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Media Insider: Shortland Street head writer Jessica Joy Wood joins Casualty; the gender gap at RNZ's 30 with Guyon Espiner; TVNZ's new Europe correspondent Kate Nicol-Williams and Gore's nOOb makes it to Cannes

Media Insider: Shortland Street head writer Jessica Joy Wood joins Casualty; the gender gap at RNZ's 30 with Guyon Espiner; TVNZ's new Europe correspondent Kate Nicol-Williams and Gore's nOOb makes it to Cannes

NZ Herald01-05-2025
Like Shortland Street, the series is set in a fictional hospital and tells the stories of patients and staff in southwest England.
'I'm so excited to work on a production like Casualty. I've loved the show, been watching so much of it,' Wood said.
'I'm just super excited for a new challenge.'
Wood and her family arrived in Britain on Monday and she is due to meet the Cardiff-based team today.
South Pacific Pictures chief executive Kelly Martin said while they were sad to lose Wood, who also previously acted on the show, the team were delighted she was headhunted to work on the British drama.
'We wish her the best for this exciting opportunity. Her new adventure provides yet another example of Shortland Street 's vital importance as a training ground for Kiwi talent sought all over the world,' Martin said.
Despite being thrilled about her new role, Wood said leaving her Shortland Street family had been tough.
'It was honestly such an amazing time of growth and learning and building friendships.
'Acting was super fun, but I played a character that was the sister of a core character, so I was in and out over the course of six years. In that time I started being a regular writer for the show.'
To any fans worried about Wood's departure, she said the show is in safe hands and she will still watch from afar.
'I've worked so closely with that team and they all love the show as much as I do and are so dedicated to it.'
#Notallmen – but mostly men
Interesting and influential.
That's the bar that RNZ sets for interviewees on 30 with Guyon Espiner, an in-depth interview show.
Espiner brings his extensive broadcasting experience – including as a former political editor on TV3 and Morning Report co-host – to question his subjects in an uncut, unedited 30-minute clip.
So far, it appears the programme considers men as more 'interesting and influential', as just four of the 25 guests profiled to date have been women.
This week, Media Insider was alerted to the fact that none of the five people on this season so far are women.
A spokesperson for RNZ said the broadcaster took its responsibility under the RNZ Charter to reflect diversity seriously.
'We look at our entire output rather than one show to assess this.
'At the start of every season, 30 with Guyon Espiner starts with a long, diverse list of potential guests. However, with scheduling conflicts, availability and guests declining to appear the actual interviewees can end up not being as diverse as we would prefer.'
The spokesperson said it was something RNZ monitors and the show does have some female guests scheduled to be interviewed in later episodes.
In my view, it's difficult to see how such a wide gender gap has occurred in a format like this.
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Unlike reporters who work in breaking news environments responding to the events of the day, Espiner's show is one with the luxury of time where the team can be more selective in who appears on it.
I understand the difficulties of interviewees pulling out, or desired guests being unavailable, but long-form style shows should be able to adapt and make necessary changes to ensure better gender representation.
Polkinghorne in paperback
If the wall-to-wall coverage of his murder trial, followed by a three-part television documentary wasn't enough, now the case of Philip Polkinghorne – accused and later acquitted of killing his wife Pauline Hanna in their Remuera home – is being immortalised in a book.
Writer and journalist Steve Braunias, who covered every day of the eight-week murder trial for the NZ Herald, has authored the tome.
Polkinghorne ($37.99) will be released on July 15 with publisher Allen & Unwin today unveiling the book's cover and teasing 'an extraordinary encounter that will leave readers stunned'.
The company won't say if that encounter is with Polkinghorne himself – or if he has participated in any interviews for the book.
If you can't wait for the book, read Braunias' epic account of the trial's conclusion from last September.
TVNZ's new Europe correspondent
After two and a half years, TVNZ 's Europe correspondent Mei Heron is returning to Aotearoa to rejoin the local reporting team.
Heron is being replaced on the continent by TVNZ Wellington journalist Kate Nicol-Williams.
The state broadcaster's interim chief for news and content Brent McAnulty said the 1News Europe correspondent role was a highly sought-after secondment in the newsroom.
