Pushing Limits with Jen Crane, DPT

[00:11] Jennifer Milner: Welcome back to Bendy Bodies with the Hypermobility MD, where we explore the intersection of health and hypermobility, focusing on dancers and other aesthetic athletes. This is co-host Jennifer Milner, here with the founder of the Bendy Bodies Podcast, Dr. Linda Bluestein.

[00:27] Dr. Linda Bluestein: Our goal is to bring you up-to-date information to help you live your best life. Please remember to always consult with your own healthcare team before making any changes to your routine.

[00:36] Jennifer Milner: Our guest today is Dr. Jennifer Crane, physical therapist specializing in circus arts, Bendy Bodies team member, and founder of MyFlex by Cirque Physio.

[00:46] Dr. Linda Bluestein: Jen, welcome.

[00:48] Jennifer Milner: Welcome back to Bendy Bodies.

[01:00] Jen Crane, DPT: I'm so excited to be here. Thanks for having me.

[01:02] Jennifer Milner: Thanks for coming back. For people who don't know you, please just tell us a little bit about yourself.

[01:10] Jen Crane, DPT: Yeah, absolutely. So I'm a physical therapist and an athletic trainer by profession, and I grew up dancing and doing all sorts of the standard childhood artistic athletic endeavors. So I did a bit of gymnastics, a bit of figure skating, but really focused in on ballet. As I grew up and went to college and grad school and became a physical therapist, I very quickly found my niche in circus arts. And that happened when I myself became a circus artist and really just saw what a need there was for qualified healthcare providers to work with these types of artistic athletes.
[01:52] As I continued to work in that niche, I also discovered that so many of them were hypermobile, regardless of where they were on the hypermobility spectrum. That was a really big commonality that I saw. And so I started to focus in a little bit more on the hypermobile artistic athlete. And that's kind of where I've arrived today.

[02:17] Jennifer Milner: Well, you have been very open about not only being hypermobile but also having a diagnosis of EDS yourself. So what was that diagnosis journey like and how did it shape your choices as an artist?

[02:28] Jen Crane, DPT: Yeah, my diagnostic journey was — I think a little bit atypical, or maybe not. Really the first time that I heard the word "hypermobile" in the context of it being problematic versus something to be desired, like in ballet, was in college when I was studying athletic training and then later in graduate school with physical therapy. The first kind of memory I have of this is any time in physical therapy school that we would be learning how to test for ligamentous stability — like ankle sprains or vertebral mobility, the classic tests and measures that we learn as physical therapists — I would always be the example for "this is what it feels like when somebody has a full rupture of the ankle ligaments." Even like ACL, all of the standard ligamentous testing — I was the guinea pig for my classmates to learn what it felt like to have a positive result for that. And I kind of just laughed about it at the time.
[03:32] I didn't really start putting any of the pieces together until the end of my physical therapy program. I kept hearing all of these hypermobility things, but I honestly don't even think that we learned anything about EDS or any hypermobility disorders. It was just something that we learned as: some people are looser and some people are not as loose, and this can be problematic. We learned about how to treat the individual joints that were hypermobile, but it was never really put together in one cohesive diagnosis — like, this is the presentation of someone with EDS. I think that that's changing now in physical therapy schools, but this was almost a decade ago. So we just didn't have that as part of our curriculum.
[04:29] I was having a cluster of different symptoms that didn't really align. I was having some dysautonomia issues. I was having a lot of joint pain. I was a runner at the time, a distance runner, and I would get so many stress fractures. I had two stress fractures in my ankle and then one in my foot in a very short duration of time. So I ended up at a primary care physician, and she basically went through my medical history and said, "Have you heard of hypermobility disorders or Ehlers-Danlos?" And I was like, hypermobility, yes, but I don't know what it means in the context of a more cohesive diagnosis. So she gave me a very brief rundown of what it was.
[05:14] And then this was a little bit tricky because I'm in the U.S., and at that time there were penalties for having preexisting conditions with insurance. So she explained what it was, what it meant, and what treatment options there would be — and then she said, "Do you want me to diagnose you with this?" And then she explained what that would mean. And I said, "No, absolutely not. I don't want that to be a barrier for me to have healthcare for the rest of my life." So at that point I just learned a little bit more on my own, but I didn't really fully understand what it meant, or at least put it all together for me as a person, until much later. I had what I call a soft diagnosis, and I didn't get my actual diagnosis until years later.
[06:26] I'm one of those people that a lot of hypermobile humans can relate to — I'm really stubborn. Being told that I have this basically fragility disorder, I was like, no, absolutely not. That's not — I don't want that. I don't identify with that. And there are a lot of issues with that whole train of thought that I dealt with later. But at the time I was just like, this is not a narrative I want for myself. So I started thinking about how I would need to train differently — with running at the time, and I was doing a little bit of dancing still — using what I knew as a physical therapist and athletic trainer.
[07:17] Then later, as I started working with circus artists, it got really interesting — a very fun puzzle to solve — helping people understand the implications of this diagnosis and also how to take care of your body while still doing the things that you love to do in a way that's safe. That was a very long-winded answer, but it's not a linear process.

