Podcasts about billions

Tonight on The Last Word: Two destroyers stay behind as the USS Lincoln heads home. Also, thousands march in Washington, D.C. to defend the right to vote. Plus, Democrats campaign on Trump's unpopular war and economy. And RFK Jr. questions data as measles cases rise and two die in Pennsylvania. Rep. Debbie Dingell, Priya Sridhar, Rep. Gregory Meeks, Jessica Killin, and Dr. Vin Gupta join Jonathan Capehart. To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week Dante and Harry Discuss:  The AI girlfriend market is not a technology story — it is a man story. And the question Man School asks is not 'is this sad?' The question is: what is a man running from when he chooses a simulation over the real thing? Because the answer to that question is where the work actually lives.

Stupid News 8-28-2026 6am …CNN is sorry …The Angry Sugar Daddy …Japanese Citizens are spending Billions on what?

What is happening inside Mark Walter's financial empire - which until recently included the LA Lakers - has the potential to blow the lid off the entire private credit story - if not the whole debt cycle. A billion-dollar loan connected to Guggenheim Investments is trading at roughly 73 cents on the dollar, a price normally associated with serious distress. And that's only where this crazy story begins.  Eurodollar University's Money & Macro Analysis----------------------------------------------------------------------------------What if your gold could actually pay you every month… in MORE gold?That's exactly what Monetary Metals does. You still own your gold, fully insured in your name, but instead of sitting idle, it earns real yield paid in physical gold. No selling. No trading. Just more gold every month.Check it out here: https://monetary-metals.com/snider----------------------------------------------------------------------------------Eurodollar University Live 2October 9-12, West Palm Beach, Florida40 seats exist. Application only.https://eurodollar-university.com/edu-conference-2026----------------------------------------------------------------------------------https://www.bloomberg.com/news/articles/2026-08-24/guggenheim-loan-drops-to-new-73-cent-low-with-firm-in-spotlighthttps://www.bloomberg.com/news/articles/2026-08-18/mark-walter-s-insurer-to-slash-scrutinized-loans-by-6-5-billionhttps://www.bloomberg.com/news/articles/2026-08-26/walter-s-twg-hits-back-at-fraud-claims-says-it-has-no-victimshttps://www.bloomberg.com/news/articles/2026-08-25/guggenheim-investments-says-affiliates-may-buy-its-hard-hit-loanhttps://www.nytimes.com/2026/08/24/business/mark-walter-insurance-dodgers-lakers.htmlhttps://www.claimsjournal.com/news/national/2026/07/22/338938.htmhttps://www.nytimes.com/athletic/7522366/2026/08/18/mark-walter-delaware-life-filings-dodgers/https://www.youtube.com/watch?v=1XIVC93rbOAhttps://www.youtube.com/watch?v=0HnJHAsTao8https://www.eurodollar.universityTwitter: https://twitter.com/JeffSnider_EDUI'll also be active on Bravais Social - a new AI-centered social network designed for professionals and knowledge workers. The platform aims to bring together a wider range of tools and functionalities tailored specifically for professional interaction, research, and knowledge exchange in one place. You can find me here: https://bravais.social/profile/edu

Meta has agreed to pay $18 billion after dozens of states sued the company for designing its platforms to be addictive. Former Meta employee and whistleblower Arturo Bejar was a key witness in this case, and Lori Schott is a mother from Colorado who lost her daughter to social media addiction. They join the show to discuss.   Also on today's show: Christiane reflects on the death of Ratko Mladić; Rose Horowitch, Staff Writer, The Atlantic, musician Susanna Hoffs    Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Aug 26, 2026; 6pm; Meta and a group of state attorneys general announced a settlement agreement in which the social media giant will pay up to $17 billion and make changes to its apps following allegations that its technology harms children's mental health. MS NOW's Ari Melber delivers a special report. Obama campaign veteran Chai Komanduri joins Melber to discuss AI and social media. To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Washington Post reporter Elizabeth Dwoskin joins Anthony Davis to expose the Trump family business investing in military equipment, drones and warfare, making billions of dollars, just as the Iran conflict ramps up - only on The Weekend Show. Chapter: *Paid Partnership*” For free and unbiased Medicare help, dial (334) 441-3570 to speak with my trusted partner, Chapter, or go to https://www.askchapter.org/weekend Chapter and its affiliates are not connected with or endorsed by any government entity or the federal Medicare program. Chapter Advisory, LLC represents Medicare Advantage HMO, PPO, and PFFS organizations and stand alone prescription drug plans that have a Medicare contract. Enrollment depends on the plan's contract renewal. While we have a database of every Medicare plan nationwide and can help you to search among all plans, we have contracts with many but not all plans. As a result, we do not offer every plan available in your area. Currently we represent 50 organizations which offer 18,160 products nationwide. We search and recommend all plans, even those we don't directly offer. You can contact a licensed Chapter agent to find out the number of products available in your specific area. Please contact Medicare.gov, 1-800-Medicare, or your local State Health Insurance Program (SHIP) to get information on all of your options. Independent media has never been more important. Please support this channel by subscribing here: https://www.youtube.com/channel/UCkbwLFZhawBqK2b9gW08z3g?sub_confirmation=1 Join this channel with a membership for exclusive early access and bonus content: https://www.youtube.com/channel/UCkbwLFZhawBqK2b9gW08z3g/join Five Minute News is a MeidasTouch Podcast, covering politics, inequality, health and climate - delivering independent, unbiased and essential news for the US and across the world. Visit us online at http://www.fiveminute.news Follow us on Bluesky https://bsky.app/profile/fiveminutenews.bsky.social Follow us on Instagram http://instagram.com/fiveminnews Support us on Patreon http://www.patreon.com/fiveminutenews You can subscribe to Five Minute News with your preferred podcast app, ask your smart speaker, or enable Five Minute News as your Amazon Alexa Flash Briefing skill. CONTENT DISCLAIMER The views and opinions expressed on this channel are those of the guests and authors and do not necessarily reflect the official policy or position of Anthony Davis or Five Minute News LLC. Any content provided by our hosts, guests or authors are of their opinion and are not intended to malign any religion, ethnic group, club, organization, company, individual or anyone or anything, in line with the First Amendment right to free and protected speech. Learn more about your ad choices. Visit megaphone.fm/adchoices

I have been banging the drum for copper for some time, but it is becoming increasingly difficult to ignore. Gold has the glamour, but many, including veteran investor Rick Rule, now see the greater opportunity in copper. In summer 2024, I highlighted three copper companies Amerigo Resources (ARG.TO) at around C$1.75 and Arizona Sonoran Copper (ASCU.TO) at C$1.36 and QCCU (QCCU.V) at 12c . Amerigo and Arizona Sonora both hit C$8 on Monday meaning gains of ~350% and ~500%. QCCU, on the other hand, is still at 12c. You can't win them all.Back in May we noted that things were getting a little hot. The metal had just hit fresh highs; there was a plethora of investment bank supercycle notes and social media was full of predictions about imminent shortages. The long-term story is intact but don't chase it, we suggested. Copper tends to be weaker over the summer and some consolidation could give you a better buying opportunity.We got a good opportunity in June but it did not last long, and here we are three months on with copper at ~$6.50/lb a couple of per cent below where we were in May.It doesn't take a genius to work out which way the trend is going in that particular chart. The summer lull has been more of a pause than anything else.Meanwhile, beneath the surface, the fundamental copper story is getting stronger.Copper's problem is not demand. It is supply.We covered the demand side extensively in May. AI needs copper. Data centres need it. Power grids need it. Electric vehicles, rearmament, reindustrialistation, India - they all need copper. This is not the usual China story by the way. If anythign China demand is lacklustre. Its imports of unwrought copper fell 11.5% year-on-year in July and industrial production there has been slowing. But, as RBC notes, the LME copper market had moved into its steepest backwardation since the 2021 squeeze. In other words, buyers are paying substantially more for copper now than for delivery later. That is a classic physical tightness indicator. Antofagasta has cut its 2026 production guidance after problems at Los Pelambres. Codelco has abandoned its 1.34 million tonne production target and now expects to produce less than it did last year.Meanwhile we have BHP's latest results. Copper now accounts for 54% of its earnings (EBITDA). Its copper mines are extraordinarily profitable (70% EBITDA margin). Yet despite the obvious incentive to produce more, BHP's copper production actually fell 3% last year. This is the largest mining company in the world, with some of the best copper assets, engineers and access to capital on the planet. If anyone can turn on the copper taps, so to speak, it should be BHP. Yet it is talking about a “persistent structural deficit” of as much as 10 million tonnes a year next decade. Demand from electrification, digitalisation, data centres and other newer uses, meanwhile, is expected to grow at around 6.5% a year.So it now aims to grow its copper production at ~5% a year, faster than the rest of its business. The requires an extraordinary amount of capital.In a recent video, Merlin Marr-Johnson, CEO of Fitzroy Minerals (FTZ.V) analyses BHP's spending plans using Escondida, the world's largest copper mine, as an example and concludes, “They're spending $5 billion to stand still. And that is the copper industry in a nutshell.”Billions of dollars of investment don't necessarily mean billions of dollars of new production. Mines get older. Grades decline. Pits get deeper. More rock has to be shifted to produce the same amount of metal. Processing plants wear out and have to be replaced. Sometimes you have to spend billions just to stop production falling.Which brings us to Rick Rule.Is copper now a better bet than gold?It could be.Rule argues that “The biggest copper mining companies in the world need to spend $250 billion to maintain current levels of copper production.” Note - to maintain, not increase. Not every one has $250 billion sitting around waiting to be spent. “The copper development boom that we absolutely have to see in the next 10 years will require vast amounts of capital.”“There's nothing that we can do, nothing at all that we can do, to avert a shortage in copper,” he says. As a result, five years from now the copper price will be, “dramatically higher than it is today.”As you know, copper is an important strategic mineral. Citi recently looked at what might happen if countries start building national inventories. Global refined copper inventories, it estimates, currently sit around at around 3 million tonnes, equivalent to just 1.3 months of global consumption. If governments decided they wanted three months instead, they would need need to find another 4 million tonnes of copper.Where does it come from?To be accumulated over two years, Citi calculates, would require the copper price price to rise to over $10/lb to bring enough scrap into the market and destroy enough demand to balance things.That is not a forecast, by the way, it is a scenario. But governments are increasingly treating critical minerals as a matter of national security. The US has proposed a US$12 billion strategic commodities programme, the EU has allocated billions to critical-mineral security and there have been calls in China for increased copper stockpiling.So what do we actually buy? This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