'Some of our most experienced and skilled journalists have filled the role and we're really excited to have Kate joining their ranks and taking over from Mei officially in the middle of the year. She's going to do an incredible job.'
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McAnulty said 1News had been fortunate with the timing of the appointment, given the busy news agenda in Europe.
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' 1News viewers have benefited from both the incoming and outgoing Europe correspondents being in situ this past week. Kate covered the Pope's funeral and conclave news out of the Vatican, while Mei was able to head to Gallipoli to report on Anzac commemorations and the Prime Minister's visit.'
He told Media Insider bringing Kiwis' perspectives on global events was important, which is why the outlet continued to send correspondents to London, New York, Sydney and the Pacific.
TikTok to Cannes
It may have been set in Gore, but the team behind Kiwi TV series n00b were right at home among the glitz and glam in Cannes this week.
The show, which follows a 2005 Southland heart-throb who is outed after his gay fan fiction writing is discovered, is the first New Zealand series to become a finalist in the short-form section of the Cannes International Series Festival.
Speaking to Media Insider from Cannes, Victoria Boult, the show's 27-year-old creator, said it was an 'incredible honour' representing Aotearoa at Canneseries.
'The short-form category highlighted largely young, fresh, voiced work from around the world – and I felt really lucky to have our show screen alongside them.'
Attending the festival, she said, was a 'pretty surreal' experience and her show was selected as runner-up in the youth-judged Student Award category.
'We got to walk on the pink carpet (not red!), talk to international press, attend talks with leading international screenwriters, watch amazing new television shows – the list goes on.
'But I think my favourite part was getting to meet other writers, directors, producers and creatives. This can be such an isolating and competitive industry at times, and I feel like I walked away from this experience with a whole new friend group of artists from around the world.'
Great Southern TV founder and chief executive Philip Smith said Boult independently wrote n00b and entered it into a TikTok competition.
'It won, so we picked it up and developed it as a TV series, supporting Victoria who was working for us. Warner Brothers in New Zealand picked it up and we shot it in New Zealand and it's already screened on New Zealand television on TV3 and it's on ThreeNow. It had radical components, it's fair to say that it was really brave.
'Then it got picked up by Netflix.'
On the show reaching Cannes, Smith told Media Insider: 'It puts it on the world stage.
'It's the only show in Australasia selected. So everything in New Zealand and Australia that was entered, this was the only show that made it. So it's a significant success for New Zealand.'
One good text
This week's One Good Text comes from Newstalk ZB's Heather du Plessis-Allan, who is on air again following the birth of her second child, a bay girl named Mackay.
From the Darkhorse's mouth
The co-founder of global brand and experiential agency Darkhorse has resigned.
Liam Taylor, who helped set up Darkhorse in 2012, is set to join Special PR as business development director in its Auckland office.
Managing director Kelly Grindle said Special PR had experienced rapid growth in its infancy.
'As we shift into this next phase, we want to do so responsibly. This means investing strategically in our senior leadership for the benefit of our team and clients.
'We couldn't think of anyone more suited for the role than Liam. His depth of experience and creative brilliance will help further cement Special PR's work as a global benchmark for the industry.'
He gets his feet under the desk at Special PR on May 12.
Rescue chopper swoops in on ads
The sound of the Westpac Rescue Helicopter will disrupt TV advertisements for top brands – including Toyota, Lotto NZ, Spark, Chorus, Z Energy and Turners.
The advertisers are uniting in support of Chopper Appeal Month, which runs throughout May.
During the month, the sound of helicopter blades will overlay the brands' usual television ads.
The initiative will also be present in cinemas, train stations and on social media.
Last year 9289 potentially lifesaving missions were flown by the national network of rescue helicopters.
Westpac NZ chief marketing officer Sarah Williams hopes the campaign will inspire more Kiwis to donate.
'By having so many brands working in unison, we are hoping to reach even more Kiwis, bringing the idea 'there's no greater sound when you need it' to life through every means possible. The sound of the chopper will be loud and proud.'