[07:45] Jennifer Milner: It's not a linear process. And I think that's something that we talk about a lot. As we say in so many of our podcasts, there is nothing like "oh, this is the typical journey to follow." But if there's something that's typical about it, it's that it is a multi-step process — you first go, huh? And then you go, wait a minute. And then you go, no.

[07:48] Jen Crane, DPT: Yeah.

[08:10] Jennifer Milner: Right. And you have these issues that come up and you chase after them like whack-a-mole. And then somebody says, hey, have you seen this umbrella type thing? And then you start to dive into it and you keep going deeper for the rest of your life. So that is in some ways a very typical nonlinear way to get there.
[08:35] Living with EDS is a balancing act in itself, and we know that hypermobility disorders like EDS are extremely heterogeneous. It can be challenging to know when to hold back from physical activities that most people might love, but that people who have been diagnosed with connective tissue disorders need to be careful with because of higher risk of subluxations, injuries, delayed healing, that sort of thing. But when you're working as a circus artist or other athletic artist, your job is literally to push yourself to your limits. So as a physical therapist, as an artist yourself, and as someone with a connective tissue disorder, how do you help artistic athletes reconcile those two things?

[09:19] Jen Crane, DPT: I think that's the constant struggle — understanding where a person is at and how to reconcile that with what their goals or career are. And I think regardless of what art form the person does, almost everybody when they first start seeking healthcare or work with me for the first time really needs to be told that your experience is valid, your symptoms are valid, the fact that your experience isn't like your peers' is absolutely okay. People are just so gaslit — sometimes by themselves, sometimes by coaches, sometimes by healthcare providers. So I think just teaching them to listen to themselves and listen to their body's signals is the first thing to do, and the hardest part.
[10:15] I think across the board, the thing that I've found most helpful for me personally and for my hypermobile patients who are very active and want to stay very active — whether it's a dysautonomia symptom, joint pain, flare-ups, whatever issues they're having — is teaching them about heart rate variability and how to measure, track, and use that as something you're always looking at to get a preview of where your body is that day, and looking at the trends of where it's going.
[10:50] Just a bit of backstory for people who might not be familiar with that term: this is something that a lot of the wearable fitness devices and trackers use as a measure of autonomic function. It basically tells you how recovered you are from the previous day's stressors, whether that be a work stressor, an emotional stressor. It tells you where your autonomic nervous system is. Whether it's a bracelet connected to an app, a ring connected to an app, or just an app you use on your phone every morning, it's a really good indicator that helps reconcile what people feel like but maybe don't want to admit or fully accept with what their body is actually going through. And it's an objective measurement.
[11:41] I find that so many artistic athletes are so used to leaning into this "circus hurts, no pain no gain" mentality, that giving them this tool that helps them actually understand that what they're feeling is valid and can be measured — that helps people really start to embody: okay, my HRV is this low this morning, I'm only 20% recovered, I'm in the red, so today I'm going to train a little bit easier. And then on days that I'm more recovered and my nervous system is more on board, I have more spoons available — those are the days you can do more. Being able to track that and watch that is a really great way to get on top of flare-ups or avoid getting into the chronic pain spiral that so many people get into. Teaching people to understand the cues their body is giving them, to trust those cues, and to act on them is the best tool you can give, hands down.

[12:55] Jennifer Milner: I love that. Teaching them to understand the cues that their bodies are giving is the optimum way to train. That's fantastic.

[13:02] Dr. Linda Bluestein: Yeah, and that's good because like you said, Jen, you can use that regardless of whether you're a circus performer or somebody who's just trying to figure out how to get out of bed every day and take the dog for a walk, because we know that people span such a massive spectrum and are at very different places.
[13:24] From a musculoskeletal standpoint, it must be really challenging for people who are in something like circus and pushing themselves in that end range, pushing their bodies so hard physically. How do you help them with the risk-benefit analysis, especially given the lack of data on the long-term effects of things like contortion and other activities involving extreme ranges of motion — whether they have a connective tissue disorder or they're hypermobile for some other reason?

