It's great to make new friends, but it's also great to get to reunite with old ones. That's why, when we were casting Hit Singles, we stacked the team with a bunch of our old friends from our first series, Wolf 359.
Each of them is stunning in this new show.
On top of being the show's lead sound designer, Zach Valenti also plays Drew. Funny, charming, handsome, Drew will make you swoon - until his big monologue makes you cry.
Noah Masur plays Allen. This is a show about overcoming insecurities, fears, and emotional isolation - and Allen's the bad guy!
Mary Kate Wiles plays Roxy, the influencer to end all influencers. Her role is small, but it casts a long, mischievous shadow over so much of the series.
Look, sometimes you write a character who's just an asshole. And when you do? You know who to call. The sweetest, kindest, most talented man: Zach Libresco.
Finally, the ever-brilliant Michelle Agresti did us the huge favor of being a part of our ensemble. She turns up in almost every episode of Hit Singles, but her most memorable part may be as Alice, a small jump scare of a character. I can't say more than that, but you'll know her when you hear her!
Wolf 359 forever changed my life, and I'm so grateful that I got to make that show. And as I make new things, I'm still so grateful to get to collaborate with the people that made that show everything it was. Here's hoping it'll be a lifelong tradition!
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It's called Hit Singles. It's a scripted, full cast audio fiction romantic comedy that Zach, Sarah, and I made for Audible. It's about love, friendship, music, found families, and what happens when you go to New York City for a whirlwind summer.
We got to work with an incredible team on this one. A cast led by Evangeline Young (Dracula: The Danse Macabre), Nicholas Podany (Hello Tomorrow!), Simone Policano (Blue Bloods), Julia Rehwald (Fear Street), and Briggon Snow. (The Bright Sessions, and all your other favorite audio fiction shows.)
Also featuring Noah Masur, Avery Trufelman, Mary Kate Wiles, Marlain Angelides, just to name a few others! With original music by Summer Camp's Jeremy Warmsley!
You can read me gush about it at over at my newsletter by clicking the link above, or you can pre-order it right here! And if you DO pre-order it, you won't have to wait long - the whole thing comes out April 10th!
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Episode 1 of our show - The Happiness You Bring - has been live for just over a day now!
Episode 1 of 4. May 1893. Sent by his superiors to Transylvania to help a member of the local nobility with a real estate purchase, American clerk Jonathan Harker soon finds himself brought to a foreboding castle. There, he meets the mysterious Count Dracula, and learns of his plans to come to America... as well as the darker secrets the count has been keeping for centuries. Can Jonathan find a way to escape the castle before the Dracula can set his evil plan in motion? And back home in American, is Jonathan's wife Mina ready for the darkness that is headed towards her?
Have you heard it yet? Favorite moments? Moments that made you jump? Favorite moments of Alan Rodi's incredible score or Jeffrey Nils Gardner's peerless sound design?
Okay, this is the last thing I will post about getting to talk to the wonderful Dropout folks because it made the podcast but not either of the pieces and Sam Reich's commitment fills me with joy.
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âDimension 20â production designer Rick Perry discusses how the scope of the show has expanded over its 20 seasons.
I haven't done any posting on social media almost all year and so the fact that I went and hunted down my Tumblr login should tell you just how THRILLED and GRATEFUL I was to cover the making of Dimension 20 for work. All it took was explaining to The Bosses⢠that Actual Plays are not things where viewers... actually play... that was a new one. đ
Anyway, please go read about how Rick Perry is a genius and the D20 team collaborate in ways that uplift the art they all make. Aabria Iyengar said so. It must be true.
i gotta talk more about why i am so fucking furious
emily st. james has been THE media critic, gunning for underdog media, since the early days of the AV club before the g/o merger. remember how the AV club used to do episode by episode reviews as tv shows would come out and then everywhere else started to do it? THAT'S EMILY. THAT WAS EMILY!!! she's one of the main reasons Community is considered a classic! she was the one telling us to watch it! she was THE FIRST tv editor there!
in the last few years she started working at Vox. she rose in the ranks quickly because she's fucking brilliant. her work is not without flaws, but it is so real, so earnest, so filled with a genuine genuine love of art -- and specifically art made for the masses, which so many other critics look down on!
The drama about a high-school football team is available on Netflix again.
she takes discussions about pop media SERIOUSLY. she cares so much about art, how we consume it, and what it says about us. she cares about capitalism sapping the art out of art and begs us to not become complacent about it.
Why do so many TV shows and movies look like they were filmed in a gray wasteland?
and while working at vox, she came out as a trans woman. sorry for the self link here but i was EXTREMELY HONORED. EXTREMELY HONORED. to be able to interview her about her coming out. which then led to me coming out. (Different surname used then.)
Emily VanDerWerff is one of the foremost reasons I do what I do. A longtime pop culture critic, Emily VanDerWerff was one of the founders of
Emily then went on to talk about culture overall, and wrote some of THE most important pieces on trans life and liberation.
Finding the language to describe the legislative assault on trans people is tricky. Pushing back against it shouldnât be.
im not saying that this firing was specifically because Emily is trans. i TRULY do not know enough about vox and ive only ever written for vox-owned polygon, which was mostly very good to me, even as a freelancer.
but i can say that trans journalism is dying and the journalism industry is killing us. back in 2018, 2019, it felt like we were finally getting jobs and being listened to. we could write about things other than trans issues -- but we were also being trusted to give our views on trans issues without being labeled as "not objective enough" while literal transphobes got to write about us instead.
but the churn of capitalism kept churning. and investors don't like trans people speaking. and cis editors don't like mouthy trans journalists who get mad just because they platformed and paid a widdle terf.
i know maybe... maybe three trans journalists who were working back then who are still working. more at autostraddle and other specifically queer pubs, i guess. but this is just. a slap in the face.
laying off Emily, one of the single most important media journalists of my lifetime, is absurd. it's ridiculous. and with more and more trans journalists looking for any kind of work, even with the most nightmarish working conditions, and ESPECIALLY during some of the most violent and horrific anti-trans legislation i have ever seen -- it's just irresponsible. it's reprehensible. im fucking furious.
