Brodie Kaman’s new artist book, “One Thousand Scars Ago,” released by Year Zero, offers a rare view into the private work of a designer known for shaping the visuals of some of contemporary music’s biggest names, including Lady Gaga, FKA twigs, and Nine Inch Nails. The 336-page softcover spans 2016 to 2020, collecting images, sketches, scans, and fragments that exist entirely outside commercial briefs.
The book is divided into two halves. The first presents found material, notebook pages, and studio experiments — all work never meant for an audience. The second shifts to iPhone photography, capturing people, places, gestures, and small accidents in real time. Together, these sections form a continuous visual field where everyday moments, damage, and intimacy overlap.
Unlike a retrospective or portfolio, “One Thousand Scars Ago” is an archive. It keeps contradictions, repetition, and rupture visible, reflecting the conditions under which it was made: a period marked by movement, instability, and experimentation. The foreword frames the work as evidence of a body interacting with the world rather than a personal confession. The book offers a different side of Kaman’s practice; one shaped not by spectacle or client demand, but by observation, failure, and persistence. It’s an unfiltered record of how a visual language is forged beneath the surface of a highly visible career.
With a career spanning nearly two decades, Michaela McManus is stepping into a defining new chapter. In the multiverse-driven thriller ‘Redux Redux’, she delivers a gripping, emotionally charged performance as a mother propelled by grief and vengeance. The film, which premiered to strong acclaim at the SXSW Film Festival 2025, marks a bold evolution in her work, showcasing both physical intensity and nuanced restraint. At the same time, McManus is making waves on the small screen in ‘Memory of a Killer’ alongside Patrick Dempsey, further highlighting her range and presence across genres.
Schön! caught up with McManus to talk about stepping into complex, female-driven storytelling, balancing action with emotion, and why this moment feels like just the beginning.
opposite
dress. Nili Lotan
jewellery. Mejuri
‘Redux Redux’ explores grief through a multiverse lens. What drew you to this story, and how did you emotionally prepare for such an intense role?
What really drew me to ‘Redux Redux’ is that although this genre is typically male dominated, the story is very female driven. I hadn’t seen a story told like this told through a female lens and I was excited to be part of that. When it came to preparing for the role, I could draw from my own experience as a mother and that deep need to protect my children at all costs.
Your performance balances ferocity with restraint. How did you find that equilibrium while portraying a mother driven by loss and vengeance?
I think balancing ferocity and restraint is the core experience of being a mother. Childbirth is the perfect example of that. I was lucky enough to birth my kids without an epidural, and it required a level of physical demand while at the same time I had to channel my deepest patience and zen. It’s not too far off from what Irene has to access daily.
The film premiered at SXSW Film Festival 2025 to strong reactions. What was it like experiencing that first audience response?
There’s always some trepidation for me when sharing my performance with an audience. This performance felt particularly vulnerable because it was so different from anything I had ever had the chance to play. There were definitely some nerves. But ultimately, I felt so proud of this project, and everyone involved. Getting to screen it at such an impressive film festival, with my family in the audience was a career highlight.
Multiverse narratives can sometimes feel abstract. How did you keep your character grounded and relatable amid the high-concept elements?
My brothers Kevin and Matt McManus, who wrote and directed the film, really deserve the credit for building such an approachable and grounded setting for this sci-fi story. I think sometimes people can get lost in the details of high concept storylines. It’s a real gift for the audience to be able to sink into a story without being bogged down with excessive exposition.
This role has been described as “career-defining.” Did it change how you see yourself as an actor or the types of roles you want moving forward?
Getting to sink my teeth into such a complex character was deeply fulfilling. I just want to continue on this path and take on more challenging roles. It sparked the passion I felt when I first started out in this business and made me excited for what’s to come.
Without giving too much away, were there particular scenes in ‘Redux Redux’ that pushed you further than anything you’ve done before?
Something new for me was jumping into the stunt and weapon work. I loved sharpening that skill set and working with such an incredible team to tackle those scenes.
You portray a mother navigating unimaginable grief. Did you draw from personal experiences, research, or imagination to shape that emotional depth?
There was a little bit of everything when preparing for this role. I have my own process of pulling from personal experience combined with imagination. I did as much prep as possible, but when you show up to set you have to be able to let all of that go and just be in the moment. That’s where the magic happens.
What conversations did you have with the director about tone, especially balancing the film’s action elements with its emotional core?