Is the AI boom real… or are we watching a bubble get ready to burst? Billions of dollars are pouring into artificial intelligence, but figuring out where that money comes from, where it goes, and whether the spending can last is surprisingly complicated. Azeem Azhar, entrepreneur, author, and founder of Exponential View, joins Oz to break down the economics behind the AI boom and the findings from his new report, The State of the AI Economy. Azeem and Oz discuss whether today’s massive investments in chips and data centers are sustainable, why companies can spend years on AI before seeing a return, and what recent volatility in semiconductor stocks tells us about the industry. See omnystudio.com/listener for privacy information.

As the 2026 midterm elections approach, key primary outcomes and shifting political dynamics have turned six Senate races into toss-ups. FOX News Contributor and former White House Deputy Chief of Staff Karl Rove joins to discuss the battleground landscape, from high-stakes contests in Alaska, Texas, and Michigan to the impact of far-left candidates. Karl offers analysis on candidate strategies, voter demographics, and why President Trump's presence on the campaign trail could impact the Republican Party's strategy to hold the Senate.Pandemic-era school closures may be over with, but the damage to American education is still unfolding. Billions of dollars in federal COVID relief wasn't enough to reverse record learning loss, and now parents have become more critical of where their children are taught. Research Fellow at the Center for Education Policy at the Heritage Foundation Corey DeAngelis joins the Rundown to break down the state of K-12 education, and why school choice is rapidly expanding. PLUS, commentary by FOX News contributor Joe Concha. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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President Trump ordered the Navy to swap modern electromagnetic catapults for older steam power on its carriers. The Associated Press’s Konstantin Toropin explains why the change would be a huge undertaking. Congress remains gridlocked on regulating AI, even as lawmakers quietly turn to chatbots for everything from speeches to legislation. The Washington Post’s Anna Liss-Roy breaks down the murky rules governing AI use on Capitol Hill. A wave of American tourists is overwhelming cities across Europe. The Wall Street Journal’s Rachel Ensign discusses what’s fueling the wanderlust, and why locals are pushing back. Plus, Jared Kushner is set to meet Netanyahu to salvage the Gaza peace deal, Democrats overhauled their 2028 primary calendar, and MLB pitcher Tommy John, namesake of the elbow surgery, has died. Today’s episode was hosted by Gideon Resnick.

Send us Fan MailLEARN THE CAPITAL RAISING STRATEGIES AND FRAMEWORKS used by alternative asset professionals: https://go.fundraisecapital.co/applyThis episode is brought to you by Reef Pass | Serial Acquisition Investors: Reef Pass Investors has spent the last 10 years focused on partnering with founders to launch and build long-term holding companies, and has a proven track record doing exactly that.To reach out to Reef Pass Investors, email holdcofounders@reefpassinvestors.comHow do you actually get into the top venture funds that are closed to new investors? In this episode of Making Billions, I sit down with Matthew Le Merle, managing partner and CEO of Fifth Era and Blockchain Coinvestors, a blockchain and AI fund of funds now in its 10th year, backed by more than 400 investors and holding positions across 50 venture funds, 1,500 companies, and 80 unicorns.Matthew breaks down the exact playbook he uses to access top-tier managers, build a fund of funds, and position for what he calls the autonomous digital economy, the convergence of internet, blockchain, and AI that he believes will capture most of the alpha over the next 20 years.He also makes the case for why the next two decades of returns will be captured at the intersection of internet, AI, and blockchain, and why most portfolio managers are dangerously under-allocated to it while overpaying for late-stage names they could have owned years earlier.[THE HOST]: Ryan Miller is a fund manager, capital strategist, and former CFO turned angel investor in technology and energy. He is the founder of Fund Raise Capital and Aequor Capital Partners, and has mentored over 1,000 fund managers across private equity, private credit, venture capital, real estate, and alternative assets globally.[THE GUEST]: Matthew Le Merle is managing partner and CEO of Fifth Era and Blockchain Coinvestors. He is the best-selling author of six books. He holds a double first from Oxford and an MBA from Stanford.Subscribe on YouTube:https://www.youtube.com/channel/UCTOe79EXLDsROQ0z3YLnu1QQConnect with Ryan Miller:Linkedin: https://www.linkedin.com/in/rcmiller1/Instagram: https://www.instagram.com/ryanmilleroffical/X: https://x.com/_MakingBillionsWebsite: https://making-billions.com/Support the showDISCLAIMER: This podcast is for entertainment and general informational purposes only — not legal, financial, tax, or investment advice. Nothing herein constitutes a solicitation or offer to buy or sell any security or investment product. Past performance does not indicate future results. Always consult qualified legal, financial, and tax professionals before making any investment decision. NAME NOTICE: "Making Billions with Ryan Miller" reflects the profile and aspirations of guests featured — it is not a promise, projection, guarantee, or representation of any financial result, income, or outcome for any listener, viewer, or reader. Most individuals who consume this content do not raise any particular amount of capital, and many achieve no financial result whatsoever. "Fund Raise Capital" is a brand identifier only — it is not a promise, guarantee, or representation that any member, subscriber, or listener will raise capital, attract investors, or achieve any financial or professional outcome. This show does not constitute a business opportunity, franchise, investment program, or offer of any product or service of any kind. No part of this show should be construed as a solicitation for investment in any way. Guest views are their own and do not necessarily reflect those of the show or host. Host and/or guests may hold positions in assets discussed. This episode may contain paid sponsorships, advertisements, or endorsements. Sponsored content is identified where...

Rich Somers sits down with Adley Kinsman to break down how she went from bankruptcy to building a $10 million-per-year business through content and social media. Adley shares how she went from appearing on *The Voice* and signing away the commercial rights to her own name to eventually going all-in on video, producing up to 18 videos a day and generating billions of views across social media.Adley explains what she's learned from more than 76 billion views about capturing attention, keeping viewers watching, and turning content into an actual business. She and Rich dive into hooks, retention, why entertainment beats education on social media, building a personal brand, monetizing attention, and how one of Adley's videos eventually caught the attention of MrBeast and his team.Join Adley's 5 day challenge that doubles people's views in 5 days or lesshttps://viralish.com/challenge/ (5 day challenge)Connect with Rich on Instagram: @rich_somers

#911: Billions of tariff refunds are coming back to large companies. Gen Z believes sports betting is the key to a better financial future. Candy Crush has been crushing it for 15 years. McDonald's knows how many times you ordered a Double Quarter Pounder w/ Cheese – and when you'll order it again. Anthropic sets its eyes on a massive $2 trillion IPO.  Learn more at https://www.rubrik.com/mb Grab tickets to our Performance Revue show! https://www.morningbrew.com/events/brew-performance-revue-2026?utm_campaign=performance_revue_2026&utm_source=mbd Subscribe to Morning Brew Daily for more of the news you need to start your day. Share the show with a friend, and leave us a review on your favorite podcast app. Listen to Morning Brew Daily Here:⁠ ⁠⁠https://www.swap.fm/l/mbd-note⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

California's high-speed rail project is facing yet another funding challenge, with a new report raising questions about how the state will secure more money. The project is expected to run out of funding by December 2027, and its scope has been reduced to a shortened version that doesn't even go to Merced or Bakersfield. The Inspector General's Office has found that the project's current plan is not cost-effective, and the state's politicians seem to be in denial about its prospects.The speaker discusses the project's many issues, including its high cost, lack of a reliable funding source, and the fact that it's been plagued by delays and mismanagement. They also touch on the topic of rent control, highlighting the case of a slumlord in Oakland who's been sued by the city for neglecting to maintain his apartment building's elevators and other amenities. The speaker expresses frustration with the city's handling of animal welfare issues, particularly on Skid Row, where animal abuse is rampant.The conversation also delves into the world of politics, with the speaker criticizing the city's mayoral candidates for their lack of action on these issues. They highlight the work of animal advocate Joey Tuccio, who's been documenting the abuse on Skid Row, and the fact that the city's current mayor, Karen Bass, has promised to address the issue but hasn't taken meaningful action.If you're interested in learning more about these important issues and hearing the speaker's unfiltered thoughts, tune in to this episode to hear the full conversation.See omnystudio.com/listener for privacy information.