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Ed Sheeran adds second Auckland show to January 2026 New Zealand tour
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Ed Sheeran adds second Auckland show to January 2026 New Zealand tour

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New Zealand Portrait Gallery Appoints Brian Wood As Director
New Zealand Portrait Gallery Appoints Brian Wood As Director

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time8 hours ago

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New Zealand Portrait Gallery Appoints Brian Wood As Director

The New Zealand Portrait Gallery Te Pūkenga Whakaata is pleased to announce the appointment of curator, writer, arts collector, and marketer Brian Wood as its new Director, effective 18 August 2025. Wood succeeds outgoing Director Jaenine Parkinson, who has taken up the role of Head of Art at the Museum of New Zealand Te Papa Tongarewa. He is no stranger to the Gallery, having served as Acting Director during Parkinson's parental leave in 2021. Chair of the New Zealand Portrait Gallery Board, Dr. Alan Bollard, welcomed the appointment, saying: 'We are delighted to have Brian return to the Gallery. He made a strong impact during his time here and brings a rich and diverse skillset to the role. His background spans marketing, fundraising, curatorial work, public programmes and events. He has led teams of volunteers and managed a private art collection. These experiences, combined with his passion for portraiture, make him ideally suited to help the Gallery continue telling the stories of New Zealanders through art.' Reflecting on his return, Wood said he is thrilled to step back into the Gallery: It feels incredibly special to return—not just to a place I know and love, but to a role where I can help shape the Gallery's future. Stepping into this role feels like coming home, but with a renewed sense of purpose and possibility. I had a fantastic experience in 2021 and achieved a lot during my time there. I'm looking forward to building on that momentum and continuing the strong exhibition programme. I deeply value the Gallery's role as a storyteller of Aotearoa's people.' Originally from the Kāpiti Coast, Wood has lived and worked in Wellington, London, Melbourne, Dunedin, Auckland, and now South Wairarapa. He holds a Bachelor of Fine Arts from the School of Art at Otago Polytechnic and has held positions with The Dowse Art Museum, Te Omanga Hospice, Royal New Zealand Ballet, City Gallery Wellington, and Museums Wellington. 'Since finishing up my previous role with the Gallery, I've stayed closely connected to the arts and cultural sector—managing a performing arts company, serving as a trustee for an arts charity, reviewing funding applications, curating exhibitions, and even working in the wine industry. My time as Acting Director in 2021 was deeply meaningful—it strengthened my appreciation for the Gallery and its team. Returning now feels like both a continuation and a new beginning.' Looking ahead, Wood has ambitious plans to grow the Gallery's reach and impact: 'As we enter this next chapter, I want the Gallery to be a place where people see themselves reflected—not just in the portraits, but in our programming, exhibitions, and conversations. That means uplifting underrepresented voices, embracing diverse styles of portraiture, and nurturing emerging talent alongside our established artists. 'We're also exploring ways to increase accessibility and engagement—through digital platforms, regional outreach, education initiatives, touring exhibitions, and vibrant in-Gallery events. I want the Gallery to be a living, evolving space—one that not only reflects New Zealand's identity but helps shape, inspire, and challenge it.'

