Nikki Munoz

Weekly podcaps will now focus on “The Bechdel Cast,” a film podcast in the same vein as “The Rewatchables,” but centered on the female perspective with the intention of illuminating women’s voices. This week, “Overdue” tackles serious racial themes with “Native Son,” while “The Bechdel Cast” works through the issues of “What Women Want.”

Herrera jokes about people asking, “But where are you really from?” or “But where were your parents born?” — the answer to both being Texas.

On Monday, “Overdue” moved into the world of science fiction, delving into the rare sci-fi novel written by a woman of color. Meanwhile, on Tuesday “The Rewatchables” didn’t stray too far from last week’s episode, focusing on another action film.

There may be a podcast about everything for anyone, but what all of the successful ones have in common is the ability to connect with the listener on an individual basis.

As the play progresses, however, so do the elements of melodrama, resulting in a fast pace that has been building up since the opening line. Suddenly, the stakes are clear to be as high as earlier alluded to, as audience members find themselves caught up in the midst of an emotional and psychological mind game between the three characters.

In this episode, Bill and Chris spend a lengthy amount of time talking about Crowe and his career, while devoting noticeably less time to Ryan’s. The same goes for the lead actors’ performances; Bill and Chris even acknowledge this at the end of the episode.

The first episode of the year premiered Jan. 26, after a short break over the holidays. “Case 105: Louise Bell” covers the disappearance of 10-year-old Louise Bell in Adelaide, Australia in 1982.

With two successful podcasts now under his belt, podcast host Josh Clark is moving right alongside the growing magnetism of podcasts within people’s everyday lives.

In his next one-man show, “Border People,” Hoyle will tell the stories of those who live on or across borders both physical and cultural.

Berkeley’s Shotgun Players, with direction by Patrick Dooley, uses its firm grasp on the story and its characters to produce a captivating production that does justice to the intricacies of Stoppard’s writing.