musical style. And eventually one of them came up with the idea that they would do Titanic next, but with all Celine Dion songs and that Celine herself would appear in the show. What they ended up developing through this idea was that it is bizarrely Celine Dion arriving in the present day at the Titanic Museum and announcing that what is being said isn't how she remembers it all going down. And she then tells the story from her perspective, insisting that she not only sang the song in the movie, but that she was actually on Titanique. And so what we get is her warped recollection of the show of the Jack and Rose love story utilizing the greatest hits from the Celine Dion songbook, the rights to which they were miraculously able to Attain. And what followed were concert presentations, cabaret versions, and eventually an Off Broadway run in the basement of a grist that eventually transferred to the Daryl Roth Theater, a larger Off Broadway space where the show really cemented itself as a downtown cult hit, thanks to a deeply dedicated and deeply homosexual audience. And though it may take something of a sentence to explain the concept, it proved to be a winning enough one to justify international productions. There was intrigue about Titanique, and around the same time it was announced that there would be productions in Canada, of course, big lovers of Celine Dion and who take her, as they should, very, very seriously. So an important hurdle for the show to be able to leap over, but also Australia, who, you know, zany enough in their comedy at the best of times that no surprise that they loved the show down under as well as London's West End. And this is where it gets interesting, I think, because London and the West End, obviously the other theatre capital of the world, and when they announced that they were coming to the uk, it was to a West End theatre, an esteemed West End theatre, the Criterion, and not an off West End space, somewhere like Riverside Studios that might mirror the venue they'd been playing at in New York. Suddenly it was a larger capacity, which is something they'd encountered in those other countries as well, but also this sort of prestige factor. I actually visited the company in rehearsals to do an interview for London Theatre magazine and I spoke to a couple of the original West End cast members, as well as Ty Blue, who is the show's director, and one of the trio of co writers with Mahler and Constantine. And there was a definite enthusiasm as well as potentially a slight nervousness around the idea of taking this silly and queer downtown wacky comedy show and opening it somewhere where it would be eligible for Olivier Awards. But eventually the show's brilliance won out and Titanique walked away with two Olivier Award wins, one for Best Supporting Actor in a musical, for the ever fantastic scene stealing Leighton Williams. But also Best Comedy Show, I think, is the name of the category. We have some weird categories in the Oliviers, but the three of them, as writers, won the Olivier for Titanique, which, I don't know is necessarily something they were expecting when they were first talking about taking it to London. And it's very possible that there had already been something of a conversation about the possibility of the show going to Broadway at that time. But if there hadn't already, you'd have to assume that standing on stage at the Royal Albert hall, at London's biggest annual Theatre Awards holding these statues of Sir Laurence Olivier must have put the thought into their minds of like, maybe this can be a big commercial thing and win the legitimate awards. Now, in my brief description of it, I probably made the show sound very silly. I've spoken extensively in my review from the beginning of this year when I saw it in London about why it works so well. I've had the chance to see it off Broadway, also a non replica production in Chicago. We'll come back to that later. And not only does it combine brilliant vocal performances of great songs with hysterically funny pop culture references, but I think what it taps into, and this is a big part of why it works so well, is this kind of hazy, half nostalgic recollection we might all have for the film, as if someone has been asked to write down the entire plot of Titanic in explicit, frame by frame detail. But the last time they watched it was five years ago with half a bottle of wine. And also, I think watching the show gives you that same feeling of watching a film that you love, or maybe love to hate, with a best friend drinking a couple glasses of wine on a Friday night and pausing it and rewinding and making fun of it the entire time. That's what it's watching Titanique. And it's poking fun, but there's also a real love in it as well. And it doesn't hurt that Titanic is one of those films that we've all talked about in various ways for years. Like there's memes that have emerged from it, the whole like, paint me like one of your French girls thing. But also like, was there space on the door? Could she have moved over? The show plays into all of that brilliantly. Like I said. If you want to hear more about why it's so funny, go and check out my review. In the meantime, let's talk about when it's going to be on Broadway. So I'm reading from the news article in Playbill, as reported by Logan Colwell Block. Titanique will sail onto Broadway in 2026. The Celine Dion jukebox musical parody of the epic film comes to the main stem after a cult hit run off Broadway. Main