Talk dirty to me: inside the fascinating world of audio erotica
Talk dirty to me: inside the fascinating world of audio erotica

The Spinoff

time9 hours ago

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Talk dirty to me: inside the fascinating world of audio erotica

More and more of us are tuning into – and getting turned on by – erotic audio apps like Dipsea and Quinn. What's the secret to their success? Recent convert Kate Evans spoke to the people who write, voice, and study it. [A door opens. Heels on the floor. A sleepy moan. A British accent.] 'Hey baby. You have a good time? You can put the light on. It's fine. Ohhh OK. I can see we had a very good time.' Warm laughter. 'God, you look so fucking hot. Yeah, you know I like that outfit. But you must be freezing! I bet you got a lot of looks though. You done some heartbreaking tonight? What time is it? 3 am?! Get into bed, you deviant! Come here. I'll warm you up.' I first learned about the erotic audio app Quinn from Melody Thomas 's brilliant podcast The Good Sex Project – definitely give it listen if you haven't already. I was curious. Practically every night I lull myself to sleep with the Calm app's perfectly boring sleep stories; would horny audio fulfil a different need? I had already tried Dipsea, a similar app marketed as 'spicy audiobooks', but hadn't found the storytelling especially engaging. Quinn, on the other hand, turned me on immediately. Lots of the 'audios' are in second person; a warm-voiced man or woman talking directly to me, the listener. Asking questions, waiting for answers, chuckling at my imagined response. The acting, in general, is much better than I'd expected it to be – more storyful, playful and convincing than any I've encountered even in arty, ethical, visual porn, and definitely better than in romantasy graphic audiobooks. Most of the time, the scenes and characters are thoroughly believable. Cosy soundscapes add to the immersion – and my own imagination supplies the rest. Most are oriented to women, but not all. There are people of various genders speaking to all sorts: men, women and non-binary folk. Some aren't even sexual, mainly kind words of affirmation and encouragement. Others are kinky as fuck, but you're warned about what to expect via the thorough and at times hilarious use of tags. So if you're not into [Butt Stuff] [Degradation] [Breeding] or [Daddy], you might instead choose one labelled [M4F] [Friends] [Romantic] [Adorkable] [Jealousy] [Rain] [Gazebo] [Confession] [Kissing] [Possessive] [Tell Me You Need Me Too] [Finger Sucking] [Fingering] [Check ins] [Eye Contact] [Praise] [Pride & Prejudice Gazebo Scene Vibes] – yes, that's all one story. Or maybe you'd prefer this one, tagged [NB4A] – meaning it's by a non-binary creator for any listener – [For all genders] [WFH] [Partner Experience] [Lunch Break] [Flirty] [Cutie] [Spanking] [Shower Sex] [Quickie] [Sensual] [Fingering] [Moaning] [Oral]. If you're feeling adventurous, on the other hand, you can dip your … toe … into some spicier waters than you're used to, and possibly surprise yourself. There are historical scenarios, where you're seduced in a carriage or ravish the manservant. There are comfy 'boyfriend', 'husband', or 'girlfriend' scenarios, bad boys and lady bosses, and all the tropes common to romance literature – friends-to-lovers, enemies-to-lovers, strangers-to-lovers, infidelity, age differences, office romances… There are bars and flat couches and hotel mix ups (only one bed!) and mad inventors and witchy moonlight gatherings. There are recurring memes and 'Easter eggs' for devoted listeners (like an offstage character referred to as 'Fucking Greg' who pops up in multiple audios) and various accents – but no Kiwi ones that I've found so far (which is possibly for the best?) And there are a handful of flagship, highly-produced, plot-driven, three-part stories that seem tailor-made to draw new listeners to the app. There's a fairy smut one dripping in BookTok references. One's voiced by Katherine Moennig – who, as Shane in The L Word, inspired many a Millennial queer awakening. Another features actor Andrew Scott of Hot-Priest-Fleabag-fame as Robb the Protector, the guard to a despotic queen in a medieval-ish kingdom. 'If I wasn't already listening to Quinn, I would definitely be a subscriber the minute I found that out,' says researcher Athena Bellas, an honorary fellow in the University of Melbourne's School of Culture and Communication. Athena has listened to a lot of erotic audio – 'untold hundreds of hours' – but she has a good excuse: 'It's for research.' [Andrew Scott's Irish accent. The sound of a sword falling on the floor.] 'If we're going to do this I want to do it right. Sit on the throne. Have you forgotten what we used to do in this room? You heard me, sit down. I miss this. I've been thinking about this since I saw you in the market, remembering the nights we spent sneaking in here… Your scent. I need to see you. Open your legs. I have to taste you. Is that all right? Thank you. It's even better than I remember. Better than in my dreams.' Athena and her friend Jodi McAlister, a romance author and romance scholar at Deakin University, are literally writing the book on this stuff – provisionally titled Audio Erotica – and they recently published one of the first ever academic papers about it. Of course this requires a lot of … research. 