[14:08] Jen Crane, DPT: Yeah, I think that's a really tough balance because on one hand we have the fragility narrative that's so prevalent in healthcare, where healthcare providers will tell these people: you're fragile, don't do anything, just do gentle Pilates and maybe some swimming, but if you do more than that, you'll break yourself. And then on the other end of the spectrum, if the person is already doing a lot of circus or dance or whatever it is, those people are like, okay, I'm just going to push myself as hard as I can. And there are issues with both ends of the spectrum.
[14:42] The approach I tend to take is just to have very frank discussions. Given what you do, I think it's great when people are as active as their bodies allow within the parameters of what their body can tolerate. I would always rather people be doing some sort of physical activity. With circus especially — and for me personally with aerial as well — once I started to hypertrophy and gain muscle mass, my symptoms got so much better. So if you're on the fragility narrative end of the spectrum and you're afraid to do things, dealing with some kinesiophobia, then the education points in the direction of: you can take charge of your musculoskeletal health and help yourself by slowly and progressively, with coaching, working towards training more and hypertrophying more so that you can help your connective tissue protect your joints.
[15:50] But then on the other end of the spectrum, we have the people that just go way too hard, way too often. With them, it's a discussion of: what are your goals? If your goal is longevity and you want to be performing for 15 or 20 more years, then we need to have a discussion of what is sustainable. If you're performing, what are you doing in your act? Is that sustainable? Are you doing things that are well within your comfort zone? What are you doing on your off days? Are you taking rest days?
The conversation is really: you need to start treating recovery days with the same ferocity that you treat training days and performing days. It's just as important, if not more important. If you don't recover enough, you're not going to perform at your best. A lot of times people know this — they know that what they're doing isn't sustainable — but they don't trust themselves and they don't want to give themselves permission to take rest days. And 95% of the time when we have this conversation and the person starts incorporating rest days, a rest week, or any sort of regular deloading phase into their training, they come back and say: I was so scared to take five days off in a row, but the first day back training I was able to do all of these things I'd been working on but hadn't been able to accomplish. Or just: I felt so much better and it didn't affect my training at all. Once they experience it, the buy-in is there.
And then there's also the conversation about: sometimes you're going to feel not great, and on those days you have to prioritize whatever you can do within the parameters of your job to offload on that day. Sometimes there's not much they can do — if they're touring with Cirque du Soleil, they have to perform. But there are often things you can do within those parameters to still optimize recovery on days that you have to perform and train. It really comes down to starting with: what are your goals and what are you doing right now.

[18:28] Dr. Linda Bluestein: And that's really interesting when you're talking about rest, because we know that's when muscles actually hypertrophy — you have to have that rest in there. But I think so often we think more is better, and culturally we're kind of taught that. I remember before I started running into a lot of problems, I would train and dance seven days a week, and I had people tell me I needed to take a rest day, and I totally resisted that concept. But eventually you figure out that it doesn't work. Like you said, the two extremes are equally problematic in different ways.
[19:02] I'm just curious — with your expertise as a physical therapist and with the performers that you work with, have you noticed any predictive variables in terms of who is able to have a successful career? I'm thinking about what I have seen, and my experience with this is nowhere near yours, but exactly what you just said about the ability to develop that muscle hypertrophy — because it seems like some people, no matter what they do, and I don't know if it's part of their physiology or their joint laxity is so extreme or their connective tissue is not only lax but also stiff — are there certain things you have observed as a physical therapist where you think: yeah, when a person can do this, they seem more likely to have a successful career?

