Actor and comedian Bob Odenkirk has said that the near-fatal heart attack he suffered while filming the television series Better Call Saul in 2021 fundamentally altered his perspective on work, prompting him to reassess the pace and volume of his professional commitments.

Speaking in a question-and-answer interview covering his career, personal projects and health, Odenkirk said the medical emergency highlighted the fragility of life and reinforced the importance of slowing down after years of maintaining an intense work schedule.The actor, best known for portraying lawyer-turned-criminal fixer Jimmy McGill, also known as Saul Goodman, reflected on the enduring appeal of the character.

Asked what Jimmy McGill might do if released from prison, Odenkirk suggested the character’s fundamental tendencies would remain unchanged.According to Odenkirk, McGill possesses considerable intelligence and talent but is driven by a deep sense of resentment that often pushes him toward destructive choices.

He said that even after imprisonment, the character would likely return to questionable schemes, although he might avoid involvement with drug traffickers after the events depicted in the series.The comments offered insight into Odenkirk’s interpretation of a character whose transformation from struggling attorney to criminal facilitator became central to the narrative of Better Call Saul.

The actor suggested that McGill’s challenges stem not from a lack of ability but from an inability to channel his talents constructively.Beyond television, Odenkirk discussed several ongoing creative projects, including a musical album currently in production. He said seven songs had already been recorded.

The material was written by Mark Nutter, whom Odenkirk described as a creator of comic musicals. According to the actor, the songs follow a comedic Broadway style and feature intentionally humorous themes.

The interview also touched on Odenkirk’s experiences with long-distance hiking, including comparisons between two physically demanding treks undertaken years apart.

Asked whether completing Scotland’s West Highland Way with his daughter in 2015 was more difficult than hiking Peru’s Inca Trail alongside comedian and actor David Cross for the documentary Bob and David Climb Machu Picchu, Odenkirk said the Peruvian expedition was considerably more challenging.

He cited the trail’s altitude, which reaches approximately 13,800 feet (4,200 metres), as well as the constant ascents and descents along uneven stone stairways. The demanding terrain, he said, required sustained concentration to avoid injury during the multi-day journey.

Odenkirk also addressed audience appreciation for his supporting role in the 2013 film Nebraska. While dismissing the notion that he should have received an Academy Award for the relatively small part, he expressed gratitude for the compliment and highlighted his experience working alongside veteran actor Bruce Dern.

The actor recalled spending time with Dern in a diner attached to their hotel during filming, listening to stories from Dern’s decades-long career in Hollywood. Odenkirk noted that many of those experiences have since been documented in Dern’s autobiography.

Asked whether he would consider performing Shakespeare, Odenkirk acknowledged having read extensively about the playwright while admitting limited direct experience with Shakespearean productions.

Nevertheless, he expressed interest in attempting such a role, describing the challenge as both difficult and appealing.The interview also ventured into lighter territory when Odenkirk was asked to name his favorite individuals named Bob.

His selections included comedian and actor Bob Newhart, broadcaster Bob Elliott, and actor Robert De Niro, although Odenkirk joked that he did not know De Niro well enough to address him by the nickname.Another question focused on actor Kevin Costner and the long-standing comparisons between the two performers.

Odenkirk acknowledged that he was frequently told he resembled Costner earlier in his career. When asked which Costner role he would most like to play, he selected the lead role in the baseball fantasy drama Field of Dreams.The most personal portion of the interview concerned Odenkirk’s heart attack, which occurred on the set of Better Call Saul in July 2021.

The incident prompted questions about whether he had considered leaving acting altogether and pursuing a quieter life.Odenkirk said the experience did, in some respects, make him question the direction of his career.

Although he chose to continue working, he concluded that he no longer wanted to maintain the same level of professional activity that had characterized much of his adult life.Reflecting on the period before the heart attack, he said an overloaded schedule had made it difficult to appreciate individual experiences and responsibilities.

Constantly moving from one obligation to another left little opportunity for reflection or enjoyment, he said.The actor described the health scare as a turning point that forced him to recognize the limitations of an overcommitted lifestyle.