'Anytime my headphones are in, it's audio erotica,' says Athena. Dipsea (founded in 2018) and Quinn (2019) are the main players, but there are half a dozen others as well. All this research has made Athena and Jodi pretty discerning. 'We're now really alive to the bad ones,' says Jodi. 'You end up with a bit of a hair trigger where you're like, 'Oh, no. Absolutely not.' It's a good way of educating yourself about your own icks.' Some of the audio is just flat out bad, she says. Story matters – at least a bit – and so do production values. 'Athena and I have both got some opinions about some really janky background music in some of them.' Other times, though, they don't see eye-to-eye. Jodi can't stand one particular Quinn creator. 'He says the phrase, 'I know', in a way that I just absolutely hate. Like, 🤢🤮.' There's nothing objectively objectionable about the phrase 'I know,' but it makes Jodi's skin crawl for reasons she can't exactly articulate. 'When he's saying it in my ear I'm just like, take it away!' (She's cringing and wringing her hands as she says this.) 'So Athena has to listen to him for both of us.' 'We've had so many fights about this,' says Athena, 'because he's one of my favourites!' Bickering aside, they do agree that what makes a great erotic audio is a sense of realness, connection and intimacy. The second person point of view can deliver that intimacy, but only if it's done right, Athena says. The script has to be specific enough to be interesting, but generic enough that you're not jolted out of it, thinking I'd never say that, or that's not me. 'Audio erotica trades on a fantasy of authenticity, and if the audio cannot produce that and rings untrue, it's an immediate 'no' for me,' she says. Penning a good erotic audio story is definitely an art, says Holly June Smith, a British romance author who also occasionally writes scripts for Quinn creators – she got into it after writing a novel about a woman who is embarrassed to discover the guy her brother has brought along on a ski holiday is her favourite erotic audio creator. An audio story has to work at multiple levels, Holly says. Firstly, as a narrative with a beginning, middle and end. Then there's crafting the dialogue, which has to make the listener feel like they're part of the story; she was thrilled to hear from some Quinn listeners that they felt so immersed they accidentally responded out loud to a question while on their commute or in the gym. But the most challenging thing to get right is often the pacing. 'Ultimately, what you are creating is a masturbation guide. So it also has to have this pacing that works for the listener. You are taking them on a literal, physical, intimate journey.' Sometimes you just need to let the moaning do the talking. Holly's scripts will frequently say things like: Moaning for approximately thirty seconds. Moaning intensifies. Creators are then free to improvise, and the possibilities are endless. In their academic writing, Athena and Jodi call this kind of thing 'salacious play': 'the minutia of pornographic sound that is made available in close-up through these technologies – one can hear saliva being drawn through teeth, the wet sounds of jerking off –the whoosh of a hefty exhale.' In mainstream visual porn, they write, the 'burden of erotic aural performance' generally falls on female actors: 'the masculine orgasm is seen, while the feminine is heard.' Erotic M4F audio (heterosexual, performed by men) turns this stereotype on its head. 'Oh yeah, it's mostly moans, groans, and f-bombs,' says British Quinn creator John York. 'You're sort of using your breath to guide the pace of the story.' (Quinn have helpfully made an 17-hour+ playlist entitled ' Male Moans '.) John found his way to audio erotica via audiobook narration, although the two media are worlds apart, he says. 'With audiobooks, you're reading a manuscript, you're just performing a part. With the Quinn stuff, it's a lot more personal.' For him, that's meant gravitating to certain types of stories or characters. 'I don't have a super gruff voice or a gritty bad boy personality. I'm not gonna go and, like, decimate somebody and say awful things to them – it just sounds weird coming from me. So I do a lot of friends-to-lovers, boy-next-door stories,' he says. (Side note: There are plenty of other creators who play more in the decimating bad boy genre if you'd rather get off to that – in your mind, if not actually in real life.) 'We really, really deserve this night away – just the two of us. Plus, I've done something incredibly sexy in preparation for tonight. I stopped off at that car place on the way home, and had it… professionally cleaned. I did! There is not a crumb or friendship bracelet or broken crayon in sight.' John writes a lot of his own scripts, but Holly penned these catnip-for-parents lines for him, as part of a series they worked on together called Couples Therapy. 'It's not just 20 minutes of escapism,' says Holly. She and John wanted it to be almost educational – to help couples work through their own issues, and maybe get some ideas. 