California's high-speed rail project is facing yet another funding challenge, with a new report raising questions about how the state will secure more money. The project is expected to run out of funding by December 2027, and its scope has been reduced to a shortened version that doesn't even go to Merced or Bakersfield. The Inspector General's Office has found that the project's current plan is not cost-effective, and the state's politicians seem to be in denial about its prospects.The speaker discusses the project's many issues, including its high cost, lack of a reliable funding source, and the fact that it's been plagued by delays and mismanagement. They also touch on the topic of rent control, highlighting the case of a slumlord in Oakland who's been sued by the city for neglecting to maintain his apartment building's elevators and other amenities. The speaker expresses frustration with the city's handling of animal welfare issues, particularly on Skid Row, where animal abuse is rampant.The conversation also delves into the world of politics, with the speaker criticizing the city's mayoral candidates for their lack of action on these issues. They highlight the work of animal advocate Joey Tuccio, who's been documenting the abuse on Skid Row, and the fact that the city's current mayor, Karen Bass, has promised to address the issue but hasn't taken meaningful action.If you're interested in learning more about these important issues and hearing the speaker's unfiltered thoughts, tune in to this episode to hear the full conversation.See omnystudio.com/listener for privacy information.

“Everyone has dry powder for sports,” Ashley Cullins heard while reporting her recent look at the private equity firms circling Hollywood. It's a truism Bob Iger and Josh Kushner‘s Thrive Capital proved, buying the Los Angeles Lakers for $12.5 billion. But sports is only part of the story. With billions in undeployed capital sitting on the sidelines, where else is private equity looking to spend — and what kinds of Hollywood companies still look attractive amid lofty valuations, delayed exits and fears of an AI bubble? Ashley joins Elaine Low and Sean McNulty to break down the biggest players, the sectors they're chasing and the deals that could come next — plus the bigger question hanging over all of it: Is private equity actually good for Hollywood? Plus: David Ellison turns up the pressure in the Paramount-Warner Bros. Discovery fight, threatening to move the company out of California as Rob Bonta calls it “blackmail” — even as both sides signal there may still be a path to a negotiated settlement. Learn more about your ad choices. Visit megaphone.fm/adchoices

Source: Epoch Times

There's big money in sports right now and it's not just happening in leagues like the NFL or NBA. But how can those of us who will never own a professional team get in on this booming sector? This week, Front Office Sports Editor-in-Chief, Dan Roberts sits down with SoFi Chief Market Strategist Liz Thomas to discuss why he believes sports investing matters in today's market. He shares his perspective on the investment opportunities in the sports ecosystem from small and emerging leagues like golf and lacrosse, to side avenues like merchandise and trading cards. He also offers his take on non-traditional events, such as simulator leagues and new formats like Unrivaled's 3 on 3 women's basketball. Whether you're a die-hard sports fan or simply curious about where the industry is headed, this conversation offers a look at the forces driving the next chapter of the sports economy. This episode is for informational purposes only and should not be considered investment advice. Subscribe to The Important Part for smarter conversations about markets, investing and the forces shaping your financial future. For more, read Liz's column every Thursday at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠On The Money⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ by SoFi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and follow Liz on Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@LizThomasStrat⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Additional resources: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠On The Money⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: Sign up for SoFi's newsletter for intel, insights, and inspo to help you get your money right. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Investing 101 Center⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: At SoFi, we believe investing is for everyone — which is why we've created a hub with info for beginners and experts alike. Start exploring to get investment education, advice, resources, and more. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Wealth Investing Guide⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: Information you need to know to make your money work harder for you. This podcast should be used for informational purposes only and not deemed as a recommendation. Our Automated investing is via SoFi Wealth LLC, and is a registered investment advisor. Our Active investing is via SoFi securities LLC, member FINRA/SIPC. For additional disclosures related to the SoFi Invest® platforms, please visit www.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ SoFi.com/Legal⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. ©2026 Social Finance, Inc. All Rights Reserved.

President Donald Trump is betting billions of federal dollars on rebuilding America's mining industry and boosting U.S. supplies of critical minerals. But will it work? And what obstacles are ahead? POLITICO's Hannah Northey breaks down where the money is going, why mining has become a major energy and national security priority, and the challenges that could stand in the administration's way. Plus, the Trump administration said it would extend by 90 days its Jones Act waiver, and a new POLITICO poll found that a plurality of Americans now oppose a data center being built near where they live. Hannah Northey covers the nexus of mining, environmental policy and politics for POLITICO's E&E News. Nirmal Mulaikal is the co-host and executive producer of POLITICO Energy.  Yi-Jo Shen is a freelance video producer for POLITICO. Matt Daily is the energy editor for POLITICO. Debra Kahn is the editorial director for energy and environmental coverage at POLITICO. Veronica Tejera is the deputy head of Audio/Video at POLITICO. Our theme music is by Pran Bandi. Follow the show on Apple, Spotify, Youtube and Instagram. Follow POLITICO here:    ➤ X: https://x.com/politico/ ➤ Instagram:  / politico      ➤ Facebook:  / politico   For more reporting on energy and the environment, subscribe to Power Switch, our free evening newsletter: https://www.politico.com/power-switch And for even deeper coverage and analysis, read our Morning Energy newsletter by subscribing to POLITICO Pro: https://subscriber.politicopro.com/newsletter-archive/morning-energy

LISTEN and SUBSCRIBE on:Apple Podcasts: https://podcasts.apple.com/us/podcast/watchdog-on-wall-street-with-chris-markowski/id570687608 Spotify: https://open.spotify.com/show/2PtgPvJvqc2gkpGIkNMR5i WATCH and SUBSCRIBE on:https://www.youtube.com/@WatchdogOnWallstreet/featured  Chris argues that the Trump family's cryptocurrency ventures represent an unprecedented political grift, criticizing politicians who profit from public office. He warns that meme coins and celebrity-backed crypto have left many investors with devastating losses while raising broader concerns about ethics, accountability, and the growing normalization of self-enrichment in American politics.

Last week Saudi Arabia's wealth fund and a group of investors spent $55bn (£41bn) on Electronic Arts, the video games company behind the Sims, Madden NFL and Battlefield. Keith Stuart and George Osborn tell Annie Kelly why this soft-power move is worrying many in the industry. Help support our independent journalism at theguardian.com/infocus

Oh how are we exploited and f***ed over by the ruling class? Let me count the ways!  From tariff refunds to cutting Medicaid and SNAP benefits and all the while telling us to hate each other rather than the architects of our oppression... Meanwhile, ICE somehow always manages to be worse than you thought - this time going after guardians of "unaccompanied" migrant children.  PLUS updates from occupied Palestine, and AI's new digital book burning.    You can get a lot of these stories from Eleanor's weekly substack "News That Didn't Make the News" at eleanorgoldfield.substack.com

The Senate's farm bill has stalled along with billions in conservation money. WCMU's Emma George-Griffin discusses what that means for farmers. On this Newsbuzz episode, we also take a look at new state rules for the biggest power line buildout in Iowa history, Pell Grants for workforce development, a medical malpractice shake-up at the Iowa Supreme Court and what it actually takes to bring the Iowa State Fair to life.

Marilyn Connolly claims to be conservative and has been a Republican for a long time. But her votes don't line up with that at all. Often, Connolly voted right along side the Democrats on many of the same bills she lists in a recent advertisement.   A recent spending analysis on HB0001 reveals who the big spenders in the House of Representatives are.  The top 10 might surprise you. A hint: it's BILLIONS with a B. Spending Analysis: https://www.openrangerecord.com/files/afp/HouseAmendmentSpending.pdf  SCGOP Legislative Debate: https://youtube.com/live/r_P1P48ogKw?feature=share   

Progressive leader Pramila Jayapal joins Thom- as the leader of our nation enriches himself with thousands of millions of our dollars each year, can he and the Republicans keep the focus on scary brown people and away from their blatant law-breaking? Or can we give some oxygen to the Democratic agenda?See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Billions of federal dollars committed to building and maintaining the nation's transportation infrastructure — and what do we have to show for it?

Defense billions flow to Trump's sonsAIPAC's record spending fails in MichiganEpstein files stay lockedBay of Pigs reloadedYour tariff refund went to Apple insteadSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This is an episode from VoxDev's new podcast series, Ideas in Development. This series has a separate podcast feed, where you can find every episode of Oliver Hanney's conversations on evidence.YouTube: https://www.youtube.com/watch?v=I-e0GAFGaJ0 Apple Podcasts: https://podcasts.apple.com/us/podcast/moving-billions-towards-evidence/id1866874059?i=1000772910756 Spotify: https://open.spotify.com/episode/12UqCmkB4oLLWqoHpT5Lyt?si=6be55d2c81884d65 Audioboom: https://audioboom.com/posts/8917092-moving-billions-towards-evidence Substack: https://ideasindevelopment.substack.com/p/moving-billions-towards-evidenceIn 2022, Dean Karlan became Chief Economist at USAID, tasked with steering the world's largest bilateral aid agency towards evidence-backed approaches. He left in 2025, as the agency was being dismantled, having moved roughly $1.7 billion of funding in the process.In this episode of Ideas in Development, Dean joins Oliver Hanney to discuss what evidence-based policy actually looks like inside a government institution; how his team picked their battles; why collaboration beat prescription; and where the limits of taking goals as given lie. They also cover the rise of embedded evidence labs in countries like Rwanda and Peru, the synthesis and implementation gaps between academia and policy, and whether there are questions in development economics, like the impacts of cash transfers, on which we now have enough evidence.Dean Karlan is Professor of Economics and Finance at Northwestern University, founder of Innovations for Poverty Action, and former Chief Economist of USAID.

