Anything Goes

Episode 71: CHRYSALIS - THE FAMILY ADVENTURES - The Silver Lining in the Dust

In the aftermath of a violent ICE raid, Amanda narrowly escapes arrest and is forced into hiding, cutting herself off from Josh and her friends. As federal agents storm Kamala and Verna’s home without a warrant, tensions rise between local police and immigration authorities, exposing the limits of justice for vulnerable families.

Meanwhile, Samantha struggles to get help as her friend disappears, and Joey faces mounting pressure at his auto shop, battling exhaustion, staffing shortages, and fear of further government scrutiny. As each family member confronts uncertainty, burnout, and fear, small acts of loyalty and resilience offer hope in the darkness.

With Amanda seeking refuge, Kamala and Verna preparing to fight back, and Joey pushed to his breaking point, this episode explores how ordinary people survive when the system turns against them—and how compassion becomes their greatest weapon.

FADE IN

EXT. IN FRONT OF KAMALA’S AND VERNA'S HOUSE - NIGHT, PRE-DAWN

A dim light lights up the area. The house is dark. Amanda alights from the darkness. She scopes the house through the dark windows. She pulls her phone and types something:

INSERT – TEXT being typed (AMANDA): Hi, are you awake? It’s Amanda. I’m outside.

She waits scoping the windows and her phone.

No movement in the dark.

A light begins to brighten the scene. It starts to get brighter. Amanda goes back out of sight.

A large car appears in the driveway. It pulls up in front of the house.

Two of the ICE agents from the last episode get out and go up to the door and RING the BELL.

No movement.

The ICE agents repeat their RINGING with more prolonged RINGS until

Finally, a light inside the house comes on. Verna can be seen somewhat obscured through the dim light inside the house contrasting with the bright light put forth by the vehicle. She is moving within the house towards the door.

AGENT RIDGEFIELD

(loud)

Ma’am, please open up. This is U.S.

Immigration and Customs Enforcement.

We need to search the place.

Verna seems to disappear.

AGENT RIDGEFIELD

(while BANGING REPEATEDLY)

Ma’am, open up please. We just need to

search the place.

There appears to be some movement in the house coming from another direction. Kamala’s dark silhouette soon appears.

AGENT RIDGEFIELD

If you don’t open up, we’re going to

break the door down and enter.

INT.(EXT.) MOVING POLICE CAR, SANTA ANA - PRE-DAWN

The Stivics are being driven.

JOEY

It’s almost time to wake up.

GISELLE

You can take one day off to rest and

recuperate.

JOEY

No I can’t. If I stop now, that’s

the end. I’m gonna have to find

American workers. You saw what just

happened.

SAMANTHA

Dad, you have legal rights. They

can't intimidate you for hiring

persons legally allowed to work in

this country.

JOEY

Legal rights means nothing. This is

the jungle. You have to do whatever

you gotta do to survive. And that

includes you, young man. You must

never see this girl again. Or you

really will end up out on the street.

Which really means in jail. And they’ll

deport you to whatever country this

girl is from.

JOSH

(half awake)

She’s from America. She’s not from

anywhere else. You gotta take that

neighbor to court.

SAMANTHA

Wait a minute.

(louder)

Officers! There are ICE agents causing

trouble for my friend, Kamala. You

gotta go to Twenty-three Twenty Old

Grant Street! As soon as possible!

She says they’re in trouble!

POLICE OFFICER

(from front)

I’m sorry but I’m on orders. I have

to take you home. Did they call the

police?

Tell her to call the police if there’s

trouble.

SAMANTHA

What if they tied them up?

POLICE OFFICER

Well, how did you find out?

SAMANTHA

She texted me. After what we been

through... I don’t want them to go

through that.

POLICE OFFICER

Alright, let me check with headquarters.

JOEY

You still need to drop us at the

house. Some of us have jobs to go

to.

POLICE OFFICER

Relax, sir. Until I get orders, I’m

dropping you all off at your house.

