When you’ve won over 80 national titles and 11 world championships, the question isn’t really what’s left to prove. It’s what comes next. For billiards champion Allison Fisher, that next chapter is taking shape through an unexpected partnership with award-winning entertainment producer Monty Hobbs, and it’s bigger than either of them might have imagined a few years ago.

Fisher and Hobbs just announced a wide-reaching collaboration that covers television production, children’s literature, and brand development. It’s not a one-off documentary or a quick licensing deal. They’re building something meant to last decades.

Hobbs runs Just Do GOOD Entertainment, the production company behind titles like Finding Kindness and Divine Renovation. His latest project, Secrets of Sampson, is a southern docu-drama series launching soon. He’s got distribution deals with Amazon Prime, Apple TV, Roku, Tubi, and UP Faith & Family, the kind of reach that turns regional stories into national viewing.

What caught his attention about Fisher wasn’t just her competitive record. It was the untapped potential in her story and what it could become across multiple formats. So they’re launching three major projects simultaneously.

First up is GRACE THE TABLE, an original television series where Fisher co-hosts alongside families, chefs, and cultural voices. The concept centers on meals and the stories that happen around them. Not competition, not instruction, just genuine human connection over food. Think less cooking show, more cinematic storytelling with comfort at its core. Hobbs is producing it with what he calls “radical nostalgia with global commerce potential,” which really just means making something that feels timeless but can travel worldwide.

The second project is a children’s book and youth empowerment series. It’s anchored in the values Fisher built her career on: resilience, character, emotional courage, but aimed at younger audiences. The plan isn’t to stop at one book. They’re looking at a full series, speaking curriculum, and digital learning materials. It’s designed to work in schools and youth programs, not just bookstores.

Third is the brand and licensing system. This covers everything from premium lifestyle collaborations to memoir-related content, archival digital collections, and streaming distribution. Essentially, they’re creating a framework to preserve Fisher’s legacy while actively using it across different platforms and products.

But the on-camera work has already started. Fisher’s confirmed to guest star in Episode Two of The Color of Kindness, a national series filming in Phoenix, Arizona. She’s not just making an appearance. She’s being written in as what they’re calling “a transformational narrative presence” in a show built around empathy and impact.

The public debut of this partnership happens December 6th in Clinton, North Carolina. Fisher will appear live alongside Erik Estrada, Blake Davis, and the cast of Secrets of Sampson at an industry event Hobbs is hosting. It’s part celebration, part official announcement, and likely the first real look at where all this is headed.

The timing makes sense when you consider where Fisher is in her career. She’s got decades of competitive history, growing digital visibility, and a public that genuinely respects what she’s accomplished. Hobbs has a track record of building media and brand systems with staying power. Put those together, and you’ve got an opportunity to do more than document a career. You can extend it into new territory entirely.

“This is not about capturing nostalgia,” Hobbs said. “It’s about engineering the next forty years of cultural relevance. Allison is not a chapter: she is a catalog.”

There’s a broader trend here worth noting. Sports legends are increasingly taking control of their own narratives instead of waiting for someone else to tell their stories. They’re building businesses, launching media companies, creating content platforms. Fisher and Hobbs seem to be ahead of that curve rather than chasing it.

Hobbs’ existing work supports the scale they’re aiming for. His projects blend streaming distribution with live events, civic tourism partnerships, and physical retail executions across smaller American cities that don’t typically get this kind of attention. Secrets of Sampson is following that same hybrid model. Fisher’s projects will likely benefit from that established infrastructure.

The partnership also has personal roots. Hobbs and Allison’s mother, Christine Fisher, have been close friends for years, a relationship he describes as full of laughter and fun.

What starts in Clinton on December 6th won’t end there. Fisher’s television work continues into next year. The book is in active development. The licensing framework is being built out. This isn’t a short-term publicity push. It’s infrastructure meant to carry forward for years.

For Fisher, it’s a way to take everything she’s built in one arena and translate it into multiple formats that reach different audiences. For Hobbs, it’s another example of finding stories worth telling and building systems that can tell them properly. Together, they’re betting on something meant to outlast both of them.

When Sturle Dagsland describes conducting a two-hundred-dog choir in Greenland, he’s not joking. The Norwegian artist, who makes up half of the sibling duo behind the project, actually positioned himself in the middle of a small village, set up microphones, and got the sled dogs to respond to his howls like an orchestra following a conductor’s baton. That recording session tells you everything about how this project works: experimental, adventurous, and rooted in a genuine connection to the natural world.

Sturle and Sjur Dagsland released their second album, Dreams and Conjurations, on October 10, 2025. The brothers, based in Stavanger, Norway, have built their sound around an unusual combination: Sámi folk traditions from their northern Norwegian heritage mixed with instruments from around the world. On any given track, you might hear Swedish nyckelharpa, Norwegian goat horn, Chinese guzheng, West African kora, Hungarian cimbalom, and waterphone, all woven together with modern recording techniques and electronic elements.

Their 2021 self-titled debut earned them an Edvard Award for best Norwegian album of the year. The new record pushes even further, mixing avant-garde pop, folk music, metal intensity, and electronic soundscapes. It’s not the kind of album that fits comfortably into one genre, and that’s exactly the point.