'This series might just save my marriage,' wrote one commenter. Couples Therapy fits into a genre of erotic audio Athena and Jodi call husband or boyfriend experience – this was the focus of their recent academic paper, 'Let me take care of you: domestic caretaking fantasies in boyfriend experience audio erotica', published in 2023 in Porn Studies (yep, that's a real academic journal.) These are some of the most popular types of audio on both Quinn and Dipsea, they write – erotic fantasies in which a woman, the implied listener, is being taken care of by 'men who take on the burden of domestic labour, and who emotionally comfort and sexually satisfy their partner.' So you have men telling you they've done the dishes, showering you with compliments and love, and delightedly, hungrily going down on you. Here's Athena: 'Boyfriend experience audio, and erotic audio more broadly, is a fantasy world in which women are unburdened from any kind of labour. Labour like taking care of the home, emotional labour, the labour of having to vocally perform [orgasm]. All these things are off her shoulders, and in fact it's the male performer who it all falls on to create this fantasy. That's a very interesting power reversal, and I think that's part of why it's so powerful and so interesting and it feels fresh.' Could this kind of thing perhaps give us unrealistic expectations, I ask? Jodi shoots me down. 'This is something people say about romance fiction all the time. My answer is, I don't care if women have high expectations. That doesn't seem like a them problem. That seems like a men problem.' John also gets asked that question a lot. 'The preconception of what we do is it's some bloke saying how great he is, but it's the complete opposite. It's me holding hands with the listener and we're exploring this together. It's ironic, really, because it's me doing the talking, but the feedback I get is that people feed heard. They feel listened to, and they feel understood.' Masculinity is often characterised as taking, he says – 'but audio erotica is showing that there's something deeply masculine about serving – and I don't think a guy listening to their partner is a high target to hit. I think that should be expected as a human being, as a friend, as a boyfriend, as a partner. It's what we all need and crave and want. So I don't think that's necessarily an unrealistic expectation.' And yet, maybe it's a lot to expect anyone to be enthusiastically, devotedly, moanily horny after picking up the kids and doing the dishes and not wanting any care and appreciation for themselves in return. Will listening to too many of these make me greedy, and expect a lover to compliment me continuously and lyrically for thirty minutes while also somehow using their tongue for other things? This is where we have to give listeners, and ourselves, more credit, says Athena. 'These are fantasies, and I think we're all capable of recognising them as fantasies.' Similarly, she points out, there are plenty of scenarios featured in the app that people might never actually want to do in real life – adultery, for instance, or sex with a stranger, or types of rough sex – but get to explore vicariously and safely via these stories. Arguably, that's the whole point of erotic content. Jodi and Athena quote another academic, Catherine Roach: 'Erotica inhabits the realm of imagination, of exaggeration, of archetype, of fantasy. It explores and plays with possibility.' In other words, while it has to feel authentic, it's not supposed to be realistic. [Seagulls, the creaking of rigging. A deep, female American voice.] 'I saw the way you looked past my crew, and the shift in your eye when you looked at me. I can see what you truly want. Oh, interesting. I think you've never had it. I'll give you what you want. I'll let you taste what you truly desire… …and you are going to say, Yes, Captain. Is that clear?' Erotica in this form is incredibly new – less than a decade old. Even as recently as 2017, cultural theorist Dominic Pettman asked: 'Why does the erotic voice lack 'stickiness' when it comes to the World Wide Web, given the power of the voice to summon seductive ghosts, quicken the heart, and whisper promises of bliss? Why, in other words, are modems awash in pink pixels but not blue bits?' Just eight years later, the sticky blue bits have certainly arrived; so what's changed? Partly, it's that women are talking more openly about sex and desire. 'Romance fiction has always been popular, but for a long time it was something people consumed furtively or secretly,' says Jodi. 'I think some of that culture of shame is changing. There has been a lot more out-and-proud romance consumption in the 21st century.' Fifty Shades of Grey might have kicked things off, she says, and then there's the romantasy book boom on TikTok, and literary novels like Miranda July's All Fours – either way, women who previously would've been embarrassed to do so are now openly consuming smut. But there's something new and experimental and radical about audio erotica in particular, says Athena. 