My brothers gave me a list of movies to watch in preparation that matched the desired tone. A film they introduced to me that I think was very successful in balancing action elements with the emotional core was BLUE RUIN. It left me thinking about it for days and weeks after watching which for me is always the mark of a good film.
In ‘Memory of a Killer’, you’re working alongside Patrick Dempsey. What has that collaboration been like?
Patrick is a true professional. It was clear from day one his committed investment in the show which I think raised the bar for everyone. I really enjoyed working with him and the entire cast and crew.
dress. Nili Lotan
jewellery. Mejuri
How does your role in ‘Memory of a Killer’ differ from ‘Redux Redux’ in terms of character mindset and performance style?
The characters are different for sure, but they’re both very layered. As an actor, I love getting to play strong, grounded women who have depth and vulnerability which these two roles definitely have in common.
With the series unfolding over several weeks, how do you approach character development differently in television versus film?
In television, the story is sometimes evolving and changing as you’re shooting which can be very challenging. You have to put a lot of trust in the show runner to help guide you through the process. So much of acting relies on trust. I often talk about how working on ‘Redux Redux’ was such a gift because I’ve frequently collaborated with my bothers so that trust was built-in and already established at the start of the shoot.
With both ‘Redux Redux’ and ‘Memory of a Killer’ releasing so close together, this feels like a major moment in your career. What excites you most about this chapter?
This chapter is thrilling because I’m being challenged in new ways. I got to try my hand in comedy with a really fun guest role on the newly released second season of TED. I just wrapped a really cool pilot for NBC — THE ROCKFORD FILES. I had such a blast working on that one too. I’m nearly twenty years into this career and I love that it still feels fresh, new, and exciting at every turn. I can’t wait to see what’s next.
It’s been 15 years since Miguel performed in London. On 16 April, he reminded a sold-out O2 Brixton Academy exactly why he’s one of the greats. The Schön! 40 digital cover star is an irreplaceable voice in R&B, penning modern classics like “Adorn” and viral tracks like “Sure Thing.” At his core, Miguel is the rockstar of R&B, so it’s only right that his “CAOS” world tour leans heavily into the sounds of rock. The show’s gritty guitar riffs and punchy percussion were a harmonious contrast to Miguel’s sultry vocals. He was pitch perfect, effortlessly switching between hardcore belts and melodic vibrato. The set was minimal, featuring moody lighting and an overturned car as a platform, but with an angelic falsetto like Miguel’s, there’s no need for fanfare.
Miguel’s raw talent and hit-worthy discography is perhaps why his crowd was so forgiving when things didn’t go to plan. Although it wasn’t glaringly obvious from the audience, some unexplained technical issues meant the show had an impromptu intermission and Miguel inevitably had to skip some songs on his setlist to make curfew. It’s clear that the artist sets a high standard for himself and wanted to deliver a good show for a city that doesn’t get to see him often.
Although the show’s sound engineering was lacklustre, the night peaked most in its quieter moments. British crowds were raised on choral singing in school assemblies ,so when Miguel instructed the entire venue to sing the melody of “Girl with the Tattoo” in unison, it was a beautiful moment of connection. When it was just Miguel and his electric guitar, singing in Spanish and English while fans clutched their chests or their partners in adoration, is when the magic of his music shined brightest.
suit. Dolce & Gabbana
shoes. Alaïa
jewellery. Marie Lise Lachapelle Studio
Critically acclaimed film and television actor Sepideh Moafi is on the cusp of a new dawn on our screens and onstage. Featuring in several fan-favourite dramas, including Apple TV’s ‘Black Bird’, HBO’s ‘The Deuce’, Showtime’s ‘The L Word: Generation Q’ and the Emmy Award-winning HBO Max drama ‘The Pitt’, Moafi is one to watch for eclectic and versatile drama performances.
It’s no wonder that one of the most-watched TV shows of 2025 features a strong cast of talented actors such as Noah Wyle, Katherine LaNasa, Shawn Hatosy and Gloria Underwood. Joining the fortified cast for Season 2, Moafi delivers the role of the punctilious Dr. Baran Al-Hashimi, a highly educated and clinically precise attending doctor and the natural rival of Pittsburgh Trauma Medical Centre’s preceding attending, Wyle’s character, Dr. Michael “Robby” Robinavitch.