[20:47] Jen Crane, DPT: Yeah, definitely having the ability to maintain muscle mass is huge. There are so many different factors. I think about diet and their relationship with nutrition and food — I think that is one of the main predictive variables for success, even outside of the hypermobility world, but certainly within it. Most of the predictive variables are really just the core foundations of how to optimize being a human. Sleep, nutrition, hydration — those are the things. If they prioritize those and have them as the foundation, then everything else is so much easier.
[21:29] But then the next thing I think about is not necessarily a physical or biomechanical predictor — it's more about their relationship with and trust in their body. I think about the person who is comfortable talking to their coach and saying: listen, today this is what I can do — how should we adapt within these parameters? The person who is truly secure in trusting themselves and their cues is the one I see as having the best shot at longevity.
[22:06] I'm thinking in particular of one performer I worked with who was with a circus company from the very creation of the show. She was the one who helped choreograph most of the act that would then be performed by other people years and decades down the line. She got to choreograph what she wanted to do. And the coach suggested doing a neck hang as one of the skills. And she said: no, I'd rather do something else — that's not sustainable for me, and if I have to perform this ten shows a week, I would prefer not to do that. She said it very gracefully, but she basically communicated: I don't think that would work for me. And the coach said: great, what do you want to do? Obviously there are going to be so many different variables, and you don't always have coaches who will be understanding in that capacity. But the main factor is just: are you willing to stand up for yourself when you know that something isn't going to serve you long-term?

[23:19] Jennifer Milner: Well, and that's a really important thing for people to understand. Not everybody gets to have input on the choreography, right? She was extraordinarily lucky to be able to have that conversation, but she was also professional enough and valued herself enough to know that she could say yes or no to this. A lot of times we look at: what can I do for the next hour, or however long the rehearsal period is, or however long the next show is?
[23:46] I remember auditioning for a Broadway musical called Barnum, which is about the circus. They asked us: what tricks can you do? Everybody show us whatever you've got. So they had all the dancers go across the floor — dancers were doing tumbling passes and all these crazy, amazing things. And the choreographer said: great, thank you. Now everybody go back to the other side and please show me what tricks you can do eight shows a week.

Dr. Linda Bluestein: Yes.

[24:04] Jennifer Milner: And everybody was like, huh? Because everybody wants the job, but nobody stops to think about it. And I was really grateful to the choreographer for saying that and understanding that most of the people would not be able to sustain those fancy tricks.
[24:26] So that's something important that we have to learn, whatever art field we are in — what is it that we are doing that is truly sustainable? And when we look at that, we also talk about circus arts, dance, skating, and gymnastics requiring a fair amount of sacrifice. Trying to find that balance — we understand there's some sort of sacrifice that people talk about having to make for it — are there sacrifices that artists will have to make to be able to do these end-range, long-term things? Or do you think they should be able to do them without sacrifice? How do you feel about that?

[25:05] Jen Crane, DPT: Yeah, I think of course there are going to be sacrifices along the way, and I think they're going to look very different depending on the person and what the person considers a sacrifice. Maybe for some people, a touring career is just not sustainable for them — maybe they love traveling, but they try it out and it just doesn't work for their body, and maybe that's what sacrifice looks like. Maybe it looks like, for recreational students: on the day of your favorite class, you wake up feeling like garbage and you think, I really want to do this class, I look forward to it all week, but if I do it, the next five to seven days will be really rough — and I would rather sacrifice this class now than sacrifice the next eight days of my life recovering from it.
[26:11] I think for a lot of people, sacrifice also looks like not doing the cool trick, or not working towards the skill that everyone wants or that everyone thinks is the one thing that will get you hired. Definitely sacrifice is part of this, but it's going to look very different depending on what each person considers a sacrifice.

[26:41] Jennifer Milner: And I think that's such an important point to make because we're so used to, as athletic artists, sacrificing our bodies. Dancers are like, "My toes are going to be ugly — that's just the way it's going to be," which is a whole other conversation about whether that even needs to happen. And I know circus artists talk about losing a fair amount of feeling — ankle hangs and that sort of thing — and just saying, "Yeah, this is the way it's going to be." We're so quick to say: my knees are going to be shot when I'm older, but I'm a dancer and I'm going to go for it. And we're so quick to go that way, but we don't think about sacrificing on the other side — the emotional side of saying: I'm going to make the sacrifice of saying no, I'm going to make the sacrifice of staying in bed today, I'm going to make the sacrifice of choosing only to do non-touring shows. And people have to look at that not as a sign of weakness, but as a sacrifice in order to maintain a long-term and healthy career. So I hope people are listening to that.
[27:43] Now, if people aren't quite to that place yet — because you work with dancers and circus artists as a physical therapist — do you ever need to have that hard conversation with artists about the professional choices that they're making, the things that they're pushing their bodies to do?