The brothers see limiting themselves to one feeling or genre as dishonest. They’re not interested in playing just one style. They’d rather move through different emotions and let the music breathe in whatever direction feels right.

Their approach to Norwegian traditions comes through in songs like “Hallingen,” named after a folk dance that Sturle compares to Norwegian breakdancing. Dancers spin, flip, and jump to kick a hat off a stick. A few years ago, they performed at a museum opening with a halling dancer, creating music that captured the rhythm and energy of the tradition without being a strict replica. They also incorporated elements from their Sámi heritage, blending vocal styles and rhythms from their family background into something new.

The recording locations are worth noting. The brothers don’t stick to traditional studios. They’ve captured sounds in abandoned ships, remote villages, stormy clocktowers, and a water tower in Berlin’s Prenzlauer Berg neighborhood. Sjur points out that the Berlin space has a long reverb that inspires them to play differently. The acoustics actually change how they approach their instruments.

One of the album’s songs, “Whispering Forest, Echoing Mountains,” came from a chance encounter in Beijing. While touring China, they met a half-blind elderly man playing guzheng near the Forbidden City. He invited them to his home, told them he’d dreamed of Norwegian mountains despite never leaving China, and they jammed with him all night while his family brought dinner. The experience inspired one of the most-used instruments on the album.

Their collection of international instruments raises questions about cultural appropriation, but Sturle’s perspective is straightforward. Instrument makers are usually happy to see their creations being played and want their traditions to live on. He uses the guzheng in ways that don’t sound traditional at all. It’s about exploration and spreading the joy of music rather than claiming mastery or authenticity.

Working as siblings has its challenges. They used to share a tiny studio that doubled as Sjur’s bedroom, sleeping and creating music in the same cramped space. These days they live separately, though they’re still neighbors on the same street. The brothers perform mostly as a duo, though they’ll occasionally bring in dancers, visual artists, or multi-instrumentalist friends for special shows.

Looking ahead, they’re planning tours across Europe, Japan, Korea, Mexico, and Brazil. Sturle has bigger dreams too. He wants to create a musical with a fantastic director, where he’d perform all the character voices in different styles. It would be surreal and fairytale-like, something imaginative and playful. Sjur has already decided his role: he’d be on a flying carpet.

For now, Dreams and Conjurations offers plenty: ambient whispers on “Windharp,” ceremonial chaos on “The Ritual,” and ghostly minimalism on “Kwaidan.” It’s music that doesn’t ask for passive listening. It demands you lean in and pay attention.

You can stream the album and follow Sturle Dagsland on Facebook, Instagram, and YouTube.

The actress steps into CBS’s iconic daytime drama, appearing opposite one of soap opera’s most recognizable leads.

By Emily Brown

In stepping into the world of CBS’s venerable daytime drama The Bold and the Beautiful, Tullia Ferraro takes her place among television’s most enduring ensemble casts. Her scenes opposite Thorsten Kaye—who portrays Ridge Forrester, a character synonymous with soap-opera gravitas—demonstrate her ability to adapt seamlessly to a fast-paced production alongside one of the genre’s most recognizable leads.

Since its 1987 debut, The Bold and the Beautiful has become one of the world’s most watched daytime dramas, broadcasting in more than 100 countries. Its smooth production schedule, global syndication, and daily viewership make it a unique platform for actors to reach a wide, loyal audience. The show is known for glamorous fashion storylines, complicated love triangles, and the cliffhangers that keep viewers returning day after day.

Thorsten Kaye has portrayed Ridge Forrester since 2013, inheriting one of the show’s most iconic roles from Ronn Moss, and has earned critical attention in the genre, including Daytime Emmy recognition. His presence brings both dramatic weight and credibility to every scene—placing Ferraro in dialogue with not only a lead but a touchstone in daytime drama.

In her appearance on The Bold and the Beautiful, Ferraro shared a brief but memorable scene opposite Thorsten Kaye. Even in a short exchange, timing and presence are crucial in the fast-paced world of daytime drama, where production moves quickly and scenes are often filmed in a single take. Ferraro delivered her lines with clarity and ease, supporting the emotional tone of the moment and fitting seamlessly into the show’s established rhythm. Her ability to adapt quickly to the production environment and interact naturally with a lead actor underscores a professional ease that can make even a brief appearance stand out.

While many daytime actors rotate in and out, The Bold and the Beautiful is currently embracing location shoots and renewed narrative ambition. In 2025, the show filmed in Naples and Capri, Italy, injecting fresh visual spectacle into longstanding storylines and demonstrating its commitment to ambitious production. Those episodes are already generating buzz among fans, both for the romantic settings and the tensions that unfold overseas.

For an actress like Ferraro, being part of a soap in such a moment offers both challenge and opportunity: to perform amid location variation, outdoor dynamics, and in scenes that may find resonance well beyond a studio set. It is precisely during these high-visibility stretches that supporting actors can stand out—when lighting, setting, and narrative pressure combine to focus attention.

Ferraro’s role on The Bold and the Beautiful may have been brief, but it reflects her ability to step into an established world, work alongside respected leads, and bring professionalism to a tightly run production. In the high-volume, high-visibility world of daytime drama, even a short appearance can become part of the show’s ongoing narrative fabric.