SAMANTHA

She says they broke the door down.

Oh, she says they called the police.

INSERT – TEXT being typed (SAMANTHA): What’s happening now? Do you need our help?

SAMANTHA

She’s not responding!

JOSH

(half asleep)

You gotta give people a chance. You’re

always quick-draw.

SAMANTHA

What if they’re torturing or abusing

them?

INT.EXT. KAMALA’S AND VERNA’S HOUSE - DAWN

A police vehicle with SIRENS turns the corner and pulls up to the house beside the larger ICE vehicle. The bullet holes from the earlier shootout are faintly visible in the dim light of dawn and the police lights.

INT. KAMALA’S AND VERNA’S HOUSE – DAWN

Verna and Kamala are sitting on the couch in handcuffs. Agent Smith is there with a gun pointed at them.

VERNA

You can put that pistol away. I know

you're loaded.

AGENT SMITH

As soon as we find the girl, you’re

free to go.

POLICE OFFICERS show up at the door.

FIRST OFFICER

What happened here?

VERNA

Thanks for coming, officer. Unfortunately,

these thugs already damaged a lot of

property already. They don’t waste time.

FIRST OFFICER

I got bad news. These are federal agents

and we don’t have the jurisdiction to

give them orders.

VERNA

But they’ve been committing crimes.

A crime is a crime. Nobody’s above

the law. They need to have a search

warrant. And they need to clean up

their mess and pay for any damages.

We can start at the door.

FIRST OFFICER

You can file a report but I still

can’t arrest these men.

VERNA

Too bad. They take our people in

chains from Africa and they can’t

do anything to a real criminal. Like

the one who’s using the White House

as asylum.

KAMALA

I don’t think you’re gonna get

anywhere with that, ma.

FIRST OFFICER

Sir.

Agent Smith looks at him with disgust.

FIRST OFFICER

Sir, my name is Officer Pat Flynn

Of The Santa Ana Police Department.

Do you have a warrant to enter and

search the premises.

AGENT SMITH

We don’t need that. When you see an

ICE badge, you have to cooperate.

FIRST OFFICER

Forgive me for correcting you, sir,

but in the State of California, no

officer can enter a location without

permission without an official warrant.

That’s the law. I can arrest you for

failing to produce the proper warrant.

AGENT SMITH

Oh, you’re gonna do that, huh?

FIRST OFFICER

I have to if you can’t produce the

right kind of warrant.

The other ICE agents appear.

AGENT RIDGEFIELD

Well, good morning, Officer.

FIRST OFFICER

What seems to be the problem here?

I have a report of unlawful entry

and unless I can see an official

warrant for entry and search, I’m

going to have to ask you to leave.

VERNA

Wait a minute. We’ve got a house to

clean up. They’re here looking for

a girl I never met in my life. Ask

him why they need so many armed men

to capture one girl.

FIRST OFFICER

Ma’am, let me handle it.

AGENT RIDGEFIELD

We need all these men because illegals

have a whole network of people

protecting them by trying to pick a

fight with us.

VERNA

Maybe if you tried a different method,

people would be more cooperative

instead of adversarial.

AGENT RIDGEFIELD

No, these are dangerous criminals,

ma’am. They have dangerous weapons

and some of them will blow your head

off.

VERNA

You’ve got dangerous weapons. Have

you ever considered looking from the

other side?

OFFICER FLYNN

Uh... Let’s cool it on both sides.

Officer... Sergeant...

AGENT RIDGEFIELD

It’s Agent. Agent Ridgefield.

OFFICER FLYNN

Okay, Agent Ridgefield. I’m Officer

Flynn. Can you tell me who it is

you're looking for?

EXT. PORTOLA PARK DAWN

Amanda is safely within a densely wooded area of high shrubs. She struggles to keep from falling asleep.

INSERT – TEXT being typed (Amanda): Bonnie I’m sorry to bother you but I am in trouble and need a place to crash. Can I stop by? I’ll tell you when I get there. Please?