[28:02] Jen Crane, DPT: Absolutely, and that is for sure the hardest part. When I see a person who's just really not listening to their body and making too many physical sacrifices — you know, "my hips are going to be shot by the time I'm 35, my knees, there's no cartilage left" — the conversation is always really hard. Because most of the time that person isn't ready for it. It's often the first conversation they'll have with a healthcare provider where someone says: you should probably think really hard about what you want to do and whether this is achieving your long-term goals.
The reason these are such hard conversations is because it usually takes such a long time of hearing that from one person, maybe from another person, maybe seeing someone who's 15 or 20 years down the line and what they look like and what their experience was. It takes so many data points to really embody it for a lot of artists.
[29:19] I never tell people: don't do this, or you can't do this. I always frame it as: listen, you have a few different choices here. Door number one — you continue to sacrifice everything, and in five years you probably won't feel so great. This is what that will likely look like for you given your current trajectory. Door number two — you start making compromises with your training, your skills, what you're doing, how you're treating your body. And this is what that looks like. These are your options, and this is what I see as likely outcomes based on my clinical experience and education. And then I let them percolate. Let it simmer. Usually they'll come back with an email like: hey, remember when you said this? Can we talk more about what that looks like? There's no way to rush that process for people — they really have to go through it themselves. I just try to fully educate them on the likely consequences of their choices.

[30:36] Jennifer Milner: And I've heard something similar from the dancers that I work with — when a physical therapist or a medical professional says "you have to do this now," it's a very instinctive shut-the-door reaction: no, I don't. Right? Like you said — you are going to be fragile — and the response is: no, I'm not. But when someone says, here are the two options, and just leaves it there, the performer gets to go away and process it and chew on it on their own time and then come back. And I see them return again and again to that conversation because they feel led to explore it themselves. They start to gather the information for themselves. You really can't push an artist to make that decision, and you don't want to — you just want to give them the information.
[31:33] I think a lot of artists have that fear of going to a medical professional in the first place because they don't want to be told: oh, you have this and you can't do that. I always tell my dancers: listen, whatever exists in your body already exists. The doctor or the therapist or whoever is just going to put a name to it and describe it for you. You can choose to ignore them as if there's nothing there, but at least you'll be rejecting from a more educated point of view. I hope people are hearing: it's good to get that information, and it's great to work with someone like yourself who can say, here are the options.
[32:16] Do you ever see a pivot point where the risks outweigh the benefits and you want to encourage them that way, or do you think that everybody's pivot point is going to be different?

[32:26] Jen Crane, DPT: Everyone's pivot point is so different. If I had to generalize, usually what happens is we have the conversation, and they change or they don't change. If they don't change their habits and their training patterns, often the next time I see them is when they're injured and can't perform. And then there's more urgency behind it. Injuries are often the pivot points — the moment of: oh, I'm not infallible, I have to start taking care of my body, and this is the consequence if I don't. Injuries are incredible teachers. Nobody wants to be injured, but they can be incredibly enlightening.

[33:14] Dr. Linda Bluestein: And how important do you think it is for someone who's hypermobile to have a trainer or a coach who really understands hypermobility? And how do you advise people to find one?

[33:33] Jen Crane, DPT: If someone can work with a coach or a healthcare provider who understands hypermobility and understands their discipline, that's just the magic ticket. More than anything, it's knowing that you have a coach or healthcare provider who actually gets you, and you don't have to do all of the backstory of explaining: this is what this disorder is, this is what it looks like for me, these are the things I need from you. Certainly there are amazing coaches who don't have a lot of experience with hypermobility but are willing to learn and do all of those things. But it's just such a big exhale when someone can work with a coach or a provider who really understands them.
[34:25] It's hard because these are still disorders where we don't really see a lot of coaches or healthcare providers who have this body of knowledge. So it's really hard to find somebody. I think asking around, asking communities, talking to other healthcare providers who may not be in your area but who work with hypermobile humans, just getting referrals and recommendations. If somebody really can't find anybody who works with hypermobility or doesn't know how to find that person, I usually say: try to find a dance PT, a gymnastics PT, or a PT that specializes in artistic athletes — they'll at least have a step up in that understanding. That definitely makes sense.

[35:15] Dr. Linda Bluestein: And we know that awareness of EDS, other connective tissue disorders, and hypermobility has changed so dramatically. In fact, I just came across a paper — just yesterday or the day before — that's a basic science paper about what they're seeing under the microscope in different tissues. It's amazing how quickly all this information is changing. Have you seen an increase in the number of people who have either been diagnosed with a connective tissue disorder or who have hypermobility and may or may not have been diagnosed? Are you seeing greater numbers in the people you're working with? And among those people, what are you seeing in terms of how successful they are with their careers? What trends have you been noticing?