stem? Is that a nautical reference? It probably is. I've been on four cruise ships. I still, I still don't know what that means. Here we go. Off Broadway cult favorite Titanique will get a Broadway transfer next year with a 16 week limited engagement at the St. James Theatre beginning 26th, 2026. Titanique going to Broadway. I could just about fathom my stagey fiance Erin James and I actually debated about this years ago, I think the first time we saw it. And he really wanted it to go to Broadway so that it could have the chance to be eligible for Tony Awards because off Broadway shows aren't, even though you have things like the drama desks and the Lucille Lortels that specifically recognize either both or just off Broadway theatre. And I said I didn't know that it would work and that it wouldn't necessarily have that same sort cult, underground, countercultural queer vibe if it became a little more mainstream. But even then, if you had told me that it was going to of all houses, the St. James, which is one of the most sought after musical houses, the Queen of Versailles just closed there prematurely, opening it up to new tenants in the spring for the current Broadway season. Prior to that, it was the home of Sunset Boulevard and in previous years the likes of like Frozen at the St. James. Anyhow, previews are going to begin on March 26 with an opening night of April 12, in the middle of what is usually a month of many, many openings, although fewer of them this year. Additional casting by the Telsey Office's Rachel Hoffman is to be announced. We're all counting on you, Rachel. Gays around the world are waiting to see what you come up with, but show co creator and original star Marla Mindel will again star as Celine Dion, which is, to my mind, the most essential casting component of this. Marla had to do it and she's a big part of the story. And when you take a show to Broadway, you got to sell a lot of tickets and you are selling the Celine Dion of it all. You are selling the Titanic of it all. You are selling the campy, kooky, crazy comedy of it all. You are also selling the story of this being a little show that could. This thing has won awards. This thing has already been around the world. Oh, they loved this in Australia. They loved this in Canada. They loved this in London. It won awards in London. She won the Lortel Award. She won the Lucille Lortel Award for playing Celine Dion. She, I think in this season is probably going to get a Tony Award nomination and could win. Looking at the fairly limited field of competition, that isn't to say there aren't other great performances this season. There just aren't nearly as many as there usually are. Last year we were overwhelmed by fantastic leading actresses and so many shows. This year there aren't that many of those powerhouse leading lady performances. There just isn't the material. In any case, to have Mahler do it as the original Celine, but also one of the writers who has brought it all of this way is really important to selling the story of the show. And it's not that easy a role to stunt cast because not only is it hugely demanding vocally, it also takes some degree of being able to give an impression of Celine Dion as well as legit comedy chops and the ability to improvise. There are a couple of segments in the show, my personal favorites, where it gives way to moments of improv comedy which some Celines run a little farther with than others. Nicole Parker had the habit of on occasion creating entire musicals within the musical. Needless to say, I'm very happy that Marla is doing it. Let's get back to the details. So a ticket pre sale for those of you wanting to buy tickets as soon as possible will begin on January 8, 2026 in the New year. How exciting. Maybe your New Year's resolution can be going to see Titanique and you can sign up for that@titanique musical.com that's Titanique spelt T I T A N IQ uemusical.com with general sales following on January 12th. Now we have some description of the show here. A book by Mindel Ty Blue and Constantine Rasooli, a soundtrack of songs made famous by Celine Dion. Titanique sends up the epic 1997 film about the ill fated ocean liner with Dion herself leading a tour at the Titanque Museum. I've told you all of this already, but here are the dates to go with what I told you. The musical began as a one night only concert in Los Angeles in 2017, coming to New York's Green Room 42 the following year before becoming a fully staged off Broadway musical in 2022. Originally intended to be a limited run, the production became a surprise smash hit, transferring to the Daryl Roth Theater for a three year run that ended earlier this year. Three years? It was off Broadway at the Daryl Roth. My goodness. Oh, I also neglected to mention Paris, another of the international stagings that happened. But it's worth reflecting on another downtown comedy show that was deeply queer and was initially scheduled as a limited run, oh Mary, which has become this monster hit on Broadway running through all of these sold out replacement cast runs. That might be another of the factors that motivated the powers that be, the writers and the producers behind Titanique, to sort of see that and go, huh? Is it possible in this current climate that's happening right now where a show like that can be that successful that Titanique could also go to Broadway. Of course, Calla Scola was a big part of the story being told of that production. So in the same way Mahler taking