She then allows herself to catch some slumber in the quiet semi-lit beginning of morning.

INT. THE HOUSE, LIVING ROOM EARLY DAY

SAMANTHA

(very tired,)

yawning)

I’m crashing. No school today for me.

GISELLE

I’m with you there. I hope your father doesn’t burn out, he’s so stubborn. He didn’t even stop for the bathroom, a nap, something to eat. Such a stubborn man.

JOSH

I hope Amanda’s alright.

SAMANTHA

Oh that’s right. And I told her to go to Kamala’s. That means they got her.

INT. PUBLIC LIBRARY DAY

Amanda is inside at a desk, at a computer.

IMAGE – TEXT being typed (AMANDA): I also hope you can spare some of your clothes. I need to hide.

IMAGE – TEXT (Bonnie): Of course sweetie. What’s going on?

IMAGE – TEXT being typed (AMANDA): I’ll tell you the details when I get there. Listen. Do you think the Costa Mesa can hire me full time? I need a place to stay and be out of my regular clothes. I’ll explain it to you.

IMAGE – TEXT (Bonnie): Hmmmmm. I’ll have to see about it. But you could stay with me for a little bit. Where are you now?

IMAGE – TEXT being typed (Amanda): I’m in the library. But I can’t stay anywhere for too long. They caught Josh. That’s all I can say.

IMAGE – TEXT (Bonnie): Oh sweetie, I’m sorry. Listen, I get off at two. Can you hang tight till then and then I’ll call you?

IMAGE – TEXT being typed (AMANDA): No, don’t call. I’ll be there at 2. If not, I’ll text you where I am.

She puts her phone away and types into the computer.

IMAGE – INSTAGRAM MESSAGE being typed (AMANDA THE G.O.A.T.): Hey Sam, it’s me. The police caught Josh but I slipped away. Don’t worry I'm free and I’ll be alright. I’ll let you know when I feel better situated but I’m okay now.

INT. THE HOUSE, SAMANTHA’S ROOM - DAY

Samantha is in bed, clothes and shoes on, asleep, draped diagonal on her bed. Her phone by her side lights up and BEEPS a NOTIFICATION. Her state of unconsciousness appears impenetrable.

INT. THE HOUSE, BASEMENT DAY

Though there is no light, Josh is at the computer.

IMAGE – INSTAGRAM MESSAGE being typed (JOSHUA): Hey. Are you there?

I just wanted to let you know I’m at home okay. The cops let me go. When I told them that ICE forced me out of the house, they let me go. I hope you’re safe. They can be brutal, those agents. But the cops are on our side. You can go to them.

INT. PUBLIC LIBRARY DAY

Amanda is on the computer.

IMAGE – INSTAGRAM MESSAGE being typed (AMANDA THE G.O.A.T.): Wow, Josh, Awesome! I’m low keying it for now. I gotta stay as out of site as possible. But that’s great. Just hang tight I promise I’ll be in touch. We gotta get to Billie Eilish together in concert on Thursday.

INT. THE HOUSE, BASEMENT DAY

IMAGE – INSTAGRAM MESSAGE being typed (JOSHUA): Can I meet you somewhere? I really want to see you.

IMAGE – INSTAGRAM MESSAGE (AMANDA THE G.O.A.T.) I’ll let you know, just hang tough. You saved my life. I really owe you for that.

She goes offline. With a smile, Josh shuts down the computer and leaves the basement.

INT./EXT. JOEY’S AUTO REPAIR SHOP DAY

Joey is at the computer typing something.

IMAGE – BLOCK AD COLUMN being typed: EXPERIENCED AUTO MECHANICS NEEDED FOR SMALL BUT LUCRATIVE REPAIR SHOP. Required: Experience in all facets of auto repair, minimum 2 years, the more the better. Please call 714-333-2222. Job available immediately.

Joey steps out of the office and into the larger area of the shop. He observes the cars there and inspects the customer waiting area. There are quite a few cars and a bunch of customers waiting. The two assistant mechanics, Julio and Sergio, are hard at work. Joey inspects the area to see more closely.