Headlines from around the country are often filled with stories revealing fraud and scandal. Billions of dollars have been stolen from taxpayers by those establishing fraudulent businesses or deceptive billing schemes. People have succumbed to enticing bribes and selling state secrets. Also troubling is what is happening in politics in virtually every election cycle. There are politicians dropping out of races after the public becomes aware of illicit relationships or fraudulent dealings to which they have been engaged. The public has often been left feeling betrayed by such individuals who in a clandestine way seek to take advantage of others. Oh, how we long to have people of integrity! This is why it is important that we uplift and showcase the role models of men and women of integrity. Those who displayed character qualities that exhibited their Christian faith and made a difference for this nation. It took courage, obedience, loyalty, truthfulness, boldness and wisdom. We must remember those who made a difference in history and the character qualities they exhibited. And it rests upon us today to pass these stories on to the next generation. Returning to Crosstalk to do just that through her book set called, Profiles of Integrity, was Marilyn Boyer. Marilyn is a descendant of a Revolutionary War soldier and daughter of a World War II veteran. She is deeply patriotic and passionate about our Christian history. As the wife of an Air Force veteran, mother, home educator of fourteen children and grandmother of twenty-eight, Marilyn's dedication to family and country is unparalleled. Enjoy this Crosstalk!

Headlines from around the country are often filled with stories revealing fraud and scandal. Billions of dollars have been stolen from taxpayers by those establishing fraudulent businesses or deceptive billing schemes. People have succumbed to enticing bribes and selling state secrets. Also troubling is what is happening in politics in virtually every election cycle. There are politicians dropping out of races after the public becomes aware of illicit relationships or fraudulent dealings to which they have been engaged. The public has often been left feeling betrayed by such individuals who in a clandestine way seek to take advantage of others. Oh, how we long to have people of integrity! This is why it is important that we uplift and showcase the role models of men and women of integrity. Those who displayed character qualities that exhibited their Christian faith and made a difference for this nation. It took courage, obedience, loyalty, truthfulness, boldness and wisdom. We must remember those who made a difference in history and the character qualities they exhibited. And it rests upon us today to pass these stories on to the next generation. Returning to Crosstalk to do just that through her book set called, Profiles of Integrity, was Marilyn Boyer. Marilyn is a descendant of a Revolutionary War soldier and daughter of a World War II veteran. She is deeply patriotic and passionate about our Christian history. As the wife of an Air Force veteran, mother, home educator of fourteen children and grandmother of twenty-eight, Marilyn's dedication to family and country is unparalleled. Enjoy this Crosstalk!

Here's is the president warning us about what's coming next. [X] SB – Pres Trump on billions of fraud under Biden. Billions recovered. You haven't seen anything yet Telling the truth about my charity About my financial woes. I'm not concerned. I'm no deadbeat. I've taken a vow of poverty for a while. Going backwards, what did we learn about covid? Fauci the fraud exposed, and he could end up being sued by the states. The media is taking a beating. Do you believe anything they say? I see a NYT poll, and I laugh.  Kevin Jackson has been called, the "white-collar" Joe Rogan. Given their similar backgrounds in TV, comedy, and martial arts, it's easy to see why people enjoy Kevin's show so much. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Gateway Cities: The Key to Reaching BILLIONS!Charles G. Robinette | Apostolic Mentoring PodcastWhat if the greatest revival in human history will begin the same way the Church began?In this powerful and prophetic teaching, International Evangelist Charles G. Robinette explores the biblical pattern of Gateway City Outpourings and reveals why God has repeatedly chosen strategic cities to ignite worldwide revival.From Jerusalem to Antioch, from Ephesus to Rome, from Azusa Street 1906 to the prophetic possibilities of our generation, discover how one outpouring in a strategic city can impact entire nations and accelerate the fulfillment of Joel 2:28, Matthew 24:14, and Revelation 7:9.Could God once again be preparing to pour out His Spirit in major gateway cities around the world?Could millions be born again in those cities while billions are impacted globally?This message is more than history. It is a call to repentance, apostolic unity, prophetic prayer, bold faith, and Kingdom collaboration in preparation for the greatest end-time harvest the world has ever seen.Charles also delivers a sobering prophetic challenge to the modern Church, warning against the destructive influence of fear, jealousy, and control, and calling believers to embrace faith, humility, and complete dependence upon the Holy Ghost.If you have been praying for global revival, world evangelism, end-time harvest, or a fresh outpouring of the Holy Spirit, this message will challenge your thinking and inspire your faith.Topics Include:• Gateway Cities in the Book of Acts• Why Pentecost began in Jerusalem• Antioch and the multiplication of revival• Azusa Street and modern Pentecostal history• Why strategic cities matter in global evangelism• Twelve potential gateway cities for end-time outpouring• Apostolic unity and Partnership of Faith• The prophetic significance of Revelation 7:9• The call to reach every tribe, tongue, people, and nation• How the Church can prepare for the greatest harvest in historyThe harvest is ready.The nations are gathering.The Spirit is still being poured out.Will the Church prepare for BILLIONS?Subscribe to the Apostolic Mentoring Podcast and join us as we equip millions to reach billions through apostolic doctrine, Spirit-led ministry, prophetic prayer, and global harvest.#GatewayCities #GlobalHarvest #EndTimeRevival #Pentecost #HolyGhost #Acts238 #Revival #WorldEvangelism #Apostolic #Outpouring #JesusName #RevivalFire #KingdomOfGod #Revelation79 #Joel228 #CharlesGRobinetteWe love to hear from our listeners! Thank you! https://www.amazon.com/dp/1639030158?ref_=cm_sw_r_cp_ud_dp_VZBSV9T4GT4AMRWEWXJE&skipTwisterOG=1 Support the showhttps://www.youtube.com/@charlesgrobinettehttps://www.instagram.com/charles.g.robinette/https://author.amazon.com/bookshttps://charlesgrobinette.com/

Don't be deceived! We live in a country (and, really, a world) that believes there is no universal truth. We're constantly told to leave people alone and to let them pursue “their truth.” The Bible adamantly disagrees with this! There is a source of unshakable truth, and that is the Word of God! Today, Pastor Ken will challenge us to spread and stand up for the life-changing gospel. Billions are headed for destruction because of the lies that they believe! Time is running out, and we need to be bold witnesses of the truth!

Billions of dollars of federal grants support everything from medical research to community services. Now, the Trump administration wants to tie that money to the president's political priorities. *** Thank you for listening. Help power On Point by making a donation here: wbur.org/giveonpoint

Gaia Vince, author of Nomad Century: How Climate Migration Will Reshape Our World, presents a stark look at the inevitable mass migration caused by a changing climate, which she argues will force billions to move from the tropics to the habitable north this century. She identifies the "four horsemen of the Anthropocene"—fire, heat, flood, and drought—as the primary drivers of this upheaval. Using the example of a Peruvian farmer forced into a Lima slum, Vince illustrates how climate migration is already underway and often results in precarious existences due to a lack of legal pathways. The book advocates for a radical rethinking of borders and global citizenship, suggesting that the global north needs millions of workers to avoid a demographic crisis and support aging populations. Vince proposes a new UN body to manage migration, using quota systems to match migrants with labor needs in expanded northern cities. She envisions a future where biotechnology, vertical farming, and lab-grown meat provide sustainable nutrition for a global population of ten billion. Vince also explores technological solutions for planetary restoration, including geoengineering methods like ocean fertilization with iron and enhanced weathering of rocks to sequester carbon. While acknowledging the controversy of such projects, she argues that decoupling economic growth from environmental destruction is essential for survival. Ultimately, the book is a call for global inclusivity and a planned strategy to make the unavoidable flux of people work to the advantage of all. (3)1783 Australia

This week on Two Parents & A Podcast, happy August!! We're kicking off the new month with a fun exercise: months as days of the week. Alex & Harrison think July is Saturday (aka everyone is in Europe), while Jules says it's obviously Wednesday (linear brain vs. vibes brain we guess lol). Then some real life: the fever made its way from Rocky to Tate, which meant all four of us in one bed by 6 AM and a very high-stakes game of "nobody make a sound." Plus the grandparent gift idea we're recommending for everyone: give the grandkids their parent's old stuff packaged as a gift (Kathi did Beanie Babies on this trip!) Which led us to: is the Princess Diana Beanie Baby actually worth $10K?! (We checked - apparently no, but we LOVE the nostalgia).  Then the main topic of the week: invisible postpartum. Alex shares about how when you're out in the world WITHOUT your baby, nobody has any idea what your body and brain are still going through. If you've ever felt this, this one's for you

Isaac and Suke open up the club chatting about how you can tell someone is old especially when you hear them on the phone. Later, the guys discuss a guy is trying to stay incredibly healthy but doing weird strategies. Later, the guys discuss a celebrity winner on Who Wants to be a millionaire, and the guys end the show with some dong news.

