Well, Michael Reedle, of course, co-hosts The Morning Show at Len Berman,

writes for years, one of the greatest, probably the greatest theater column,

The New York Post, and he's written two big bestsellers,

the two best books on Broadway, Razzle-Dazzles the first one,

and then the second one, singular sensation.

You should get both those books.

Michael Reedle, how you doing?

Hey, Mark. How are you doing? You know, what I have to say... Sorry, go ahead. No, go ahead. Well, I was going to say, you know, you're absolutely right. I was the great Broadway columnist, I think. You know, I would put Walter Winchell as number one. He was the greatest Broadway columnist of all time. and then I put myself as number two.

Well, yeah, except, uh, Winchell is number one. He was the greatest Broadway columnist of all time. And then I put myself as number two.

Well, yeah, except Winchell was a little corrupt at times, tangled up in some shady stuff and went nuts at the end. He was like a crazy old man at the end. So this is not you. No, no, no. I never did that. But just in terms of being able to really get the scoop on stuff. And, you know, I haven't really written a column for the New York Post since the pandemic. And because I was sort of a part-timer there since I left to join W-O-R. And I'm slightly myth that they haven't brought me, they haven't brought me back yet. I'm still sort of

working for them writing the occasional story, but I don't know, should I become a columnist again?

I kind of miss the, oh, definitely, definitely. Yeah, because no one else is doing it. I mean,

if you look at the New York Times now, and I can go on and on about the way the New York Times

is covering the theater, they are so woke over there at the New York Times that all they want to write about is

if this, you know, is a play about Black Lives Matter or George Floyd or this and how racist and how

horrible America is, all they want over there are hectoring, lecturing, politically correct plays

and depressing plays.

And you get something like a charming revival of Neil Simon's Plaza Suite with Matthew Broderick

and Sarah Jessica Parker in it. And it's doing, you know, almost $2 million a week.

And people are just having a good time. People are coming out of the pandemic and they want to go to

the theater to be entertained and have some laughs. And there's Jesse Green of the New York Times saying, how dare they revive this play in the era of hashtag me too? Its sensibilities are so stuck in the 60s, the way it portrays women. All the Times does these days. It never has any fun. It just goes, tusk, tusk, tusk. isn't that terrible? Isn't that awful? These people aren't behaving properly the way we should behave today. And I'm sick of it. Yeah, you know what I was happy about, though? About five years ago, now more than that, seven years ago, the New York Times Food Review meant absolutely nothing. Instagram took over as people, and I've checked on this for years.

Anybody gets a rave restaurant review in the New York Times.

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