JOEY

Tell me which cars are ready.

SERGIO

(not stopping

his work)

The Nissan, the blue Ford... the Bronco.

Julio... ¿Qué mas?

JULIO

(also working but he

looks up and around)

El Mercury rojo... El Chevy pero tengo que reponer las llantas.

SERGIO

Así, hagalo.

Sergio stops the work he is doing and goes over to a hanging Chevy Trailblazer, lowers it partially and takes a couple of tires that are underneath and starts to put them in position to be put in place.

Meanwhile, Joey walks over to the customers. A middle aged couple in their forties stands up.

MALE CUSTOMER

I’m sorry but we’re kind of in a hurry.

That gentleman over there was fixing

our car.

FEMALE CUSTOMER

We’ve been waiting for our car for...

JOEY

Hold on a second. Julio... Get on

the BMW. Drop what you’re doing.

JULIO

Yes, boss.

SERGIO

(while lowering the

Trailblazer onto the tires)

Eso es complicado. El cliente

debe regresar en cinco horas.

JULIO

No le va a gustar. Tengo que trabajar

rápido.

JOEY

We’ll have your car, don’t worry.

FEMALE CUSTOMER

What time?

JOEY

Uh, what time, Sergio?

SERGIO

I’m afraid in about five hours.

JOEY

Make it three hours.

SERGIO

I can’t. It needs a special valve.

A VSV. I can try calling around but

they are hard to find.

JOEY

Let me call around.

Joey’s phone rings.

JOEY

Hello, Joey’s Auto Repair.

VOICE (v.o.)

(filtered, earpiece only)

Hi, this is Julian. I’m a certified

auto mechanic. I saw your ad.

JOEY

Great. Can you come over right now?

JULIAN (v.o.)

(filtered, same)

Really? I’d love to but I’m in the

middle of a job now.

JOEY

We’re really backed up, that’s why.

Let me go. If you change your mind,

call me.

JULIAN (v.o.)

No, I’m serious. I just can’t

start right now.

JOEY

I gotta go.

(hangs up)

You guys keep working.

(to couple)

I’m gonna try to find the rare part

your car needs. Would you like a

loner car to hold you while you

wait?

MALE CUSTOMER

No that’s okay.

JOEY

It’s no charge.

FEMALE CUSTOMER

Dick, take him up on it. I’m gonna

lose my mind hanging around this place.

JOEY

Sergio, please loan us your car.

I gotta call for the part.

SERGIO

Sure, boss.

(to customers with

finger bending)

Here, come with me. Julio, toma mi

trabajo mientras tanto.

He leaves with the two customers.

JOEY

Glad to get rid of them. Let me

take care of the customers while

you continue working on that.

He walks over to the customers.

JOEY

Okay, who’s got the Nissan?

Nobody responds.

JOEY

Great? How ‘bout the Ford?

A MAN IN HIS FIFTIES

The blue Ford, the Mustang.

JOEY

Oh great, that one’s not ready. I

was talking about the Bronco, the

gray car. Anybody got that?

No response.

JOEY

Oh, we’re doing great. What else

did I have?

JULIO

The Mustang is ready.

JOEY

Oh that’s right. Both Fords are ready.

I love Fords. Come right this way, sir.

MAN IN HIS FIFTIES

(chuckling)

I see we caught you on a bad day.

JOEY

Naah, that’s alright. Every day’s a

bad day these days.

MAN IN HIS FIFTIES

You look like you desperately need

coffee.

JOEY

You ain’t kidding me. No sleep last

night. We just buried my father.

MAN IN HIS FIFTIES

Oh my God. Sorry about that.

JOEY

Come, let’s get your car and get

you set.

MAN IN HIS FIFTIES

(patting Joey’s back)

Well, take care of yourself. Don’t

overwork. It’s not worth it.

JOEY

You ain’t kidding. Julio, what do

we have now?

JULIO

You are giving the gentleman his car,

the Mustang.