This Podcast was first published June 9th 2026With the future of football's governing body under discussion, we're giving you another chance to hear how FIFA makes most of its money from the World CupFIFA President Gianni Infantino has proposed the creation of a subsidiary body to run tournaments, which would include some outside investment.Fifa has given all 211 member associations until 19 September to say whether they agree with the plan, with a straight majority to decide whether to proceed.But there has been criticism of the plans over lack of clarity and the impact it could have on FIFA's independence. Ahead of the World Cup, Sam Fenwick looked at how the event generates billions of dollars for FIFA - where the money comes from and how it gets spent.Presenter: Sam Fenwick Producer: Matt Lines Editor: Stephen Ryan(photo: Silhouette of Gianni Infantino, FIFA President and rising stock graph are seen in this illustration taken, July 28, 2026. Credit: REUTERS/Dado Ruvic/Illustration)

Check out the STACK for links from each show here: http://JustinBarclay.comNew gear is here! Check out the latest in the Justin Store: https://justinbarclay.com/storeProtect what you've worked for… Kirk Elliott Precious Metals is my preferred partner - http://GoldWithJustin.comJoin Justin in the MAHA revolution - http://HealthWithJustin.comTry Cue Streaming for just $2 / day and help support the good guys https://justinbarclay.com/cueUp to 80% OFF! Use promo code JUSTIN http://MyPillow.com/JustinPatriots are making the Switch! What if we could start voting with our dollars too? http://SwitchWithJustin.comNo matter what's coming, you can be ready for your family and others. http://PrepareWithJustin.com #adFind Justin..Podcast: https://www.iheart.com/podcast/53-westmichiganlivewith-28276509/?keyid%5B0%5D=West%20Michigan%20Live%20with%20Justin%20Barclay&pname=podcast_profile&sc=widget_shareRumble: https://rumble.com/c/JustinBarclayLOCALS: https://justinbarclay.locals.comFacebook: https://www.facebook.com/MrJustinBarclayTwitter: https://twitter.com/mrjustinbarclayGettr: https://gettr.com/user/mrjustinbarclayTruth: https://truthsocial.com/@mrjustinbarclayInstagram: https://www.instagram.com/mrjustinbarclayTwitch: https://www.twitch.tv/mrjustinbarclayGab: https://gab.com/MrJustinBarclayTiktok: https://www.tiktok.com/@mrjustinbarclayBitchute: https://www.bitchute.com/channel/OvxYfTftZdRk/Brighteon: https://www.brighteon.com/channels/mrjustinbarclayClouthub: https://app.clouthub.com/#/onboarding/?redirect=%2Fusers%2Fu%2Fmrjustinbarclay%2FpostsSubstack: https://substack.com/profile/41993224-justin-barclayGet the stories from today's show in THE STACK: https://justinbarclay.comJoin Justin in the MAHA revolution - http://HealthWithJustin.comProTech Heating and Cooling - http://ProTechGR.com New gear is here! Check out the latest in the Justin Store: https://justinbarclay.com/storeUp to 80% OFF! Use promo code JUSTIN http://MyPillow.com/JustinHeartland Home Mortgage http://HHMLending.com

