Tom Holland hadn't worn tap shoes in 15 years when he walked into Pineapple Dance Studios for his first Fred Astaire biopic rehearsal. He played the Billy Elliot music on his phone — and the choreography came flooding back, erasing months of doubt about whether he should take the role.
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At 26:30 · chapter starts 26:20
Amy steers the conversation to Janet Jackson, and Tom's answer is unexpectedly, genuinely emotional. He's never met Janet but credits her as one of five people who are foundational to his career success. [1] — Tom Holland "Janet Jackson is one of five people Tom Holland credits as integral to his entire career. Her music gave him rhythm as a kid, his mom enrol…" 24:40 The logic is airtight: if he hadn't shown natural rhythm as a kid, his mom would never have enrolled him in dance; without dance, no Billy Elliot audition; without Billy Elliot, no agent; without an agent, no Spider-Man. Amy draws a parallel to Billie Eilish's similar origin story — an injury in dance competition that redirected her toward music. Both conversations land on the same idea: dancing is spiritual, primal, and the gateway to creativity.
Tom Holland is prepping to play Fred Astaire in a Paul King-directed biopic, calling it his biggest creative risk yet.
Tom Holland wore tap shoes for the first time in 15 years for a Fred Astaire biopic rehearsal and found his Billy Elliot muscle memory instantly returned.
Robby Hoffman isn't fearless — she's terrified all the time. The difference is she does it anyway, because not doing it feels worse than the fear itself.
John Mulaney texted Robby Hoffman out of nowhere saying he'd been a fan for a while and wanted to make a Netflix special with her. Robby called it 'shocking, horrifying, anxiety-inducing, surreal and thrilling' — and said yes.
Mulaney is buttoned-up, suit-wearing, classy. Robby is gritty, raw, and undefined. Together they made the collab nobody expected. Batman and Robin. Eminem and Dido.
Music had Pope Gregory forcing notation. Comedy has had 'magical thinking' — he's just got funny bones. But jokes work through discoverable, teachable mechanics. Writing down the rules doesn't kill the magic; it gives more people access to it.
Howard Ashman had one insight nobody else had: animated Disney films should be Broadway musicals. The third song of every great musical is the character sitting alone explaining what they want. That's 'Part of Your World.' That structure — combined with Alan Menken's compositions — generated Beauty and the Beast, Aladdin, and The Lion King, and turned Disney Animation into the most profitable creative engine in entertainment history.
The Lion King musical has been running for 30 years across Broadway, London's West End, and global touring companies. It has grossed over $11 billion in total revenue — more than Avatar, more than Avengers: Endgame, more than any album, more than any video game. It generates an average of $350 million in revenue every single year. Disney owns it outright.
The anonymous French artist Invader has hidden 1,500 pixelated mosaic artworks across Paris alone, with thousands more scattered across 80+ cities — affixed to the Eiffel Tower, the Hollywood sign, and even sent to the International Space Station. He might be even busier than Banksy.
The Flash Invaders app turns city streets into a treasure hunt, letting players scan Invader's hidden mosaics for points. Players have collectively logged over 47 million flashes. Unlike most mobile games that glue you to a screen, this one forces you to look up and engage with your surroundings.
New York draws thousands of young, talented performers every year chasing Broadway stardom — but the hard truth is that most of them never make it. Zelig Williams was one of the rare exceptions.
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