[36:07] Jen Crane, DPT: Yeah, in the past few years, absolutely — so many more. Just anecdotally, I'm getting so many more emails and messages from people saying: hey, I just saw this post about hypermobility and I see that you work with people with hypermobility disorders — how do I go about getting diagnosed? How do I know if I should get diagnosed? The awareness of these issues is really just becoming more and more common. Making it a little less of an outlier term that people hear is a really great step in the direction of helping people who have all of these different seemingly unrelated issues understand this connection under the umbrella of hypermobility spectrum disorders.
[37:04] And I think that's something that's just been really cool — where people are like, oh, I thought this was just me. I thought I was the only one that had this. I thought everything was unrelated. It's just really cool to see people understanding their bodies a little bit more and understanding how to take care of their bodies so that they can do whatever it is they love for longer.

[37:25] Jennifer Milner: So what can you tell our listeners about why they should recommend this podcast to others?

[37:37] Jen Crane, DPT: I think this podcast is such a great way to decode your body, especially for artistic athletes. So many of us have normalized extreme hyperextension and working ourselves to the point of exhaustion and fatigue, and we've really glamorized and romanticized pain and physical sacrifice of our bodies. What this podcast does is shed light on the fact that we don't have to do that and also shouldn't be doing that, and we can still excel at our art form without sacrificing our physical well-being.
[38:28] And just the number of experts that are on this podcast — scrolling through the past year or so of everybody you've had — it's so cool. If someone has ever wondered about nutrition and hypermobility, or neurodivergence and hypermobility, all of these things we tend to think are unrelated — you can probably find something on the podcast that you've discussed. And I think that's awesome.

[38:58] Jennifer Milner: Well, thank you. That's what we are hoping to do — to be a place where people can dip in and learn a little bit more. As we said at the beginning, it's a very nonlinear process trying to figure out your wonky body and how to handle it. That comes piecemeal to everybody, and we're glad we can be a part of it. So thank you for that. And we're so glad that you are a team member and share your knowledge with us. Is there anything, speaking of sharing your knowledge, that you wanted to cover today that we didn't discuss?

[39:29] Jen Crane, DPT: I think we hit a pretty good variety of topics. I can't think of anything else that's immediately jumping to mind.

[39:39] Jennifer Milner: So if people have loved what you've had to say today and want to learn more or reach out to you, where can they get in touch with you?

[39:48] Jen Crane, DPT: Definitely on Instagram — that's probably a good launching point. On Instagram, I am @circphysio, and my bio has links to everything else that would be relevant. My website is also circphysio.com, so those are good places to start.

[40:04] Jennifer Milner: Awesome, thank you. Well, you have been listening to Bendy Bodies with the Hypermobility MD. Today we have been speaking with Dr. Jennifer Crane, physical therapist specializing in circus arts, Bendy Bodies team member, and founder of MyFlex by Cirque Physio. Jen, thank you so much for sharing your expertise with us today.

[40:20] Jen Crane, DPT: Thanks for having me.

[40:22] Dr. Linda Bluestein: Thank you for joining us for this episode of Bendy Bodies with the Hypermobility MD, where we explore the intersection of health and hypermobility for dancers and other aesthetic athletes. If you found this information valuable, please share it with a colleague or friend and leave us a review on your favorite podcast player. Remember to subscribe so you won't miss future episodes.
[40:43] If you want to follow us on Instagram, it's @bendy_bodies, and our website is www.bendybodies.org. If you want to follow Bendy Bodies founder and co-host Dr. Bluestein on Instagram, it's @hypermobilitymd, all one word, and her website is www.hypermobilitymd.com. If you want to follow co-host Jennifer Milner on Instagram, it's @bendy_milner. Jennifer Milner — M-I-L-N-E-R — and her website is www.jennifer-milner.com.
[41:20] Thank you for helping us spread the word about hypermobility and associated conditions. We want to hear from you. Please email us at [email protected] to share feedback. The thoughts and opinions expressed on this podcast are solely those of the co-hosts and their guests. They do not necessarily represent the views and opinions of any organization. The thoughts and opinions do not constitute medical advice and should not be used in any legal capacity whatsoever. This information is not intended to diagnose, treat, cure, or prevent any disease, as this information is for educational purposes only and is not a substitute for medical advice, diagnosis, or treatment. Please refer to your local qualified health practitioner for all medical concerns. We'll catch you next time on the Bendy Bodies Podcast.