Discussing her comeuppance and career trajectory, Moafi invited Schön! ahead of the season 2 finale of ‘The Pitt’ to explore the thespian thinking that shapes her performances, including self-reflection, activism, cultural awareness and a thrilling insight into the works of tomorrow.
dress + belt. SEMSEM
shoes. Manolo Blahnik
jewellery. Marie Lise Lachapelle Studio
opposite
dress. Armani
jewellery. Marie Lise Lachapelle Studio
How did you set Dr. Al-Hashimi apart from the stereotypical “new-girl-in-town” trope?
When you get a role, you kind of throw yourself in, and it’s always kind of nice when parts of who you are connect to parts of who the character is. I tried not to think about it so much as “How I will be perceived?” Although that was intimidating, being the only new series regular entering ‘The Pitt’, the only other senior attending opposite Noah Wyle, Dr. Robby, who spent most of his career playing a professional doctor on screen. So, of course, it came with its complexities. But in general, I tried to home in on who she was and what was revealed through the scripts.
As an actor who wants to really serve her character and the world, it was important to remember that you can’t care what other people think. You can’t prove yourself. You have an entire life’s worth of experience, and you’ve devoted so much of your life, countless hours, decades to this career, to this path. For me, as an artist, for her in medicine. You know that you belong here, despite any other people’s second guessing in your ability. She’s not there to be liked. She wants to be of service; she wants to be effective. And I think that that also shifts the dynamic because it’s less about entering a space from a place of insecurity and just being very grounded in her sense of purpose.
You crafted Dr. Al-Hashimi to really home in on that half-Iranian, half-Iraqi descent, and we know that you also have an Iranian background. Being a person of colour, is the constant barrier of potential prejudice, always something you’re aware of — whether it’s for you as Sepideh or the character of Dr. Al?
It depends. As a woman of colour, and as any woman in any field, you have to work so much harder than your male counterparts. We need to establish and reestablish our worth and value in a system that doesn’t naturally accept us or create paths for our success. I think that’s a huge part of her. Also, something that I share with this character is that it’s almost like she had to compartmentalise that reality in order to see beyond it and go beyond any trace of victimhood or injustice. The injustice does fire her up, and it’s a foundational driver in her. She will advocate fiercely for herself; you see throughout the season Robbie being pretty hard on her and condescending, which is relatable for a lot of women in any field, whether it’s conscious or subconscious.
The way that we are viewed is that we are less capable, unless we sort of mask ourselves in the masculine, tough, impenetrable way. What I love about her is that she has that tough exterior, but she is vulnerable, and she has great communication skills, and she is such a devoted teacher/mentor and empath with her patients. Her years of experience and her vast medical background did not harden her. It made her better.
suit. SEMSEM
jewellery. Marie Lise Lachapelle Studio
opposite
suit. Dolce & Gabbana
shoes. Alaïa
jewellery. Marie Lise Lachapelle Studio
My first impression of Dr. Al was that she is pragmatic, stern, and self-assured. Calloused by a difficult life and refined by her prestigious education, a serious attending and more so, a tough opponent for Dr. Robbie. Could there be some intimidation that Dr. Robbie must confront within himself because this other brilliant attending is a woman?
It’s incomprehensible. It’s a very sort of capitalistic approach to success and medicine. It’s like there’s only room for one — they need to push you down to get ahead or be seen as powerful. But I do think that at its core, their tension is not personal. It’s part of what we’re talking about, the deeply ingrained patriarchy, but it’s also philosophical. He leads through heroic endurance and instinct. And she has a background in clinical informatics, which is data science, research and medicine. She also has a background in humanitarian aid work as a doctor, so bridging that global field work with this more science-based research world, she understands systems, and she’s trying to work within the system to shift things and improve through prevention and accountability.
Over time, I think these approaches actually strengthen one another. If they could put their differences aside, they could be a really powerful team. When different cultures, traditions and systems meet, there’s often friction. But that friction isn’t a problem — it’s where new forms can emerge.
Well, we hope that by season three, we see more of the synergy! Maybe a bit more professional chemistry, more of that collaboration.
To be honest, it’s so easy for me to tell the truth about this — I know nothing about season three. Okay? Absolutely nothing!
coat. COS
shoes. Fendi
jewellery. Marie Lise Lachapelle Studio
opposite
ensemble + shoes. Armani
jewellery. Marie Lise Lachapelle Studio
Arguably, today’s America hosts categorical tension between people who believe they’re different but are actually very much connected. ‘The Pitt’ has explored that in part, also, notably in the “ICE episode” (Season 2, Episode 1) where we see systemic oppression affect realistic situations. How important is community as a theme in ‘The Pitt’?