Titanique, can they get some of the same excitement? Very different theater, very different timing, very different kind of an audience because O Mary sort of just quite quickly became the hot ticket for people to go and see regardless of whether or not they knew anything about it. And the show that all the celebrities were seeing, if Titanic can achieve anything similar to that, then they're laughing and hopefully so are the audience. Now it is said here it looks like most of the original Off Broadway creative team will reunite for the Broadway bow, including director Ty Blue, choreographer Elnor Scott, music supervisor, arranger and orchestrator Nicholas James Connell, scenic designer Gabriel Heine Evanson and Grace Lauchbacker for Iron Bloom Creative production, costume designer Alejo Vietti, lighting designer Paige Sieber and sound designer Lawrence Schober. New for the Broadway run will be hair and wig Designer Charles G. LaPointe, Eva Price once again producing. And that's all the information that we have there in playbill. The 16 week run of it all is worth paying attention to. But I am curious whether even though it's the same set designer, it might be a slightly expanded version. The joke that they've always used at the end of the show since moving to the Daryl Roth I think has been thank you for coming to see Titanique on the set of Anything Goes. That that's kind of what it looks like. It could perhaps resemble that a little less or resemble it even more. There's no reason that they couldn't use the same set design. I think the original joke there might have been a reference to the fact that was saying like thank you for coming to see it in the basement of a Christides because when I saw the show in Chicago, the joke instead, because it's a non replica production that doesn't really look like anything goes. It's not all sort of like white and blue and and stares in the same way. That joke instead is thank you for coming to see Titanique across the street from the Cheesecake Factory, which is where it is playing. There's nothing you can really do with the St James Theatre because it's one of the biggest and most exciting theaters on Broadway. In other words, they can't make any kind of a self deprecating joke about themselves at point. And that little part of the show's identity is going to have to change. That slightly self deprecating little show that could quality it's all very well when shows like Dead Outlaw, Operation Mincemeat, Two Strangers Carry a Cake Across New York, move from the smaller spaces and become these plucky little shows catapulted to Broadway. But they have to metamorphosize slightly in the process, which begins to lead us towards a conversation about whether or not I think it's going to be successful to but before I give my thoughts on that, I will say I don't think Celine Dion has ever been to see Titanique or necessarily acknowledged it from what I can remember. And obviously like when Carole King went to go see Beautiful, she had been involved in the process. Same with Dolly Parton and the Dolly musical. But is the Broadway of it all going to finally be the thing that gets Salina to not only admit she is aware of Titanique, but also go and see it? Is she gonna go to the opening night? These are the questions that I think we have to ask. Is Kate Winslet gonna go to the opening night? Much to consider? And once you look at it that way, I think then we can all agree it's worth them going to Broadway. Not only worth it, but essential even. Anyway, let's talk about the potential Broadway success.
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Mickey Jo
So I shan't lie. When I first heard this news, I was a little baffled by it. Just because it's the St James and we've heard about so many shows allegedly waiting in the wings for these theaters. Suddenly there are theaters available. The Majestic has been sitting dark for, however, months now. The St James is going to be available. I think we knew that the St. James was going to be available in the spring for some time now, even before the Queen of Versailles announced their closing date. But a move like this feels like there was nothing else that necessarily wanted to arrive this season, or perhaps was in a position to arrive this season. There's various shows that are still in development, still having readings and workshops and just taking a little more time to hone the material, which I think is a positive, positive thing. But there are also shows trying to get to Broadway that simply can't raise enough funds. And this is as a result of the last few seasons and the increased capitalization of all of these shows. Everything is costing so much more than it was Even a few years ago in an already expensive Broadway landscape. And as a result, fewer and fewer shows, especially musicals, especially new musicals, are able to recoup those investments during their Broadway runs. I say during their Broadway runs because there have been other shows that didn't recoup on Broadway and subsequently did on tour. We're going to come back to that. Remember that it's important. But what that means is you have big projects that are trying to get to Broadway but investors don't necessarily want to put their money into those projects because they are fearful about the possibility they're never going to see it again. Because what's making money is the celebrity led play revivals, even though those are also becoming, becoming more and more expensive. So you could, if you were