JOEY

(looking haggard)

Oh, that’s right What else?

JULIO

Are you alright, boss?

JOEY

(confused)

Huh?

MAN IN HIS FIFTIES

You were gonna get my car, the blue

Mustang?

JOEY

Oh, that’s right.

He looks very uncharacteristically lost, scoping the shop seeming to look for something.

The BMW couple return with Sergio. The woman looks upset.

ANGRY WOMAN (FEMALE CUSTOMER)

You call that a car?

DICK (MALE CUSTOMER)

Will you just pipe down?

JOEY

I can’t take this.

He picks up his phone and makes a call.

JULIAN (v.o.)

(filtered)

Hello?

The man in his fifties stands near Joey, looking at him.

JOEY

Here’s your keys.

(to phone)

I need you. I really need you now.

Oh, wait a second, where are those

keys?

JULIAN (v.o.)

(filtered)

Who’s this?

JOEY

It’s Joey from the auto repair shop.

I really need you to come right now.

Sergio, where’s this gentleman’s keys?

JULIAN (v.o.)

(filtered)

I can’t. Sorry sir.

Sergio helps the gentleman in his fifties.

ANGRY WOMAN

They run this place like a pigsty.

JOEY

Good. You can go to that shop down

the street that does inferior service.

ANGRY WOMAN

(giving him nasty look)

Excuse me? What did you...

DICK

Sandra, please. I’m sorry for her.

She’s not having a good day.

JOEY

Join the club. But you don’t have

to get nasty about it.

DICK

I’m sorry.

(to Sandra)

They’re working on our car.

SANDRA

You need to hire more people.

JOEY

You got a phone? Start calling around!

Who’s next?

SANDRA

Excuse me, sir, I don’t need you to

be rude.

JOEY

Good. I need myself to be rude. Thank

you for giving me the opportunity.

SANDRA

I’m gonna report you.

JOEY

To whom? I have the highest rated

shop in Santa Ana.

A NEW CUSTOMER

Can you both...

JOEY

Alright, come on, let’s get it together.

Who else is here to get their car?

SANDRA

You know you could help him do the

work.

DICK

Honey, please.

JOEY

You know something? I was gonna order

the part you need but now I don’t want

to. You can ask my assistant to do that

and ask the other customers to wait

longer.

SANDRA

Oh, you’re a mess.

JOEY

Please leave my shop.

There’s a sudden silence. Even Julio seems to stop his work or slow down though he keeps working. Sergio goes over to work on another vehicle. Everybody else is still and quiet.

JOEY

I said leave my shop. You’re interfering

with my working conditions.

SANDRA

Well, maybe if you actually did some

work...

EXT. FRONT OF BONNIE’S HOUSE – DAY

Bonnie is walking up to the entrance. Suddenly, from the side, Amanda appears. Bonnie notices her and smiles.

BONNIE

Hey! What’s going on?

AMANDA

Let’s go inside.

BONNIE

I’m not going to get in trouble,

am I?

AMANDA

No, you won’t.

BONNIE

Alright, let me get settled. You

want to go out somewhere?

AMANDA

I can get things together so you

don't have to fuss.

BONNIE

Oh no, I’m not gonna let you do that.

Alright, let me put my stuff down

and we’ll talk.

A boy of about seven comes into the front room.

BOY

Ma... Oh hi.

Amanda smiles at the boy.

BONNIE

Oh... Amanda, this is Fergo.

FERGO

Mom, can Dash and I go to the field?

BONNIE

(to Amanda)

Excuse me.

(to Fergo)

How long you gonna be gone?

FERGO

Not long, don’t worry.

BONNIE

How’s your homework?

FERGO

Oh ma... I promise I’ll do it when

I get back.

BONNIE

(giving him a

disapproving look)

I want you back by five, alright?

FERGO

(semi-resigned)

Yeah...

The two boys ENTHUSIASTICALLY go out with a ball.

BONNIE

Ready for motherhood?