Extremely. When you scratch past the surface, it’s really about all the societal issues that we’re facing, not just in the States, but in the world, particularly in the Western world. What it does so beautifully is that it shows the human cost of the pressures, the emotional toll on people trying to hold the line. It explores the moral density of the emergency department and the relentless pace and urgency of life, and yet, in the hospital, there’s an inevitable confrontation with our existential nature. We have to confront the fact that we are mortal creatures — we will die. ‘The Pitt’ is medicine meeting the full spectrum of human life, and you can’t separate politics or society or culture from hospital culture.
I’m really grateful that ‘The Pitt’ hasn’t shied away from that. I shadowed the LA General Medical Centre in the emergency department, and the day that I went was after the mass protests in June in Los Angeles. The hospital was almost empty. The attending there asked why it seemed like a manageable triage, and said it was because of the protests and the crackdown. People, in particular undocumented citizens who have a legal right to healthcare, are terrified of going to the hospital. To have that reflected in our show this season, I thought it was poignant and very important for the moment we’re living through.
Touching on the technological aspects of Dr. Al-Hashimi’s interests… she’s very positive about AI, and she insists on using it for the betterment of patients. Do you share similar attitudes towards technology and medicine, or do you have a different perspective?
As a doctor, you’re always weighing the pros and cons. You’re always weighing those risks. So, I don’t think she’s naive to the potential dangers of AI. I think she’s well aware. She is living inside a system that is crumbling and impossible to keep up with. The need is impossibly high, and time is limited. So, she sees AI not as a saviour, not as a form of replacement, but as a tool to help relieve the burden for healthcare workers with things like diagnostics, charting and admin. But it can’t be left unchecked; with this technology, it’s so much about stewardship. It’s a bullet train that is speeding by, and if we don’t hop on and try to pave the path ahead, then we are, pardon my French, f***ed. But these are things that will be dealt with case by case.
But for me personally? I’m terrified. I’m terrified of the inevitability of what AI is doing. You see algorithmic bias, job displacement, how it’s affecting labour unions, and deep fakes that are so troubling. They’re so real. And if they’re this good now, what are they going to be like in two years, four years and 10 years? It’s a moving train, but it’s inevitable.
blazer. SEM SEM
earrings. Marie Lise Lachapelle Studio
opposite
top. Armani
jewellery. Marie Lise Lachapelle Studio
Surely you know a lot more about ‘Newborn’, the play listed for the Minetta Lane Theatre. You star in your own monologue of three one-woman shows. What has it taken to get here, and how do you feel about what is to come of Newborn?
I cannot put into words how excited I am to get back on stage, get into this process and do a play. More than anything else, I’m collaborating with these unbelievably talented, brilliant artists. The playwright Ella Hickson, the director Ian Rickson, Hugh Jackman, Mariana Gailus, and then being in the broader company of Corey Stoll and Cecily Strong. I’m so excited. It’s a very athletic and demanding endeavour, but theatre is my home and doing this play feels like a homecoming. I started as an opera singer, and I just come alive when I get to be on stage and in rehearsal. There’s nowhere to hide in this show; the piece is very intimate and psychologically demanding, which is exhilarating and terrifying.
You seem to have such a deep connection to New York — you’ve worked there and live there currently. What has New York revived or sparked within you that has ignited this passion for Newborn?
Before I got the offer for this role in ‘Newborn’, I did a workshop of the play. It was me, Hugh Jackman and another actor in the West Village at the Minetta Lane Theatre. The moment we stepped into the rehearsal room, we just sat there, and our director Ian Rickson set the space. My monologue has a lot to do with light. I’m reading it, and the sun from outside is hitting my face as I say the word “light.” It was one of those magical moments where you’re saying these words and thinking I can’t believe I get to live inside of this playwright’s brain and bring this character to life.
So that, for me, sums up why I love New York. You walk out, and you’re dealing with the subway and people. There’s something harsh and stark, but so beautiful about being alive. You’re in this magical moment, and then the next, you’re waiting for your train that’s 20 minutes behind. There’s urgency and creative intensity in New York that I love. It pushes you to be more of who you are. There’s a reason it’s a Mecca for artists—it’s so alive, vibrant, and full of possibility. And that makes you want to live more fully and confront all of yourself.
dress. SEMSEM
jewellery. Marie Lise Lachapelle Studio
opposite
coat. Miu Miu
shoes. Manolo Blahnik