While he continues to honor professional obligations undertaken before the incident, he indicated that his long-term goal is to reduce the intensity of his workload and create more space for personal fulfillment.

His comments illustrate how a medical emergency can prompt broader reassessments of career priorities, particularly for performers balancing multiple film, television and creative projects simultaneously.

For Odenkirk, the lesson was not to stop working altogether, but to work differently and with a greater awareness of the finite nature of time.

A London-based performer known by the stage persona Midgitte Bardot is using drag, writing and live performance to examine social attitudes toward dwarfism, gender identity and public scrutiny, drawing on personal experience to inform their work on prominent cultural stages.

The artist, who identifies as a non-binary trans drag performer with dwarfism, has gained recognition for combining provocative performance with autobiographical storytelling.

Appearing in fishnets and theatrical costume as Midgitte Bardot, they have developed a reputation for performances that challenge audience expectations and address issues of identity, representation and social perception.

Their work gained wider attention through participation in Sound of the Underground, a queer cabaret revue created by Travis Alabanza. In one performance, the artist delivered a blues-rock number while elevated on stage equipment, incorporating visual and thematic elements that drew a strong audience response at the Royal Court Theatre.

The performer has since returned to the stage with a new production, Shooting From Below, presented at the Southbank Centre. The show marks their first major appearance following spinal surgery undertaken after a condition that risked paralysis.

According to the performer, spinal complications are relatively common among individuals with dwarfism, and their own condition involves curvature in the lower spine.

The production centres on a fictional narrative in which the stage character addresses an audience directly, framing the performance around themes of historical marginalisation and contemporary objectification.

The performer cites examples, including accounts of individuals with dwarfism being treated as novelty figures in social settings, to illustrate ongoing patterns of exclusion and commodification.In interviews, the artist has described frequent public interactions that they say reflect intrusive curiosity and harassment.

They report being stared at, filmed without consent and subjected to personal questions in public spaces, including inquiries about their body, family background and personal relationships. Such encounters, they say, occur regularly in everyday settings such as streets and public transport.

The performer notes that these experiences have shaped both their artistic direction and personal outlook. While they emphasise that such behaviour does not represent the majority of interactions, they argue that it reflects broader social attitudes toward visible difference.

They also describe concerns about being followed after initiating casual conversations in public, which they say has influenced how they navigate social situations.Their work engages with historical representations of dwarfism in entertainment, which they describe as marked by exploitation and limited roles.

They reference examples from film and popular culture in which individuals with dwarfism have been depicted as symbolic or comedic figures, often reinforcing stereotypes. According to the performer, opportunities in the arts sector can be accessible but frequently involve forms of representation that they consider reductive.

The performer also references historical accounts, including the case of a family of performers with dwarfism who survived detention during the Holocaust after being selected for medical experimentation by Nazi physician Joseph Mengele.

They cite this example to illustrate what they describe as a contradictory dynamic in which individuals with dwarfism have been both marginalised and subjected to intense scrutiny.Midgitte Bardot, as a stage persona, is intended to challenge these dynamics by reclaiming language and reframing identity through performance.

The artist says the name deliberately references a historically derogatory term, recontextualised to assert control over its meaning. Through humour and narrative, the performances incorporate personal experiences, including instances of rejection and discrimination, into structured theatrical material.

The artist describes their approach as rooted in self-acceptance and visibility. They say their earlier life was shaped by attempts to conform, but that their current work reflects a conscious decision to foreground difference as a central element of their identity.

They also link this perspective to their understanding of gender, noting that their experiences have informed their identification as non-binary.Born in Gloucester and raised in Cheltenham, the performer recalls early experiences of being perceived as different from peers, which led them to begin writing at a young age.

They continued to develop this practice academically, studying creative writing at Liverpool John Moores University, where they graduated with top honours.During their university years, they began participating in literary and performance events, including hosting open mic nights.

Their transition into drag performance followed encouragement from peers, including a fellow performer known as Auntie Climax. The Midgitte Bardot persona gained local recognition in Liverpool, leading the artist to relocate to London in 2021 to pursue broader opportunities within the performance circuit.