AMANDA

(laughing)

I don’t think for a while.

BONNIE

Want some tea?

AMANDA

How bout I make it?

BONNIE

It’s just tea. Relax.

INT – BONNIE’S HOUSE, LIVING ROOM DAY

The two of them are relaxing on the couch with some tea.

BONNIE

Alright, tell me what’s going on?

AMANDA

I know this is gonna be hard to believe

but I got ICE agents on my trail.

BONNIE

What? You? What’s wrong with those

people?

AMANDA

Apparently, some neighbors of Josh

saw me coming and going in the middle

of the night and they got suspicious.

BONNIE

Oh no. But how did this end up with

ICE? Oh, never mind. I can figure

it out. They go after anyone Hispanic.

So you got reported for coming to

Spend the night with Josh?

AMANDA

He was trying to sneak me in so his

parents wouldn’t find out. And it

worked but the flip side is somebody

got suspicious. And now that they’re

cracking down on everybody, this is

a perfect case for ICE. So I need a

place to hide where they won’t look.

Since I’m off the books at the Hilton,

maybe I can get away with it.

BONNIE

Be careful. Places where immigrants

work, like in housekeeping, will be

the first place they look.

AMANDA

Yeah I know, but they won’t figure

to look there. They already know

Josh’s place and my place and school

I’m officially enrolled in. They’ll

go there.

BONNIE

Hmmm. I get where you’re coming from.

Alright, let’s see if it works. Maybe

you can keep low-key there if they

let you work there. But it could be

still risky. They may not like the

idea of hiring someone full-time off

the books, especially someone who’s

supposed to be in school. You may

need to come up with another idea.

I feel so bad for you. You also

look tired so maybe just sleep on

it for now. I can give you the guest

bed in the alcove.

AMANDA

Oh thanks.

BONNIE

Yeah, just rest. I know you’ll come

up with something. That’s a lot to

process.

INT – VERNA’S AND KAMALA’S HOUSE LATE DAY

Verna is going through stuff and cleaning up. Kamala is also doing that, working together with her. They keep working while they talk.

VERNA

The carpenter won’t be here until

tomorrow. We’ve definitely got a case.

KAMALA

Good luck with that.

VERNA

Hey, what happened to you? You used

to be so gung ho. Here, can get this?

She points to a pile of objects on the floor.

KAMALA

(as she gets the objects)

Well... Look at what happened with

Samantha’s and my case against the

cop who sexually assaulted us with

a stick. It’s still going on. And

the only reliable witness caved and

lied in court.

VERNA

You’re gonna find that happens a lot

in life. But that’s no reason to back

down. That’s giving the devil a Christmas

present. You gotta pursue on. And

be strong. Justice doesn’t stick on

the side of the weak. You want it

to stick, you gotta tough it out and

be relentless. Here, put these back

where they belong.

KAMALA

This is so humiliating. Yeah, we gotta

fight.

(as she takes the objects)

INT – THE (STIVIC) HOUSE, LIVING ROOM LATE DAY

The mess of the previous night is still visible, things out of place, objects on the floor. No one is there. Joey enters. He looks very worn out. He drops his keys in the key cup, his jacket on the floor and heads upstairs.

INT – THE HOUSE, JOEY’S AND GISELLE’S BEDROOM DUSK

Giselle is in bed. The sound of footsteps can be heard outside. The door opens and haggard, tired Joey walks in. Giselle sits up in bed.

GISELLE

I guess I shouldn’t even ask. Do you

want me to get you something?

JOEY

Nah, don’t bother. I just wanna hit

the sack. They would pick a day like

today to make work a living hell.

People all over the shop. Cars all

over the shop. A rude, angry lady

because her car wasn’t ready and

needed a part. I had to kick her out

of the store. But it was still hell.

I didn’t know if I was coming or going.

I was trying to call for replacements

for these workers but I can’t do that.

I need these guys. They’re good. I

need to hire about three or four

additional workers.

GISELLE

That means you can make a lot of money.