being cynical, call Titanique heading to Broadway and opening at the St. James something of an indicator of industry challenges. But that isn't something that we haven't already become aware of. And I've been talking about this for the past couple weeks, for the past couple months even. I shared my thoughts on the possibility that Broadway was kind of dying at the moment. And people are always quick to tell me that, you know, there are always those who say that like, oh, Broadway is doomed for this reason. Like the sky is falling right now. I'm not here to tell you the sky is falling. But there are certainly storm clouds gathering around Broadway at the moment. There are certain realities of commercial producing in that landscape that are going to have to change because there are parts of the process that are becoming financially unsustainable and fast. Now what's interesting is Titanique, opening for a 16 week limited run, I think is playing a similar game to another show opening around the same time, which is Schmigadoon, another campy, self reverential musical comedy, one that is very much looking to find ticket buyers among the theatre community crowd and one which I think is heading to Broadway with exactly the same objective. I put it to you that, you know, I could talk about whether or not I think people are going to show up and sell out Titanique and whether I think it's going to be a hit or extend this run or whatever. And I might still say a little about that, but it's sort of merit moot because I don't think that's what it's trying to gain from a 16 week limited Broadway run. It might hope to, you know, see if it can win some Tonys or just get some Tony nominations in a much quieter season than usual. One in which it could actually get a best new Musical nomination. That's not something that it would have got if it had come in last year, for example, if it had found a space to even open last year. No, I think what Schmigadoon and Titanique are doing is running on Broadway so that they can better advertise themselves across the country and around the world for ongoing licensing purposes. And I spoke before about a show that was on Broadway, A Beautiful Noise, the Neil diamond musical is an example of this. Didn't recoup its investment on Broadway, made its money back on the road. There are a bunch of different ways that a show can make its money back. The Addams Family is an interesting example of a musical whose trajectory and lifetime has changed and the way in which it's perceived has changed beyond that original Broadway run because it wasn't considered a success on Broadway, but it is now now one of the most produced musicals globally. And Titanique, as this cult hit downtown comedy, won't necessarily get produced as much around the world by community theater groups, by regional theaters as it would as a Tony nominated Broadway comedy success. That little shift in the show's identity as well as all of the publicity that it will gain from opening on Broadway, from being part of a Tony Awards broadcast could become really lucrative for the show. And while we can analyze, analyze the 16 weeks that it spends in New York down the line, we will look back on that as this small part of its lifetime. And rather than needing to make all of its money back during that initial run, it might actually be even better for the show long term if what that is is just a launch pad for everything it could go on to be afterwards. And I think we want to see community theatre productions of Titanique and regional productions of Titanique. Now is the part where we're going to go back to that Chicago production I was telling you about, which is a really interest example of a show because it was non replica but pretty much the same staging because it was directed by the same director, Ty Blue, but without the original costume designs or the set designs. And I don't actually know the exact reason for this. There's a couple possibilities in my mind. Either they represented too much of an expense to license for the theater company in Chicago, the work of all of those different creatives. Possibly there was an in availability problem for the creatives or just a reluctance from from the producers of the original production to produce a sit down replica version in Chicago. There may also be some kind of a local stipulation about needing to utilize local creatives, which I think would be a great thing if that is the case. That only occurs to me because the cast was predominantly or perhaps entirely made up of local Chicago actors who were brilliant, by the way. I really liked that production. And although it was essentially the same staging, the characterizations were very different and the feel of the show, the vibe of the show became quite different as well. And it sold me on the notion that Titanique is going to work in a bunch of different settings as reinterpreted by a bunch of different companies. So yeah, I want to see like Goodspeed doing Titanique over the next few decades. I want to see Titanique at the Muni and like Paper mill Titanique. I want to see local community theater amdram Titanque. I don't know that we need high school Titanique just yet, but we could do college Titanique. And although I'm not sure how it would tour to some of the larger theaters around the country, there could be some kind of a post Broadway national tour to some slightly more intimate playing spaces. I'm sure there are enough of those to create a tour around the U.S.