How can building an audience in advance help your stories reach the people who make movies? And how can you prove there's demand for your book or screenplay before you've written it? Brooks Elms shares his advice after more than 20 years as a WGA screenwriter. In the intro, what doesn't work for book marketing and what does [Amy Chan SubStack; Unsingle; Rephonic]; Goodreads giveaway for Bones of the Deep; FutureVision XPrize. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to see the opportunity in AI when others only see the threat How to test a story with samples, and what a 16-second movie can do Building the trailer before you write the screenplay Letting your audience finance the film once they have validated the idea Why Hollywood still wants existing IP, and what makes them pay attention Feeling safe enough to write the truth, and finding a concrete path forward You can find Brooks on LinkedIn or email him at brooks@brookselms.com. Transcript of the interview with Brooks Elms Jo: Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. So welcome to the show, Brooks. Brooks: Thank you. It's awesome to be here. Jo: Fantastic. So first up— Tell us a bit more about you and how you got into screenwriting. Brooks: I started filmmaking first. A buddy came up to me in high school and said, “Hey, we're making a karate movie, do you want to help us?” I was like, “Oh my God, yes, that sounds amazing.” So next thing I know, I had this karate outfit on, and we were just making this completely ridiculous and totally fun movie, and it was amazing. It was so fun. Then it went to a whole other level when we shared it with a friend, this guy Jay Sharon, and he watched the movie and he laughed so hard he literally fell out of his chair. I was like, “Oh my God,” the fun I had making it could actually transfer to somebody else. I was hooked. So from there I went to NYU film school, and then made a few independent feature films which were good but not great in terms of how they were received. They were great for me in terms of enjoyment, but I knew I needed to iterate faster at that point. So then I was like, “Well, it's expensive and it takes a long time to make a movie,” at least back then. So I pivoted to screenwriting, and pumped out two, three scripts a year, got signed at UTA, got writing assignments, and basically launched a screenwriting career. Then I still tried to get some stuff going, but it's hard when movies are so expensive. It's not hard, it's just that it takes a lot of precision in the marketing, and a lot of conversations to find the right matches to finance something, and you're either interested in doing that or you're not. I just was like, “Well, I'll just mostly write screenplays.” Then I started teaching at UCLA Extension and then coaching after that, along with writing. Then all the way up to the future. What's great about moving forward is that with AI, shot-making is becoming very close to cinematic quality. You can actually match cinematic quality in moments in some genres, but probably by next year. Right now you could actually do a really good horror movie all AI for 10, 20,000 bucks, depending on how much you're doing yourself or getting other people to do. So the economics are going to absolutely explode. So I'm sitting on dozens of scripts that didn't get through the Hollywood packaging bottleneck because they're too expensive, and I now have this giant slate that's ready to go, and I'm just absolutely thrilled. It's been a lifelong dream for me. Jo: Oh, so much to come back on there. Where to start? I do want to talk about what you just said there, sitting on dozens of scripts and now seeing the opportunity. I actually wrote down in my journal about a year ago, I see what's coming with AI, and I think that the best thing I can do is create as much original IP as possible, so that I can make the most of the opportunity ahead. So let's just get into the AI, because a lot of people feel it's a super bad thing. Talk about the opportunities and the attitude that you've got [around AI], and that you've seen others have around this, for what is ahead in a positive way. Brooks: It's fascinating to see how people respond to AI. I wonder, when the printing press rolled around, if there was some sort of backlash. Books must be handwritten. They can't be mass-produced. Here's one of my theories. At a deep psychological level, it's so profoundly powerful that I think the default setting is, “Oh, crap.” When I was a kid, some things were hard, and that power imbalance, when something big, new and powerful comes along: I'm going to get screwed, and so this is somehow a bad thing. I think that's the base psychological thing going on with most of the noise. Obviously there are some legit problems, in terms of copyright infringement from learning models, or from some of the environmental situation. So I'm not saying it's all rainbows and butterflies, but I think 90% of the noise around it comes from a fear of change. Here's the other one—a fear of, “Oh, yikes, I'm going to get taken advantage of somehow by either robots, or the corporations are going to use the robots against me,” or something like that. I have real empathy for me when I feel that way a little bit, but I don't feel it much, and for other people that do feel it. The other thing is, you know what it is? I think they fear their own empowerment even more. I had a therapist who was really good. He said, people aren't so much afraid of failing as they are afraid of succeeding. Because if we fail, we're stuck in act one and we don't go anywhere. The fear is answering the call and going to act two, when everything effing changes in the new world. So I think people are afraid of how goddamn powerful they're going to be when they can have a team of AI agents helping them do everything they want in business or life or whatever. I think it's the same thing with the internet. People are like, “Oh, I don't like social media, blah, blah, blah.” And I get it. There's a lot of noise and a lot of crap. Yet we have access to billions of people, and the algorithms in social media right now I think are level three out of 10. They're just going to get better and better. Even as it is now, if I do a post about something and it gets ignored, that's on me. The algorithms are trying to match me to my people. So if I'm not unique enough and authentic enough and aware enough of how virality works, that's on me, and it's a learnable skill that I can embrace and then change and then get better at. So I think people then resist that change. They resist the empowerment of learning the art of virality, or learning the art of some sort of social media stuff or whatever. The last thing I'll say about this rant is, I don't want to act like I'm the guru on the hill that has all the answers. I refuse calls all the time. I'm scared about all sorts of things. I'm certainly not perfect. I feel frustrated when I'm trying to put my big ideas into action and I can't get this technology thing to work or that one, and I throw tantrums. I'm trying to come at it from a real human perspective, but by and large, I've got stars in my eyes. I'm like, “This is amazing. This is going to be so powerful.” For so many people, you just have to be ready to embrace it and just go along for the ride, because there's going to be some big-ass changes. There already are, and that's going to accelerate. Jo: You mentioned there learning the art of whatever it is. One of the things is, I've spent 20 years, and so have you, learning our craft and our art, and now it can be done very easily. I'm generating video, as you mentioned, which is a craft I haven't spent 20 years on, but now I can generate. So things have definitely changed in that way. Just coming to the screenwriting side. Probably about a decade ago now, I did my first screenwriting course. I've written screenplays. Then I looked at the game you have to play and, like you said, the conversations you have to have, the events you have to go and network at, all the things that you have to do to put a screenplay in front of the right person at the right time. I was like, “I cannot do that. It's just not going to happen. I can't do that along with everything else.” So I put it aside, but now I feel maybe it's time to bring it back because things are changing. So can you maybe talk about, if someone has a screenplay now that they've written, or some IP like a book that they have now— What would you recommend people do in terms of wanting to get that [IP] in front of somebody, or doing something with it themselves? Brooks: It's such a good question. By the way, not even a screenplay—you could do the same things with a novel. Let me try to be succinct here, which is a good challenge for me. A simple way to look at it is, you're giving samples. Let's say it's a lemonade stand, and you give out a little shot of your… maybe you have cayenne pepper lemonade, some sort of fun lemonade. If you give out a sample and people are into it, they're going to come back and they're going to tell friends. If you give a sample of the lemonade and they're not into it, then you go back to the kitchen and you mix up a different flavour. So that's some basic business, but the internet allows us to do that at scale. So what I like to encourage people to do when I coach them is come up with the minimum viable material. It can be a 10-second clip. There's a writer in my community who made a really beautiful 16-second movie. It's one shot. I love it so much. It's two wine glasses. There's a lipstick smudge on one of the wine glasses. They're half full, and it's just that shot. It's sitting there, and all of a sudden you hear this thundering, thumping down these stairs, dun, dun, dun, dun, dun, dun. Then you see out of the corner of the frame one person runs by, and then the other person behind her runs by and goes, “Wait.” That's it. That's the whole movie. It's 16 seconds. He did that with his phone. So there's so much going on. There's a couple of basic elements, but he just did it with his phone, and you can evoke enormous emotional impact on people through social media, whether it's just words. You guys have a big advantage as novelists because you're so good with words. Whether it's a little bit longer, like sudden fiction, that's a couple of pages or whatever. Even just copywriters are really in a good position for the future because they're super potent with two words or three words or 10 words. Then novelists are probably really advantageous because it doesn't cost anything to just put some words out on the internet. The point is, if you put something out, it's a signal, and you're talking about billions of people who could find that signal. If you do it and then you look at the response, and then you try again, you look at the response, we can do this iteration infinitely for free. So you can do it already. You've been able to do it for 10, 15, 20 years, just with words. But now you're going to basically be able to do that with movies or clips or trailers. So the thing that I'm leading in my community of writers is having people build trailers in advance, or clips. When a book or a movie is done, how the heck do we get people to see it? One way is a trailer or some sort of behind-the-scenes material. You can just do that stuff now before even writing the screenplay. I saw that you were doing this project, a trailer for this competition. And then you mentioned, “Oh, I've got to write the screenplay.” Not really. You have to develop the story enough to know what you're referring to, and then it's about studying the craft of either trailer construction, or whatever the clips are, or viral clips. They all have a structure, and then you just test it. If you enjoy that testing process, which I find absolutely thrilling, it feels like the filmmaking version of a stand-up comedian. If I did stand-up, I say a joke, they laugh or they don't laugh. It's really beautiful feedback from the universe. Nerve-wracking, right? But we can do that now as storytellers. We put a story out there in any format, and the audience responds. Just like you have to read any room, you have to learn how to read the engagement on social media. What do likes mean? What do shares mean? What do comments mean? How do you deal with trolls? All that is just part of the new art. Once you get good at it, holy smokes, that's the key to the kingdom. You can build audiences in advance, and for movies you could even have them finance your movie in advance, if you've built an email list of 20,000, 30,000, 40,000 people because you kept putting out all these viral clips around your story, novel, or screenplay. Then you go, “Okay, now 30,000 people are on my email list and I tell them about me and my perspective and my world. We're going to make this darn thing with AI for 20,000 bucks. You guys have got to pony up some money. Put in a dollar, five, 10, or you get the VIP $500 experience.” It's like crowdfunding, but much more sophisticated, because most crowdfunding was like begging friends and family to donate to your crazy dream. What I'm talking about is going to the audience directly, developing enough of the story, then going to the audience second, and then only when they validate the idea, to the extent that you're happy with. You could do a crazy idea that's going to have a small audience, and you don't have to have a blockbuster audience. You get to pick the audience size that you want, and then put the samples out there and see if you have a relevant audience size for this next project. Once the audience tells you, “Yes, we want this,” then you go make it. So you're ultimately reducing risk to almost zero. It takes time and you have to learn how to do this stuff, but it's thrilling to me because we just have the capacity to test the material and listen to the audience upfront. The last thing I'll say, and I've rambled a lot, I'm sorry. When I made a movie in 1994, a feature film right out of NYU, it took me three years to find out what the audience thought about that movie. I had to make the damn thing, and then I ran out of money, and that took me years to edit it, and I finally got it, blah, blah, blah. And again, I loved it. I loved every facet of it, and it was fine, but it was super inefficient. Today, I could take those same elements, create an AI trailer this weekend, put it in front of hundreds of thousands of people, and they could tell me right away, “This sucks,” or, “This is interesting,” or, “Holy smokes, this is amazing. I want this.” If it's not, “Holy smokes, this is amazing, I want it,” I can go ahead and re-edit the whole damn trailer, and just keep reiterating at almost no cost. Then once the demand is there, I can take that demand and that audience and go to Hollywood, and that's when they're going to want to work with me. Then it doesn't take a million conversations and finding the needle in the haystack, because Hollywood sees the numbers and they go, “Oh, you're the people we do want to do business with. You've proven demand. We want to do business with you.” Jo: Yes, it's so interesting. I can hear people listening and they're like, “Easier said than done, getting an email list of 40,000 people.” And in fact— It's exactly the same as building up a career as an independent author. This is as a filmmaker, as a visual person, and the industry is visual, so doing a visual trailer is the obvious thing. And as you say, the tools I use just to do this one, I use Midjourney, and I've used Seedance as the main video model. It does take a while, but it is pretty fast now, if you have a visual image of what you want in your head, which obviously you're a visual person as well. But is it… Brooks: Hold on. I want to push back on that a little bit, because I think it's really important. So yes, that's true, but underneath that, my friend, it's a relationship. It's the relationship, and the media is secondary. You have been prolific in connecting with your audience, and that's why I think a lot of people like you, because you share and they get to know you in that sort of cadence. I saw you in another podcast, you mentioned Seth Godin, who just said, “Hey, I want to be the type of person that has this relationship with my audience. I'm going to share some of my thoughts every day.” He happened to do it with words, with his background in marketing, but you could do the same thing with still images. You could do the same thing with a five-second movie clip once a week. It's the relationship you want with your fans. I'm not saying you snap your fingers and you have 50,000 people on your email list. What I'm saying is, what else are you doing? If we're artists and our impulse is to create and share, and if you do it in this way, if I can create and share and inspire trust in this relationship with a stranger because they like my genre thing and they like the way they felt when they experienced my media, words, images, movies, it doesn't matter. They just like the feeling, and they go, “Ooh, I want more of that feeling. How do I get more of that? Oh, this person has this email list or community.” If I can do it with one, then I can scale it out. So getting the first one, or the first 5 or 10 samples, that is a whole process. But then once you do that, scaling up is more of a mechanical thing. It's not even that hard, especially when you can do paid ads. So you can scale up very quickly if you have the sauce. If you don't have the sauce, it doesn't matter who you're related to, you've got to get the sauce right. Jo: Yes, and again, it's so parallel to the indie author community. I've just got to ask you, in the olden days, an author might write a screenplay, or a screenwriter write a screenplay, and then they would send it. They'd find an agent. They'd pitch an agent, and I guess then they'd hope that someone would turn that into a movie. So is that just dead now? Is it realistically that you need to get yourself out there, build the audience in the same way that it often is for authors? Brooks: So, no. I've got two screenplay deals going right now. So here's how it's going to work. Think about Broadway, or the theatre district in Britain. It's like West End or East End or whatever… Jo: The West End. Brooks: Sorry for my American ignorance. West End, okay. So every town on the planet has a stage, but there's only one Broadway, there's only one West End, right? And every town has its own festival, but there are a few significant tastemakers. There's Cannes, there's Sundance, there's Toronto. Hollywood is always going to be a tastemaker in our lifetime, for sure. What they don't have anymore, what they enjoyed for the first 100 years of the industry, is that they had a stranglehold on basically the equipment, the financing, and the audience, and that's all going away. Do you want to hear a fun story about the birth of cinema? Do you know why Hollywood started in Hollywood? Jo: No. Brooks: So Thomas Edison invented the camera, or the type of model camera that they were using in, I don't know, 1910 or something around there. They didn't want to pay his patent. They didn't want to pay the patent to make these movies, so they went all the way across the country, a bunch of outlaws, and they set up shop in California because he couldn't enforce his patent that they were basically stealing. And reason number two, LA enjoys amazing weather almost all year round. The weather here is either nice or really nice. You have mountains, you have beach, you have desert, you have all these different locales. So when it was really important to be on location, LA was the perfect place. Anyway, that is all going away. For many decades, more people could make movies. In the early '90s, Robert Rodriguez made a movie for 9,000 bucks. There was a book in the '80s that I bought that I loved, it was Feature Filmmaking at Used-Car Prices. This guy, Rick Schmidt, I think his name was. There were the independent filmmakers really in the '60s and the '70s. So the cost has been going down and down and down, and now it's less than ever. Once social media came along, now you have access to the audience, so