The performer says their understanding of gender identity evolved alongside their work in drag. They describe observing differences in how they and others were perceived in public, particularly in relation to attention and scrutiny, which contributed to their self-identification as non-binary trans.

They also emphasise the importance of directly addressing harassment, rather than ignoring it. According to the performer, confronting such behaviour can deter repeat incidents and challenge assumptions about vulnerability.

They argue that advising individuals with dwarfism to avoid confrontation may reinforce perceptions of weakness.Looking ahead, the performer says they hope their current production will resonate with other individuals with dwarfism and contribute to the development of a more supportive community.

They note that their experiences performing in major venues are often marked by isolation, as they are frequently the only person with their physical characteristics on stage.

Their work continues to explore how visibility, performance and narrative can be used to address social attitudes, with a focus on expanding representation and creating space for more diverse perspectives within the arts.

This year’s theme, “Winter is Alive,” encapsulates the essence of creativity, community, and cultural exchange that the event aims to promote.

The celebration has gathered families, artists, and media professionals under the enchanting night sky of Dhahran, creating a vibrant atmosphere of connection and joy.

The opening ceremony was a spectacular affair, featuring a stunning display of lights and drones that illuminated the Ithra structure, captivating the audience.

Attendees were treated to a blend of traditional melodies and modern digital art projections, showcasing the rich cultural tapestry of the region.

With concerts, immersive installations, workshops, and local food experiences scheduled to run until April 2026, Khobar Season promises to be a year-round cultural destination.

This year’s edition of Khobar Season emphasizes accessibility and family engagement, reflecting Ithra’s commitment to community involvement.

Sarah Al-Abdullah, an English teacher and attendee, remarked on the dynamic nature of this season, highlighting that it inspires exploration and creativity beyond mere entertainment.

The gathering of diverse individuals from various backgrounds fosters a sense of unity and shared purpose.

Ithra has long served as a cultural bridge, connecting art, science, and technology. Its seasonal programs attract hundreds of thousands of visitors each year, and this year’s lineup features exciting new workshops and interactive spaces.

Content creator Haneen Al-Ghamdi expressed her appreciation for Ithra’s unique approach to event curation, where attendees not only enjoy performances but also learn and engage with the cultural narrative.

The event underscores the importance of collaboration with local and regional partners, aiming to nurture homegrown talent and strengthen the creative economy.

Initiatives such as the Family Studio, Youth Studio, and Winter Souq provide platforms for artists and entrepreneurs to connect with the community, fostering innovation and creativity.

Mohammed Al-Otaibi, an attendee from Dammam, noted the significance of such gatherings in promoting Saudi Arabia’s Vision 2030, emphasizing the importance of creativity and openness.

In addition to celebrating local talent, Khobar Season 2025 serves as an appreciation gesture for journalists and broadcasters, acknowledging their role in promoting Saudi culture.

Ithra’s representatives reiterated the media’s crucial partnership in advancing the Kingdom’s cultural narrative, which aligns with national efforts to enhance creative industries and cultural communication.

Throughout the season, guests will have the opportunity to explore newly opened areas and upcoming attractions, including outdoor installations and cross-disciplinary collaborations that link technology, sustainability, and heritage.

The organizers aim to make the Eastern Province a key fixture on Saudi Arabia’s cultural calendar, inviting visitors to experience the beauty of the region’s cultural offerings.

The event beautifully illustrates the harmony between tradition and innovation, as highlighted by attendees.

The juxtaposition of oud players and drone shows exemplifies the evolving cultural landscape of Saudi Arabia, where past and future coexist in a vibrant tapestry of creativity.

As the season unfolds, it promises to offer an enriching experience for all who attend, fostering a deeper appreciation for the arts and culture.

In conclusion, Khobar Season 2025 stands as a testament to the rich cultural heritage of the Eastern Province, inviting everyone to partake in this celebration of creativity and community.

With a diverse range of activities planned, it not only entertains but also educates and inspires. This season is set to leave a lasting impression, making it an unmissable experience for locals and visitors alike.