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Mickey Jo
And when you consider all of that, you start to understand the thought process behind bringing Titanique to Broadway way right now. And it is, as I keep saying, this bizarrely quiet season, especially for new musicals. Thus far we have had two strangers carry a cake across New York. We have had the Queen of Versailles, which has fallen down early. There are other new musicals slated to open alongside Titanique. We've already spoken about Schmigadoon. The Lost Boys is another one which is highly anticipated. I may be forgetting a sixth and apologies if I am, but as of right now, nothing is a foregone conclusion. There is still the possibility that that even some shows that are being talked about to open in this season end up delaying until later in the year or aren't able to raise the funds. We've seen that happen before over the last few years. Remember Room? And it is obviously to Titanique's benefit that there are fewer new musicals opening alongside it. And that will help it out when it comes to the possibility of Tony nominations like I said I think Marla is probably the show's biggest chance for a Tony win and probably a lock for a nomination at this point because she's maybe the only leading lady this season to be playing a role role that she has already won a New York Theater award for. They're also going to be running alongside a lot of other shows with similar downtown countercultural queer vibes. Not only is Omar still running at the Lyceum, but Cats, the Jellicle Ball transferring in as well. You're also going to have Sam Pinkleton's production of the Rocky Horror show with Roundabout. And alongside those, Titanique is probably the most tourist friendly like has the broadest appeal, even though it is also also just gay as hell. And the niche cultural appreciation of it thus far, which didn't necessarily sell out the final few months of performances downtown at the Lucille Lortel, might be mitigated somewhat by the way they are planning to cast it now. Marla Mindel already confirmed for Celine. I would like for Constantine to also get to do the Broadway run as Jack and maybe a couple of the show's other long running cast members that were some brilliant performances in the various runs that it's had. But we would have to assume at this point that they are also going to be trying to court some star names. Not necessarily movie people, but I'm hearing a lot of TV names, a lot of popular leads of long running TV shows being thrown around. Maybe a recording artist who has done musical theatre before, not necessarily on Broadway, but certainly around the country. And not names that immediately made sense for me with Titanique. But the more I think about it, the more I can kind of see what they're going for. I really hope and assume that the show is going to retain its unapologetic queer identity and it doesn't become too mainstream and commercialized in an attempt to court a wider audience. But it's also great to see these things becoming financially successful and commercially viable as well. It's like, I guess what's happened to RuPaul's Drag Race, going from this relatively niche thing within the gay community to this huge TV show. Speaking of which, not too long ago I said that drag queens were becoming the new stage stars. We are seeing this with the wonderfully talented Jinx Monsoon selling out shows on either side of the Atlantic. A couple of them already did the Off Broadway run. Willem did it, Rose did it. Wouldn't surprise me if we see a couple of those names attached to the show as well. And all of that is going to get announced in due course. In the meantime, we can only speculate and I would love to know who you think might be starring in Titanique in the comments section down below, as well as your thoughts about whether or not the show is going to work on Broadway is going to be a success on Broadway. Remembering what I said about the ultimate trajectory of the thing and the life of all of these musicals beyond their initial Broadway runs, it's so fascinating that, you know, the way something can be appreciated and understood and performed and produced, produced for years to come can depend on the couple of months that it spends in New York. In other words, if you bring something in at the right time and it gets the right reception and it's in the right moment, it could be a huge financial success in one way or another for years to come. And if something doesn't have that right timing and it flops, then it may never get seen again. Which is a slightly melancholy thought to end this Broadway news recap on. But hey, worse things have happened in See and if you thought that joke was in bad taste, then you may not want to go and see titanique at the St. James Theatre on Broadway. But if you are planning to go and see it, let us all know in the comments section down below. Come back to this when you have tickets in early January. By the time the show's opening on Broadway, I will have shared several more videos, maybe a casting update right here, and I will of course be hoping to see the show when it does open to share an updated version of my Titanique review and to let you know about any changes to the production. In the meantime time, there will be many more videos about many other shows in the West End and on Broadway. If you don't want to miss any of those, make sure to subscribe right here on YouTube and turn on notifications so that YouTube lets you know every time I share a new video or go follow me on podcast platforms. Thank you for listening to this. I hope, as always, 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.
- [34:31]
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VRBO Advertiser
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- [35:24]
Acast Announcer
ACAST Powers the World's Best Podcasts Here's a show that we recommend.
- [35:31]
Gloss Angeles Host 1
So are we actually going to tell people what this podcast is?
- [35:34]
Gloss Angeles Host 2
It's Gloss Angeles. We talk about beauty.
- [35:36]
Gloss Angeles Host 1
And by beauty we mean proven science, celebrity glam, debunking Internet narratives, and whatever drama TikTok has cooked up before.
- [35:44]
Gloss Angeles Host 2
Now 9am plus the products you should actually use, not just the products going viral on your feed. We are two beauty journalists who've been in this industry long enough to know what's real, what's marketing, and what's basically a group hallucination.
- [35:56]
Gloss Angeles Host 1
And we're obsessed with the why behind trends, why everyone suddenly wants to smell like a cupcake, why teens are doing nine step routines, and why some celebrity brands work and others don't.
- [36:06]
Gloss Angeles Host 2
And if you want the real insider.
- [36:08]
Gloss Angeles Host 1
Experience, join Gloss Angeles Confidential, where you get to test products before they launch. It's like being a beauty editor without the inbox trauma.
- [36:17]
Gloss Angeles Host 2
So if you want the truth, the tea, the science, the scandal, and the.
- [36:21]
Gloss Angeles Host 1
Occasional emotional breakdown over sunscreen, welcome to Los Angeles.
- [36:32]
Acast Announcer
ACAST helps creators launch, grow and monetize their podcasts everywhere. Acast.com.