why do you even need Hollywood? That being said, there are tons of people. There are 400,000 people already working in the movie and the TV industry here. And they're voracious. We have a voracious demand. Humans need stories. We need big stories, long stories. We need stories, and Hollywood is so good at giving them stories. And so they have a need for these things, and they're still spending a lot of money on those budgets. So yes, there's still a demand for turning books and optioning them and turning them into movies. Books are great. Any sort of existing IP is great because there are marketing efficiencies there. People already know that stuff, know the vibe of it, and so it's easier to market than something that's totally creative and new. When you're spending that much money, you want those marketing efficiencies. They're really important. So the point being, the power is shifting away from Hollywood. Hollywood will still be a tastemaker, but you and me can reach anybody on the planet now. Almost. Billions of people. If it's making a movie, right now you could make a movie that most people wouldn't realise is an AI movie. If it was a horror film, I know a handful of people that could make a feature-length horror film right now with AI and 99% of the audience couldn't tell, if it was professionally written. Jo: I think the point here though is, I'm an author, the people listening are authors, and we don't want to make movies. We want to license our IP to people who want to make movies. Brooks: Yes. Great. Okay, good. So then you could, if you wanted, build an audience. Hollywood loves when something's already proven, so that's that IP thing, right? So if you just have a great book, then it's all about the sales. You guys have Dragons' Den, we have Shark Tank here. And what's amazing about that show is these are people or entrepreneurs pitching an idea, and there's an amazing rhythm that happens. They say, “We've got this great idea. It's this sort of company.” And the sharks, or the dragons, will listen. And there's a huge turning point when they reveal sales. They're either really excited about the idea and then they go, “Well, how are the sales?” And the person goes, “Well, we don't have any sales yet.” And they go, “Uh,” and they're not interested. Or they might even be like, “Eh, it doesn't seem like a good idea.” And they're like, “Well, how are the sales?” And they're like, “Oh, well, we've sold through the roof.” And then all of a sudden they perk up. So it's all about the sales. So step one is writing something that you want. Step two is making sure other people in your target audience are also loving it as much as you do. Step three is proving in some way at scale that there's real demand for it. So you could do that with trailers, you could do that with clips, you can do that as an indie publisher. There's all sorts of things that you can do. Humans are much more persuaded by concrete data than they are by just vibes. So if you can bring Hollywood concrete data of any type, like viral videos, like audience, like obviously bestsellers. Awards mean something, but not quite as much as sales. Then you're going to get Hollywood's attention because that reduces risk for them. So even now, when Hollywood's definitely shrinking and contracting, there's still very significant money being spent because it's a huge demand. If you ever walk around a studio lot, those things are opulent places. It's stunning. Like, how are they paying for all this stuff? These lots are enormous. It's because humanity is voracious for stories, and movies are one premium type of storytelling. The demand for stories is steady if not going up. It's just that we have a wider variety of types of stories that we can do, whether we're an indie author. So anyway, did I answer the question? You get me too excited with these questions, Jo. It's a problem. Jo: Yes. I think there's a lot of opportunity and a lot of ways in, but the parallels with being an indie author I think are quite clear. One of the things I found interesting about your profile and what you do is that you help clients who are already accomplished but not quite breaking through, and that sounds like a lot of mid-list indie authors, probably a lot of mid-list screenwriters, mid-list filmmakers. This is a hard place to be because, on the one hand, we are grateful for what we have achieved and what we can do, and yet wanting more, wanting that big Hollywood deal or the Netflix deal, or wanting the massive bestseller or whatever. So if someone wants to get to that next level, what are some of the ways that they can perhaps try and get there? Brooks: It's a great question. Coaching is a really wonderful way to learn anything of this sort of complexity and challenge, especially if it's a hyper-competitive business. We need two things, I think, to write a great novel or screenplay or both. A, we need to feel profoundly safe in our space. If we can't really feel deeply authentic about the things that are embarrassing, or that we feel shame about, or just our shadows, or anything that we don't feel completely comfortable saying and sharing in public usually. We need to be able to touch those things, and be articulate about those things, and that's one part of it. Then we need a concrete path forward. Maybe you're thinking about some tragedy that you had in childhood, and how you dealt with it and how difficult that was. So you need to be able to be real precise in those observations about what it felt like, and how you tried to compensate for it, and that didn't work and it made it worse. Whatever your observations are about your life journey, you need to be really specific and really deeply felt. A good coaching relationship allows you to be in that space, to be really honest with yourself and authentic. g Aood coach will push you back and say, “You know what? That sounds interesting, but maybe not quite as true to you deeply.” So that's one piece of it. Then there's a concrete path forward. You need to have the emotional access to that truth, and then you need to know what to do with that truth in a step-by-step way. Because most people, the ones that you're talking about, they're accomplished in something else. What happens is when we first start writing, and maybe this happens with novelists, but for sure it happens to screenwriters, you just start typing words. But you haven't really thought through the theme, the concept, the structure, the character, all the deeper questions that really matter. The milestones, like a North Star: winning a major award, or getting a publisher. That's the direction that we're heading towards, and then you set it and forget it, but you want to keep checking it every week, every month or whatever. But you want it very specific. “I would like to sell a book, or sell a book to Hollywood, or write a screenplay, or get a producer attached to a screenplay.” Whatever the milestone is, make it really specific, really concrete, and then reverse engineer. This is what I do on the concrete path. I reverse engineer every step to get there, starting with a really tiny one we can do today, and I make sure they feel really safe, and then we just walk through. Then what happens is, if you do that, if you feel safe, if you're showing up authentically and you have a process that's repeatable, not just willy-nilly, it's got to be something that's proven to work. It wasn't an accident I wrote 45 scripts. I've got a whole system. But by the way, the first five scripts took me forever. The last movie that I made took me three years to write that script. I can write a better script with those same elements in three months now, because I know I have a concrete path. So if you want to do something new, whether it's playing the piano or getting six-pack abs or writing a screenplay, work with somebody who's got a system that's already proven, and make sure you relate to them, and then just follow the system. Then when the doubts come up, and they will, that's where the feeling safe is really important. Because, oh, I want the six-pack abs, but I don't feel like going to the gym. I want the extra donut. If I'm working with a really good trainer, they go, “Dude, do you want the six-pack abs or not?” And then you go back and forth, and I go, “Okay, now I can make peace with myself and say I can take one tiny bite of the donut and then still do my workout,” and then I'm moving towards that North Star. Does that make sense? Jo: Yes. I think, like many independents, I resist anything that is systematised. I'm a discovery writer, and I follow the muse, and all of that kind of thing. I think I would say something in a similar vein, which is sustainable creativity for the long term, because your 45 scripts are also years of work, and my books are years of work, and we get better at what we do. So my system, I do have a system really, because— My system is that I do the work, and I write my stories, and I get them out there, and I do the marketing. So even if it's not as systematised as such, it's still a process that I have repeated over and over again. Brooks: That's fascinating to me. Would you consider yourself a pantser? You're like, “I've got an idea,” and you just start writing? Jo: I don't use the word pantser. I guess I call it discovery writing, which is… Brooks: That's a better term. Jo: Yes. What I'm writing for this prize, for example, I know the characters, I know now what's happening. When I had the idea, it was very much a vision and a theme, and the competition has a theme: a positive future with AI and technology. But the things that came around that, I then started playing with ideas around the treatment. I haven't written the screenplay yet. I don't do a plot, or I don't follow Save the Cat or any of that kind of thing. When I write a novel, I just explore and I never write in order. Then at some point I stop and then I have to think about the structure and putting it all together, so the edits are quite big. But my fun is in that discovery, really. Brooks: Oh, that's awesome. Okay, so let me ask, that's really fascinating. And by the way, that doesn't, to me, negate the system that I use. The one that I use is ultimately… the thing is, these questions, the audience is wanting your unique answers to. You don't necessarily need to do it in a certain order. I think that's actually really cool that you write out of order and you have a few elements in mind. All that stuff sounds awesome. The only thing that then makes me curious is, how's your pace? Are you actually completing novels at a pace that feels good, or do you feel like you go too fast, too slow? Jo: I do one or two a year at the moment. Well, two a year, really. But I would say I'm not as successful as I'd like to be, so I'm not saying that my system is the best. I'm saying I want to be better. It's just that my fun is this sort of creative chaos, which I then try and control later. One of the things I really like about screenplays and treatments and doing this kind of thing for film is that it is much more structured, I think, than a 70,000-word novel. You can go in all kinds of directions, whereas with screenwriting you do have to be more disciplined really. Brooks: Yes, so this is going to be fun probably, to hear my view for your audience, and the differences as I see them. For starters, you're talking about what, 10, 20, 30 hours reading a novel sometimes, or maybe less, whereas a movie's a 90-minute experience, right? So that's different. Or if it's a TV series, you might see an hour and then an hour. So that's a very different experience. What happens is when it's condensed like that, you're loading up layers. So every scene is stacked with exposition beneath the drama, and done in a certain way. So specifically, movies are only what you can see and only what you hear. Whereas novels, if you can think it, you can write it, it can be in there. So you don't need to have a plot, but if you want to sell your book to Hollywood, it helps. So I was very resistant about structure. I went to NYU film school, where we really just made short films. It was funny, I had friends that were in the dramatic writing department, and I was like, “You guys are wasting your money. You're just learning to write scripts. We learn to write the scripts and make the movies.” What I hadn't realised is it's a different skill set to hold somebody's attention across an hour-long play, or a 90-minute movie, than it is to make a movie that holds their attention for two minutes or five minutes. I found out years later when I made a feature that was like a lot of shorts patched together, and people were not… They liked it, but they didn't love it. I was like, “Well, what's going on?” And so then I learned to really love Save the Cat in particular. It completely changed me. What happened was, I got a big old slice of humble pie. I had made my second feature, and I put everything I had into it, and it had loose structural beginning, middle, end, blah, blah, blah. But I was still, “Eh, Hollywood BS. What do they know? It's all fake.” So I was very anti-Hollywood structure. Then I was like, now I've got two independent films out there, people saw them, liked them, whatever, but it wasn't getting me consistent work. It wasn't really advancing my career in the way that I wanted. And I was like, “Well, maybe there is something to the Save the Cat.” So I went to the Save the Cat workshop with Blake when he was still alive, and he was delightful, a really awesome guy. He's got this kind of cutesy style, for people that don't know. For context, Blake Snyder was a working Hollywood screenwriter, and he had this system called Save the Cat, which actually has some really interesting ideas. He's got this very light, breezy sort of style. A lot of people don't like him and some people really love him, and everything in between. But I took his weekend seminar, and it completely changed me, because at that point, like I said, I took three years to write a script. Then once he had a process and he had a way of thinking about craft that was just much more screenwriter-friendly, I was like, “Oh my God.” It was so much easier, because I was just focused on the right thing at the right time. So it just sped everything up. After that, I was banging out two to three scripts a year, and better and better quality. So for me, because I went from winging it and wrote five scripts in 13 years, and then wrote two to three scripts every year, I became a huge proponent of system and process. Then my own system really came from that, but it's modular. I have a nine-step system, but you don't necessarily have to go in that order, other than the last three steps, but I won't get into the details. Sometimes you kind of jump from two to three and then back to two and then back and forth. So I love that you get the feel for those elements, and then you just felt your way through. But writing screenplay pages doesn't make sense until you really understand concept, you get a deep sense of beginning, middle, end, character arcs, and these other threads. There are just way better tools for those jobs than screenplay format, because it's a really weird format. It's got these weird slug lines at the top that are all in caps, because a screenplay is a blueprint for somebody else to make the movie. It's not an end-user document like a novel. I don't let my clients even go to that format because it just gets them focused on the wrong things. What they really need to know is, what is your perspective about this theme? What happened in your life that you're fascinated with, that you'd even want to write about this? And tell me what your real life lessons are. So we go into… again, I go back to relationship. What's your relationship to the universe? And what's your relationship to your best friends, or where you got your heart broken, or whatever you want to write about. And then we get that clarity, and then I show you how to express it in terms of developing a screenplay. It's really long-form storytelling, and then the structure just makes it build on itself. But with the structure, because you're talking about so much money and people involved to make it, at least traditionally, what ended up happening was narrative structure that was not so much rigid. Because here's the thing, you can look at 50, 100 years of European cinema and you can look at Hollywood cinema, and Hollywood laps them. When I taught at UCLA Extension, I had lots of foreign students. Let's say there'd be two or three students… if there were 12 people in the class, two or three people would be from America, and everybody else would be from other countries. I would go around, I'd be like, “What movies and TV shows have you been watching?” Almost in every single country, they watch half from their own country, half from Hollywood. So Hollywood storytelling works, that's just the data, and they're dominant. The reason it works is what Aristotle was saying thousands of years ago.. There's a way of thinking about beginning, middle, end that just deeply speaks to the psyche, and you can ignore it if you want. I think Godard said, “You need beginning, middle, and end, but not necessarily in that order,” right? Which is great. Just the way we experience life, there's a beginning, a middle, an end to this podcast interview. There's a beginning, middle, end to the day, a beginning, middle, end to me eating lunch. So if you don't lean into the beginning, middle, end psychological aspect of your story, you're going to bore your reader. But to your point, you don't necessarily have to sort that out in the beginning. It's more efficient probably if you do, but you don't have to. Go into it wherever the muse tells you to go, and then at some point, like you do, then you go, “Okay, now I go back and I edit.” If you're saying there's another level, you have another gear in you, then yes, I'd be curious to slowly go through how you're making those decisions. Because what's happening probably is there are ways you're holding back a little bit. There's maybe something you're afraid of being vulnerable about. That's usually where me or other writers are holding themselves back, and we can take a look at that. There are different ways I show writers to do it. Then you can go, “Oh, I was doing it here, and now I can do it there.” And it could be with process, or just a certain creative choice. With story, it's clear and compelling. Those are the simple things. So, is this clear enough? Is it compelling enough? And there are almost always ways to up-level on any facet, whether it's one sentence, or a sentence that describes the whole concept of the book, or a chapter. Each one of those can be looked at with that lens and we can just say, “Hey, this is 70%, 80%,” whatever, and then we say, “Well, how do we get a little bit more?” And then when you do that enough, it piles up. Then especially if you bring in an audience and people are flipping out for your work, they'll tell you. Jo: Yes, I love a challenge, so thank you for everything you've shared today. So where can people find you and everything you do online? Brooks: Well, one way you can find me—if anything I said seemed helpful for you, if you have questions about Hollywood or you have a screenplay in your heart—you can just email me, brooks@brookselms.com. You could look me up on LinkedIn. I'm at Brooks Elms. I also have a Skool community called Screenwriter Marketing, but it's really for any sort of storyteller, and it talks about my favourite way to engage an audience and get through it. So anybody can jump into that if you like my vibe. If you really think anything I've said, or the way I said it, seems like it could be helpful for you, just reach out. Let me know what you're up to, and maybe there's a way I can help you. Jo: Fantastic. Well, thanks so much for your time, Brooks. That was great. Brooks: You're welcome. It was a total pleasure. It was lots of fun, and I really appreciate you.The post How To Prove The Demand For Your Stories And Get The Attention Of Hollywood With Brooks Elms first appeared on The Creative Penn.