JOEY

I don’t know, the way people were carrying

on, I don’t think we’re ready for that.

GISELLE

Look, Joey, if you can get that many

customers, that means you’re doing

well.

JOEY

And then when ICE visits? What’m I

gonna do then?

GISELLE

Take’em to court. They’re legal these

guys.

JOEY

Somehow something always finds a way

to screw me over.

GISELLE

What’s wrong with you? You should

be feeling grateful to get all that

business. You’ll hire more people

and you’ll handle it.

JOEY

Alright let me go to sleep.

GISELLE

I guess I should get something for

me in the kids.

Joey rolls over. Giselle gets up and puts some comfortable pants and a shirt on. She heads toward the door.

JOEY

(from bed)

Honey...

GISELLE

(stopping, looking back)

What?

JOEY

Thank you.

FADE OUT

If this isn't the proper place to post this, then please move it to where it can best be answered. Is there something wrong with the Writer's Room? I can't seem to log in because it's saying that I don't have a membership, even though my payments are up to date and I was just in the Pitch Tank a few hours ago. Is this some kind of a glitch? Just trying to figure out what's going on.

Hi all. Query. I've already pitched last year and need a tiny bit of help with my comps. From a time perspective and after reading some Stage 32 info on comps (some saying to leave them out), just wondering which service offers this help to get this series up and going. I'm a little concerned as I saw on socials today in the USA or surrounds, another filmmaker with a similar movie poster (very similar in fact), and though my loglines etc are private, and two lovely producers already have my work and pitch via Stage 32 I'm concerned.

Inquiring Screenwriters/ FIlmmakers want to know! Do you make it from scratch? To you order a starter batch?

if you guys have a feature request page I apologize.

a couple things though while I’m here.

1. I think it would be really cool to have notes enabled for different priority levels, like send me notes if someone sends a private message, network request, etc. I get a notification every time there’s a post in one of my lounges and I’m in a lot of them so I end up hearing the bell and ignoring it most the time.

2. I don’t seem to get a specific note in the app when I get tagged, so if someone replies I might not know - if I’m not checking my email, and I get an email every lounge post as well so it’s hard to wade through that. I actually just accidentally upset somebody and didn’t know they replied to my comment for a day or so. : (

3. a bug has you guys, in my private messages i have a couple from stage 32 staff with links to other content here but if i click the message to read it the app crashes. I’m on iPhone 15 pro, idk if anyone else gets this but the notifications badge won’t clear up because of this as well.

thanks for your time and any possible considerations.

-John

Just wondering if Stage 32 has any technical support staff? I emailed them and received no response. I cannot edit my profile or delete photos from my account. It's really frustrating on an otherwise useful platform.

I’m delighted to share that I’m working with Trotman Publishing on my first book, Creative Careers Unlocked, coming November 2026.

Book link: https://trotman.co.uk/products/creative-careers-unlocked

I’m passionate about social mobility and the creative industries, and this book brings together real‑world case studies, practical tools, and actionable strategies to help professionals and educators future‑proof young people’s creative futures.

The creative sector is full of incredible talent, from filmmakers and writers to designers, performers, producers, and behind‑the‑scenes innovators. I want this book to reflect that breadth and shine a light on the many routes into the industry, especially for those who don’t always see themselves represented.

If you’re a creative, a company, or someone working in creative careers, I’d love to connect.

You can message me here on Stage 32 or reach me directly at: emily@reflectionscareercoaching.co.uk

I feel like the instrumental I created is strong enough on its own? I feel like it could be a good instrumental sync song?

Architectural Digest is welcomed by Margot Robbie and production designer Suzie Davies to tour the set of Thrushcross Grange, Catherine Earnshaw’s home in “Wuthering Heights”. From surrealist Regency interiors to immersive gardens built entirely on a soundstage, discover how Emerald Fennell’s dreamlike imagining of Emily Brontë’s gothic tale came to life.

(https://www.youtube.com/watch?v=SxK9N-oig4g)