'What's captured me from the very beginning has been a certain intensity that feels very personal – the way it can offer something that feels very alternative to what we are accustomed to receiving in sexually explicit media.' She and Jodi are trying to be cynical academics about it all. They have managed to find some critiques, for instance that some of the apps market themselves as wellness-adjacent, 'like 'Headspace – but horny!'' says Jodi, while 'some are more like 'Duolingo – but horny' … it's like, God, you're making sex such hard work!' Over-emphasising health and education risks making us feel that even while masturbating, we have to be somehow optimising ourselves, Athena says. 'It begins to kind of suggest that we're not allowed to just have smut to get off to.' But it's also true that for many of the people making and listening to this content, erotic audio can be genuinely transformative. When I speak to Holly and John, they've just come from a meetup with other Quinn writers and creators, and are invigoratingly loved-up and excited about the whole thing. Here's John: 'I've only been doing it a year. But meeting other creators who have been doing this for much longer – they've become role models to me. You have these guys who are very masculine, but creative, and they're not afraid to showcase their vulnerable sides. Because the work is so emotional, it needs you to be open with your emotions and in touch with your feelings … and it makes you want to be a better human being. 'I've learned so much about myself from doing this, and I've never felt fulfilment like it. It sort of bulldozed my life, took it over completely, and I feel very grateful for that.' This is a whole new industry that didn't exist a decade ago, Holly points out. The people who make it tend not to be the same people that make other types of pornography, and it allows for a kind of anonymity that's not possible in visual media. 'It's fascinating to think that there are people out there, men and women and nonbinary people too, who may have this skill that they haven't really identified in themselves yet – and that this could also be work that they do.' Maybe that's you, or someone else you know that hasn't yet discovered that audio erotica exists. 'It's actually still very, very niche,' says Holly. 'Most people aren't having day-to-day conversations about sex and desire and masturbation.' Erotic audio can change listeners' lives, too, says Holly – she gets lots of feedback telling her so. Some people come to the app to listen to a certain male creator, and are surprised to discover that they rather like female voices. Others discover kinks they never knew they had. After childbirth, menopause, or divorce, the app can also be a tool for cautiously reconnecting with desire and sexuality – and very often, Holly says, it becomes a Pandora's Box situation (pun partially intended): 'They listen to one or two audios, and then it's like a dam breaking. They're like, oh, no. I need this every minute of the day now!' (Fear not – the addiction eventually plateaus, she says.) Many other people have told her that listening to audio erotica has helped them and their partners to 'rediscover something that might have been lost.' And for those not in relationships, an intimate voice in one's ear can bring a certain kind of comfort unavailable anywhere else. Take this comment I saw below one of the Quinn stories: 'I recently moved out on my own for the first time and listening to your audios is the only thing that has made me feel like I'm not alone, and they've helped me prevent some mental health spirals. Thank you.' More Reading Even though erotic audio is essentially professional dirty talk – and some of it is indeed extremely dirty – there's also something I find deeply wholesome about it. Like Athena, I've been arrested by this form of storytelling that feels experimental, new, and a bit radical. I don't listen all that often – and certainly not in the kitchen, though I have played it when I'm alone in the car, hoping no cops pull me over – but I'm so glad it exists. It's made me more aware of the vast and diverse array of human turn-ons. I'm clearer on my own icks, and I've followed my curiosity down some surprising rabbit holes. I also happily pay for it. It's not just about compensating the creators; it also means no ads, no pop-ups, and no distractions. To access the stories inside apps like Quinn and Dipsea, listeners must cross what Athena and Jodi call 'thresholds of wanting': 'They must want to access the material enough to pay for it – and from there, must use the app's infrastructure to navigate to the material they desire.' On Quinn, for instance, users navigate mainly via the use of tags—all those [Car Sex] [Single Parent x Babysitter] [We Shouldn't] and whatnot. Based on the comments left under various stories, tags seem to function for many listeners as turn-ons in themselves, a kind of textual foreplay that teases at what will be found within. Together, these attributes make erotic audio apps into 'walled gardens', Athena and Jodi write – private-feeling spaces that encourage absorption and concentration. And I suspect these flowery, flourishing, filthy, secret-ish places might also help to foster what Dan Savage calls a ' zone of erotic autonomy ' – the private eroticism and mental sexual freedom we can all enjoy even within a monogamous relationship – and an enhanced intimacy with oneself and one's desires.

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