Martin Armstrong is a Wall Street outsider who builds a financial prediction model with a hidden connection to the number pi. And whether it's fortune-telling or just a fluke, Martin's system really does predict some major economic events. His discovery attracts billions in investor funds and gives him the confidence to make bets no rational person would make. But when those bets fail, Martin faces a choice: admit the model was wrong or insist the whole world is conspiring against him. What happens next is either one of the greatest deep-state coverups in history… or an unhinged numerology scam that has Martin's followers still tangled up to this day.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

L.A. homeless numbers climb again after billions vanish into the void. Some "patriot" leaks WH meeting notes: we're basically out of ammo in the Mideast. Fauci's diary drops: he privately clocked COVID's kill rate at a mild 0.2-0.3%… then jacked it sky-high for Congress.               

Krystal and Saagar discuss oil rises to $100, Prof Marandi says negotiations are off, Hegseth demands billions for war. Professor Marandi: https://x.com/s_m_marandi?s=20 Garrison Lovely: https://www.amazon.com/dp/1682196305? ref=cm_sw_r_ffobk_cso_cp_apin_dp_BSQ72NWD042H06CYBAA0&ref_=cm_sw_r_ffobk_cso_cp_apin_dp_BSQ72NWD042H06CYBAA0&social_share=cm_sw_r_ffobk_cso_cp_apin_dp_BSQ72NWD042H06CYBAA0&bestFormat=true Samuel Moyn: https://www.amazon.com/dp/0374607648?lv=shuf&channelId=500&plpRedirect=mhFallback To become a Breaking Points Premium Member and watch/listen to the show AD FREE, uncut and 1 hour early visit: www.breakingpoints.com Merch Store: https://shop.breakingpoints.com/ See omnystudio.com/listener for privacy information.

Today on The Press Box, Bryan is joined by MS NOW's Stephanie Ruhle. They talk about the money Trump has made in office, working in investment banking before getting into media, the purpose of cable news, and much more.Host: Bryan CurtisGuest: Stephanie Ruhle Producers: Isaiah Blakely, Jon Jones, and Lucy Brick Learn more about your ad choices. Visit podcastchoices.com/adchoices

Despite promises the Iran war would be decided quickly and decisively, the fighting continues. Does the Trump administration have an exit strategy for Iran and is the US heading into another forever war?After more than two months without an Iran war update, Defense Secretary Pete Hegseth testified before the senate and asked for billions more to fund the war in Iran.Hegseth is asking for $67 billion URGENTLY, and Senators – mostly democrats – had questions for Hegseth about the size of the request and the overall strategy of the war.This episode was produced by Lauren Hodges, Gabriel Sanchez, Kadin Mills and Tyler Bartlam. It was edited by Janaya Williams, Andrew Sussman, Justine Klein and Courtney DorningOur interim executive producer is Courtney Dorning.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Billions of pounds of plastic end up in our global oceans every year. Birds – like this Short-tailed Shearwater –  that mistake this pollution for food often die from malnutrition, poisoning, or damage to their digestive systems. We can all make the world a safer place for birds and people by keeping plastic out of our waterways. You can replace single-use plastics with reusable items, join a community clean up day in your area, or maybe skip party balloons at your next event. More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks.  BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

NPR reporters observed focus groups of 12 Pennsylvania voters who backed former President Biden in 2020 and President Trump in 2024. We discuss their cynicism about politicians and the Iran war, and what they think about democratic socialism.This episode: voting correspondent Miles Parks, political correspondent Ashley Lopez, and senior national political correspondent Mara Liasson.This podcast was produced by Bria Suggs and edited by Rachel Baye.Our executive producer is Muthoni Muturi.Listen to every episode of the NPR Politics Podcast sponsor-free, unlock access to bonus episodes with more from the NPR Politics team, and support public media when you sign up for The NPR Politics Podcast+ at plus.npr.org/politics.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy