Podcast appearances and mentions of Aaron Sorkin

Today, after staying on Jon Ossoff's email list for eight years, I finally hit unsubscribe. This is my Dear Jon letter, and in some ways, the moment I will really be saying goodbye to the Democratic Party once and for all.I will admit I held on too long with Ossoff. Try as I might over the past six years since leaving the party to extricate myself from their relentless email machine, I didn't mind when Ossoff's emails flew into my mailbox. In 2017, I saw in Ossoff what the Democrats needed as they tried to find their next Obama stand-in. He fit the bill perfectly. I also liked how he didn't seem to buy into the party's increasingly crazy extremes but was comfortably moderate, at least for a time. My record with Federal political donations tells the tale. If anyone looks at my record, they'll see I continued donating to ActBlue through 2025. Except that I didn't. I just didn't realize they were charging me all that time. That's how relentless they are and how stupid I am. The Glow-UpBefore the expensive makeup, strategic lighting and tight shirts, Ossoff looked like what Steve Bannon would call a “pencil-necked geek.” He was too skinny, even if he was an Obama clone. He seemed too good, too clean for dirty politics back then. I fell for the lie that Ossoff really was a self-made man, a “filmmaker who turned to politics,” per this Wall Street Journal video.He is hardly self-made. More like a hot house flower.Ossoff grew up in a political household. Both parents were heavily involved in politics. At just 19, he began working on Capitol Hill for Rep. Hank Johnson while attending Georgetown's School of Foreign Service and continued working for him until 2012. His email list was mostly the kind of thing you'd get in the old days of the Democratic Party, the kind of thing you'd expect from the Obama clone factory. But that isn't really where Ossoff is now in his political career. He is determined not to go down as a squeaky-clean beta male. No, Ossoff has gotten SWOLE. He appears to have brought in a team to fix the look to be camera-ready. The makeup, the hair, the dimples. Ossoff finally looks the part. He can do alpha. All of a sudden, he's the guy everyone is talking about. He's the guy who is suddenly the hottie on tap. True, he's Jewish, and that's a problem for the Democrats, but no one really talks about that. Instead, they're selling the matinee idol on TikTok. The truth is, I didn't think about Jon Ossoff much until he went viral for channeling his inner sexist in a desperate bid to get attention and rise to the top of the pile. And it worked. He went viral! He's in the headlines now, and everyone knows his name. But this version of Jon Ossoff will never be president. He's abandoned what made him exceptional in the first place, his decency and his goodness. The sharks demanded flesh and blood, and he gave it to them, but it will come at a cost. One of the main reasons Democrats have failed for the past ten years to gain any purchase in this country has been their obsessive fixation on Trump, which is pretty much all Ossoff is doing.It's a race to the bottom to see who can out-Trump Trump, to be more confrontational, more bullying, more vulgar, and tougher. They believe this will solve their “man problem,” and who knows, maybe it will. I look at Ossoff now, and I don't see someone tough or brave. I see a coward.Ossoff, like James Talarico and almost every Democrat, is now leaning into the party's extremes. Because of course he is. He has to. In his viral speech in Atlanta, he referenced his daughters and said they will ask him one day how he let things get so bad, and, in the same sentence, dismiss the concerns of little girls and women in sports.Guess what, Jon: thousands of little girls will one day ask you why you let it happen, why you allowed so many of them to believe they should amputate their breasts when they could not consent. They will look to you, Jon. You will have to tell them why you pretended biological males had no advantage in sports because you were too cowardly to stand up to your own party. I once thought Ossoff was a good man. Now I see him as a desperate man, no different from any other Democrat, so much so that he's given himself over to what has become an uncontrollable fetish on the Left to dehumanize Donald Trump and his supporters. They slut-shamed Melania's modeling photos, splashing them all over social media. They suggested Trump was having an affair with his own daughter. They took a bath in Karoline Leavitt's Vanity Fair photos, which splashed all over TikTok and led to her being called KKKaroline.They mocked Kellyanne Conway's age and her face, and Sarah Huckabee Sanders' makeup. It's grotesque and repulsive, but it is typical and ongoing. Even now, Rosie O'Donnell is out there on primetime television calling Trump a “serial pedophile and rapist.” It doesn't matter if it's true. It only matters if it happened in their imagination.They spent whole seasons giggling about the particulars of the Stormy Daniels affair, and they were willing to forgive lusty E. Jean Carroll's sexy talk at Anderson Cooper and envision instead a ridiculous, implausible, violent rape incident that most likely never happened.They call Trump a rapist so they can kill him. They call him a racist so they can kill him. They call him a fascist so they can kill him. They call him a pedophile so they can kill him. They just want to kill him, and every day the hungry beast must be fed.Before you say “But Trump says…” there's a difference. No one on the Right, least of all Trump, pretends to be morally superior to the other half of the country as they have on the Left. There are no death fantasies. They don't go “no contact.” They don't destroy your career if you even so much as like a post by the other side. The price of admission in their world is that you have to want Trump dead too. You must forsake him, and then they will welcome you with open arms. That's who they are and what they've become and why I could not and will never be a part of that world anymore.Now, Ossoff has become one of them.The party of women knows destroying a woman like Natalie Harp isn't a good look, because she is sympathetic. She's a homeschooled bone cancer survivor whose father committed suicide. And Ossoff, to paraphrase Aaron Sorkin, gets on television and calls her a w***e.And that, more than anything, defines the men of the Left, too. They can't stand up to those crazy, crazy women. They have no real courage to stand up to the extremists either. They know they are muzzled and must do as they're told. Cowardly beta males like musician Bill Madden, a keyboard warrior whose fingers tingle every day when he has the chance to say the worst things he can as long as it's aimed at women on the Right. It kind of helps to see what he really looks like, just a fading nobody clinging to his youth.This quote is on his Wikipedia: “… when it comes to inequality, historically, no group of people has been discriminated against more than women. Men have been f*****g up the world for thousands of years. It's time we give more women a chance to lead.”Oh really? I guess you have to say which women, eh Bill? Not all of them. It's possible the Democrats overplayed their hand and have realized the Natalie Harp story is not a win for them. You can see them now reeling it in, trying to say Trump amplified it as a distraction because it makes the Democrats look bad. Oh no, my friends, you did that all on your own. The problem is that where there is chum in the water, there are hungry sharks. The lower the Democrats go, like Jennifer Welch and Hasan Piker, the more the candidates seeking office must feed the hungry beasts. The Party of Crazy, Crazy WomenThey might think the Great Feminization has made society better, but it has left them like a women's prison, or stranded on a desert island with the only men in sight being the weak, flaccid, pandering, ineffectual men of the Left. And that has left the women, shall we say, a bit unhinged.Can you blame the women stuck on that island for losing their minds when they saw Zohran Mamdani's TikToks? Most of what he does now seems directly related to how much women on TikTok will swoon over him. Parents' night out? Free helmets? Doxing millionaires? Free groceries? Rent freeze!Abdul El-Sayed is following the same sales pitch of aiming his TikTok videos at the young ladies, flexing his muscles and waving his backside at the camera in a way no white man could ever get away with, certainly not while positioning themselves as a sexy “Daddy” figure. They don't just want sexy back; they also want to be the party of fun and are working on a TikTok rebrand. The problem is that the base of the Democratic Party, mostly white women, are nuttier than a five-pound fruitcake. We found out just how nutty this past week as a movement began to form in support of child murderer Lindsay Clancy. There they were again, those crazy, crazy women showcasing their pathology on TikTok. They weren't shaving their heads this time or wearing blue bracelets. They were elevating Lindsay Clancy as the victim, even after she confessed to strangling the life out of her three kids.These are the kinds of lunatics whose votes Jon Ossoff needs. And that is why he has finally given them exactly what they want.The irony of all of this is Natalie Harp was hurled into the arena for unending mockery, slut-shaming, and fantasies. Doesn't she count as a woman, too? Isn't she worthy of support? A Feeding FrenzyThe media was all too ready to devour the bloody chum Ossoff threw into the water. It's just that, as with everything they do, it's not real. It's fake news. There is no bottom when it comes to how they report on Donald Trump and especially the women who surround him. But some of the lows have been extraordinary, like dragging out Harp's wayward, socialist hippie brother to exploit the tragedy of their falling out after the death of their father. It doesn't get much darker than that. Or more desperate.Here is Larry O'Connor on Townhall:O'Connor again with Mark Halperin and Kevin Walling on Next Up:Scott Jennings had no trouble setting the record straight.Ossoff's sleazy attack on Harp reveals his biggest weakness. He wants it too bad, and he sold himself out. And maybe that makes him ready to be the democratic nominee. Want those big donations? Trash women, trash working-class voters, dehumanize your fellow Americans. Sell women and girls down the river. Pander to the extremists. Smear the character of a young woman like Natalie Harp just to go viral, just to please the unhinged women on the Left who don't even know what a woman is. For his part, Trump flicked Ossoff away like a speck of dust on his suit, calling him Pee Wee Herman. And if we know one thing about Donald Trump, once you get hit with a nickname, it sticks. //Become a paid subscriber or leave a tip.Manage subscription This is a public episode. 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Stevie, Pappy and Josh can't handle the truth. (Thanks, Madison, for the Patreon request!) ********************** Lt. Daniel Kaffee (Tom Cruise) is a military lawyer defending two U.S. Marines charged with killing a fellow Marine at the Guantánamo Bay Naval Base in Cuba. Although Kaffee is known for seeking plea bargains, a fellow lawyer, Lt. Cdr. JoAnne Galloway (Demi Moore), convinces him that the accused marines were most likely carrying out an order from a commanding officer. Kaffee takes a risk by calling Col. Nathan R. Jessep (Jack Nicholson) to the stand in an effort to uncover the conspiracy. Release date December 9, 1992 (USA) Director Rob Reiner Story by Aaron Sorkin

This is an unlocked episode from our Patreon feed, Paid Costly For Me! Head over to Patreon.com/PodCastyForMe to hear more for just $5 a month. Most movies weren't directed by Steven Soderbergh, but few were as notably not directed by Steven Soderbergh as this one: MONEYBALL, the true story of the 2002 Oakland Athletics' revolutionary sabermetrics-based hiring strategy, was 5 days from shooting when Sony pulled the plug on Soderbergh's version. After a rewrite by Aaron Sorkin and a few cast change-ups, a slicker, Fincher-lite version directed by Bennett Miller made it to theaters, and we're talking about the whole deal. This ep has it all, quite frankly: in-depth script revision analysis, baseball talk, sports politics, and a long conversation about how statistics and "disruption" inform the world. It turns out everything is Moneyball, maybe? Give this one a listen, folks. As always, thanks to Jetski for our theme music and to Jeremy Allison for our artwork. Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://bsky.app/profile/podcastyforme.bsky.social https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart

We are finally concluding the Mike Nichols Marathon we started all the way back in 2025 and we are doing so in style! We are joined by our great friend Hillary White to talk about Charlie Wilson's War. Over the course of our sprawling conversation you will hear us talk, among others, about this movie commenting on geopolitics of the post-9/11 era, Aaron Sorkin's sharp writing and Tom Hanks playing the kind of character he'd normally steer clear from. We discuss Philip Seymour Hoffman's scene-stealing performance, Mike Nichols reconnecting distantly with political satires and how the movie illustrates the America hasn't learned any lessons at all over the last decades. Also, because this is after all the grand finale of our marathon, we discuss what we learned throughout this project, touch on Mike Nichols's importance to the history of Hollywood and also count down our favourite movies of his. Tune in and enjoy!⁠⁠⁠⁠⁠⁠Subscribe to our patreon at patreon.com/uncutgemspod (3$/month)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and support us by gaining access to ALL of our exclusive podcasts, such as bonus tie-ins, themed retrospectives and director marathons!Hosts: Jakub Flasz & Randy BurrowsFeaturing: Hillary White⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Head over to our website to find out more! (uncutgemspodcast.com)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and IG (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@UncutGemsPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy us a coffee over at Ko-Fi.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (ko-fi.com/uncutgemspod)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to our Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (patreon.com/uncutgemspod)

Before Animal House became one of the greatest comedies ever made, Tim Matheson was already building one of the longest and most fascinating careers in Hollywood. In this episode of Still Here Hollywood with Steve Kmetko, Tim shares unforgettable stories about John Belushi, Lucille Ball, Steven Spielberg, Henry Fonda, Ryan Reynolds, Mel Brooks, Anne Bancroft, Meghan Markle, Aaron Sorkin, Clint Eastwood and many more. He reveals what Belushi was really like before fame changed everything, how Spielberg personally tracked him down in Las Vegas, the acting lessons he learned from Henry Fonda, directing Meghan Markle on Suits, working opposite Mel Brooks, starring in Animal House, The West Wing, Fletch, Van Wilder and Johnny Quest, and why he finally decided to write his memoir. If you love classic Hollywood, behind-the-scenes stories and the golden age of film and television, this episode is packed with incredible moments. Subscribe for new celebrity interviews every Monday.   00:00 Intro, Tim Matheson arrives 00:46 Knee replacement and getting older 01:46 Leave It to Beaver and becoming a child actor 04:02 Working with Steven Spielberg 07:18 The Hollywood legend who influenced him most, Lucille Ball 11:03 Henry Fonda's unforgettable acting lesson 13:48 John Belushi and making Animal House 16:50 Belushi's death and Hollywood's cocaine culture 20:30 Directing Meghan Markle on Suits 21:47 Why Tim finally wrote his memoir 24:11 Ivan Reitman, Animal House and comedy history 27:18 Growing up in broken home and finding Hollywood 36:33 Becoming Johnny Quest 41:22 The West Wing and Aaron Sorkin 44:29 Buying National Lampoon 46:52 Clint Eastwood's advice about aging 47:52 Ryan Reynolds before superstardom 50:32 Mel Brooks and Anne Bancroft stories 54:25 Final thoughts Show CreditsHost/Producer: Steve KmetkoAll things technical: Justin ZangerleExecutive Producer: Jim LichtensteinMusic by: Brian Sanyshyn https://stillherehollywood.comhttp://patreon.com/stillherehollywoodSuggest Guests at: stillherehollywood@gmail.comAdvertise on Still Here Hollywood: jim@stillherenetwork.comPublicist: Maggie Perlich: maggie@numbertwelvemarketing.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

So beyond being the famous turtleneck guy, what exactly did Steve Jobs do during his long tenure at Apple? According to Aaron Sorkin and Danny Boyle's STEVE JOBS (2015), he did... everything and nothing. We discuss a Great Man biopic from a writer who truly believes in Great Men. PATREON-EXCLUSIVE EPISODE - https://www.patreon.com/michaelandus/posts/732-bicycle-for-164653829

n Episode 293 of the Moonshots Podcast, Mike and Mark dive into Albert Read's inspiring book The Imagination Muscle to explore why imagination isn't an inborn gift—it's a muscle that grows stronger with deliberate practice.Together they unpack how the world's greatest creators develop original ideas, why boredom may be one of your greatest creative assets, and how adopting a beginner's mindset can unlock fresh thinking. They also discuss practical exercises to strengthen your imagination, overcome fear, and make creativity part of your everyday life.If you've ever felt stuck, uninspired, or convinced that you're “just not creative,” this episode offers a refreshing perspective—and a practical roadmap—to help you think differently and create with greater confidence.Primary Website: https://www.moonshots.io/Book: The Imagination Muscle by Albert ReadBuy on Amazon: https://geni.us/TsrReYWatch on YouTube: https://youtu.be/-bZ3cn7rCVw⸻Key Themes* Imagination is a skill that can be trained.* Great ideas come from combining diverse sources of inspiration.* Creativity flourishes when we deliberately make time for quiet thinking.* A beginner's mindset helps us escape routine and discover fresh perspectives.* Social media and constant stimulation can limit original thinking.* Fear is one of the biggest obstacles to creativity.* Small, consistent creative habits compound into lasting growth.⸻Concepts & BreakthroughsImagination Is a MuscleAlbert Read reframes creativity as a practice rather than a personality trait. Like physical fitness, imagination strengthens through regular use. Mike and Mark reflect on how this simple shift removes the pressure of waiting for inspiration and replaces it with consistent action.Collect Better InputsThe episode highlights that creative breakthroughs often result from unexpected combinations of ideas. Picasso, Aaron Sorkin and other creative masters all developed unique rituals for gathering inspiration before producing original work.Rather than searching for one brilliant idea, listeners are encouraged to become collectors—of books, conversations, observations and experiences—that can later combine into something entirely new.Protect Space for ThinkingModern life is filled with interruptions, notifications and endless streams of information. Albert argues that imagination needs space to breathe.Mike and Mark discuss creating intentional moments of quiet through walks, uninterrupted mornings, observation exercises and even scheduled boredom—allowing the mind to connect ideas naturally.The Power of the Beginner's MindExperts often become trapped by familiar thinking. Approaching problems with curiosity instead of certainty creates opportunities for innovation.Reading outside your normal interests, asking simple questions and deliberately seeking unfamiliar experiences all help develop fresh perspectives.Courage Before CreativityOne of the episode's strongest insights is that imagination grows alongside courage.Every sketch, poem, voice memo or imperfect idea strengthens resilience against fear of failure. Rather than waiting until ideas are perfect, creative confidence develops through repeated attempts and experimentation.⸻Habits, Tools & Mental Models* Treat imagination like a daily workout.* Collect ideas, quotes and observations in an idea bank.* Schedule periods without digital distractions.* Go for curiosity walks with the goal of noticing something new.* Read outside your usual genres and interests.* Combine two unrelated ideas to generate fresh thinking.* Use voice notes or journals to capture ideas immediately.* Practice one small creative act every day.* Embrace boredom instead of filling every quiet moment.* Ask beginner's questions, even when you think you know the answer.

Michael KostroffTake a walk with me down Fascination Street as I get to know Michael Kostroff. Michael has been a working actor for several decades and is well known for several roles. In this episode, we chat about some of those roles, some of those shows, and he shares experiences from them. We talk about his breakout role on 'The Wire', his stints as Max Bialystok in SEVEN separate touring productions of the smash hit 'The Producers', and some of his other prominent roles. Aat the time we recorded this episode; Michael was toward the end of his run on 'Dog Day Afternoon' on Broadway. Michael was kind enough to actually record this during his Broadway debut! We do a bit of a deep dive into Michael's career; both before he became a household face, and after. He was a writer at Disneyland, which was a thing I didn't even know existed. I ask him questions about working on 'Studio 60 On the Sunset Strip', and what it is like to work on an Aaron Sorkin project. He shares stories from the set of 'The Blacklist' and getting to work with his pal Deirdre Lovejoy again, singing the theme song for a television show, and doing yet another job I didn't know existed; but this time for Tony Bennett. Then we jump into Michael's role as the mayor of New York and working with Nicolas Cage on 'Spider Noir'. Of course, I ask him about fulfilling his life-long dream of performing on Broadway, and what it is like being part of 'Dog Day Afternoon'. Then we discuss his various books. Michael Kostroff has written 4 books so far, and we get into a couple of them. Michael teaches a workshop that helps actors get out of their own heads when doing auditions, it's called 'Audition Psych 101'. He also wrote a book by the same name and there is an audio version as well. We have a pretty in-depth discussion around this topic and his need to share what he has learned along the way. This is a fun and wild ride that goes all over the place. Michael even talks about that one time where he was the driver on the campaign for a person who went on to become The President of the United States of America! Follow Michael everywhere, buy the books, watch the shows, take the workshop. You will be better for it! 

Any time Trump or one of his supporters brings up the 2020 election, insisting he didn't lose it, we hear the usual chorus of groans: why can't he get over it? He lost. Move on. The thing is, I can't get over it either. 2020 was the year everything changed. My entire world was turned upside down because I could see, for the first time, that I was in a bubble, a feedback loop that had shaped my perception of reality. It's just that it wasn't actual reality. It was a curated, hysteria-inducing delusion. It wasn't just me. Go on YouTube, and you'll find hundreds, if not thousands, of people whose lives were fundamentally transformed that year in one way or another. COVID made them quit their job and move into a van. COVID made them decide to divorce. COVID made them learn how to bake sourdough. And a lot of us were red-pilled. It was as though someone pressed the pause button and all of us froze in place for a time. Like in the movie Weapons where the kids suddenly wake up one day…Isolated and shut in, we all turned to social media and the internet, which meant more people were connected than ever before at a time when there were more people alive than ever before. We've never really fully processed what happened to all of us that year.It was the year we stopped trusting the science, the schools, Hollywood, the legacy media, and the government. Children were locked down and staring at their screens, with many of the lost boys finding their way into the dark corners of the internet and would emerge years later fumbling their way toward a rifle and a rooftop.That isn't all of it, or even half of it. None of us would emerge from that year unscathed. We can't talk about it as a country or a people because we are still so divided. The big things divide us, like the vaccine, the masks, the lockdowns, and most especially, the 2020 election.We were stepping into something we did not understand and weren't prepared for. Things have changed enough now that it will be hard to remember just how bad things got after Trump won in 2016. I remember because I was on the inside. I lived it with the Democrats and what would become a Doomsday Cult.We called ourselves “the resistance” even though we had all of the power. Trump and MAGA, they were the real resistance, or at least the revolutionaries going up against the most powerful machine in American history, maybe ever.All I knew was that I had to fight for my side. I woke up every day like a good soldier for the cause and went to battle online, wasting precious time with my daughter, or doing anything else except sitting and staring at a screen and fighting with people I didn't even know over issues that didn't matter with arguments that had no end and went nowhere.Inside the Doomsday Cult, we were awash with mass hysteria because every single day, every time Trump tweeted, the legacy media sent out more waves of hysteria that pulsed through the hive mind and kept reinfecting anyone who scrolled Twitter or Facebook. It was a new emergency every day. We were stuck in an unending state of trauma.The legacy media desperately wants to forget what happened, how they lied and gaslit the public. The consequences for these moral crimes have been minimal. A slap on the wrist for ignoring Joe Biden's cognitive decline, but there has never been a reckoning for what they did to all of us, people who trusted them, in 2020.What Happened to MeMy daughter had to leave her senior year at college to have her graduation on my balcony, but we did it because we were doing our part to help save the country during this once-in-a-generation pandemic.Mobilizing for the cause meant sewing our own masks, displaying them proudly on Instagram. It meant mixing our own hand sanitizer because it was all out at the drug store. Some people were wearing face shields. We were living in fear. We were cowed into silence. Half the country fell into Mass Formation Psychosis. We weren't allowed to attend weddings, churches, or schools, but somehow on Memorial Day, the George Floyd protests became the most important thing in America for months.Systemic racism, they told us, was more urgent than COVID. Really? Bringing the whole country — the whole world — to its knees was less serious than George Floyd dying at the hands of a police officer in Minneapolis? Yes. That's what they were telling us, and everyone was mandated to go along with everything that came next.These were our idols, we were told. It was the new state religion, even if Trump was still the president. This is the ideology we're allowed to gather for. This is worth tear ing down statues, burning buildings, carving out “autonomous zones” and demanding everyone put a black square on Instagram, capitalize the word Black and raise their fists to Black Lives Matter. The madness unfolding on the streets meant Democrats could actually lose in November, I believed. So why wasn't anyone trying to stop them? Why were the Democrats encouraging them? I started wondering what the hell was going on. It felt like unseen hands were manipulating events behind the scenes, and we were all expected to just go along with it.As I began to speak out and ask questions, I was turned into an enemy. “You've changed,” wrote Neera Tanden on Twitter. She was right. I had. By the time Twitter pressured the New York Times to back off their Tom Cotton essay, Send in the Troops, I was done. Maybe I was naive. I didn't understand the assignment. I'd seen too many Frank Capra movies. I'd begun to believe politics was like an Aaron Sorkin screenplay. I thought we were the good guys. We are the side with ethics and decency and fairness.I was like Linda Hamilton in Terminator 2 when Arnold Schwarzenegger shows up, and she thinks he's a bad guy, but when he says, “Come with me if you want to live, she realizes that everything is backward. The people she thought were the good guys weren't. The guy she thought was there to kill her was actually there to save her. By the end of 2020, I was as black-pilled as Jack Nicholson in Chinatown, disillusioned and wide awake. Forget it, Jake. It's Chinatown.But what I saw them do - how we were all manipulated, how they rigged the election to be too big to fail - I could see for the first time that my side had too much power. So much power that American democracy was now beside the point.It didn't matter how the people voted, because we would decide who was allowed to win and who would become an existential threat to the world we were building, the utopia we were building online.When I left the party, I knew I couldn't be fully honest about what I believed happened, though I did say that the election had been rigged. I also couldn't be honest about what I knew about January 6th, at least not in the beginning. When I saw the riot break out, my first thought was, that's not MAGA. They don't do that.And anyway, even if they did, why couldn't the Democrats chalk it up to months of lockdowns and highly enraged, radicalized people on the Right just as there were on the Left that Summer. Why couldn't they? Because it was all still part of the long con, the mass delusion. These ideas were dangerous to hold for anyone in America but especially someone of the Left, and yet, I could not stop it. The truth began knocking. I ignored it as long as I could, but eventually, the knocking became a banging, and I had no choice but to open the door.How to Rig An ElectionOnce you start tugging on the question of why Twitter and Facebook censored the Hunter Biden laptop, you begin to unravel the bigger picture of just how deep the conspiracy went. But you don't need the whole story. You just need to know this: The FBI and the CIA worked against the sitting president to lie to the public that the laptop was “Russian Disinformation.” It was just a standard run-of-the-mill October surprise, timed to help ignite a scandal before the election. But it was also information the public had a right to know, as we would find out later. So anyone who shames Trump for calling the election rigged and denying it was legit will have to answer for this. But if you keep pulling on that string, you'll find the why of it. They were trying to fix all of the problems they believed caused Hillary Clinton's loss. This would be payback for the email scandal that hit her campaign, which she called “Russian Disinformation.” That would also turn out to be untrue.But there were other problems that needed correcting, like lazy voters who assumed Hillary would win because she was so far ahead in the polls and didn't bother turning out. They would fix this problem using COVID as the pretext to change everything about how people vote and how those votes are collected.They knew they had Pennsylvania won long before Election Day and it would only be a matter of convincing the public not to get too excited about a “red mirage.” To all of them, that's the right way to win an election.Trump won Iowa, Ohio and Florida, not to mention the bellwether counties that have decided our elections. The only other time anything like this happened was in 1960, when JFK won in a squeaker. Compare that to 2020, and you can see that something was very off about the numbers. Since the Democrats believed Mark Zuckerberg's Facebook had handed Trump the win in 2016 by using their marketing machine (the Clinton campaign refused their help), it was time for Zuckerberg to undo that damage, which came in the form of a $400 million slush fund used to “fortify” the election but mostly in the heavily blue districts. Had all of this been shared with the whole country as a way to improve our elections overall, that would have been one thing. But it was all done behind the scenes, in the shadows, far from the reach of anyone who might dissent. It was anything but ethical and anything but fair.It was all part of a grand scheme to stay one step ahead of Trump. If they already knew he would claim it was rigged, why not just rig it? Who would the people believe? Trump or the “bipartisan cabal” of unelected bureaucrats hiding in the shadows?The truth is that Trump was pulling ahead because the Left was losing its mind, and Trump picked up on it. He changed his campaign; no matter how many ways they tried to keep him from his rallies, he got the word out anyway. That would explain why he won those key states but lost so much in the popular vote. Our elections should not be decided months before Election Day. Candidates should have to make their case to the people, not hide in the basement and let the system do the work. It's the candidate's job to inspire the voters to vote for the kind of government they want, and it's the voters responsibility to be motivated enough to turn out to the polls and cast their vote. But with an easily manipulated hive mind like the Democrats had cultivated for ten years they didn't need any of it.The Year That Broke AmericaI've never been able to convince anyone of what I believed happened in 2020. If you were on the Left, chances are, you wouldn't be able to see it either. You would have trusted the same people I used to trust: CNN, New York Times, MSNBC, your social media feed.You would have come out of that year thinking Joe Biden won the 2020 election fair and square and that Donald Trump refused to lose, so he led a dangerous assault on the Capitol, putting our democracy under threat. Yet, after everything they did to Trump that year and for the four years prior, what else could he have done except protest? It was just a little too convenient that there happened to be a riot at the same time, a Reichstag Fire that handed absolute power to Team Blue.If you were still trapped inside the Doomsday Cult, you'd have been primed and ready to go to war on your fellow Americans because Vice President Kamala Harris would tell you January 6th was like 9/11 and Pearl Harbor. You would have thought Liz Cheney and the Prime Time Show Trial was legit. What an easy mark you'd be.If you never escaped, as I did, you'd still be trapped inside the Doomsday Cult and never have any idea that none of this is your fault. You were put into a kind of trance in 2020, even before, like the kids in the movie Weapons, frozen in place and used as an army to do the bidding of the Democratic Party.They made you believe, like they made me believe, that every day really was the end of the world as long as Donald Trump was in power. But it was never true, none of it. All the Democrats ever had to do was offer the people something better. If everything Molly Ball wrote about the election the “Secret Bi-Partisan Cabal” supposedly saved, how did Trump win again? In Weapons, the children are put under a spell and aimed at the enemies of the witch. Once the spell is broken, the children wake up and realize the person they should be mad at isn't the one she made them attack, but instead the witch herself for robbing them of their ability to think for themselves. And so it goes with the Democrats.// This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.sashastone.com/subscribe

S.E. Cupp is a nationally syndicated columnist, author, podcaster and TV commentator. She hosts Off the Cupp, a podcast which focuses on mental health, and which features interviews with celebrities and newsmakers. She is a columnist at the New York Daily News and has also been published in the New York Times, Vanity Fair, Rolling Stone, Washington Post and many other publications. She is currently a political commentator at CNN. She regularly interviews authors for CSPAN's BookTV, and is a regular guest on The View, Real Time w/Bill Maher, Jimmy Kimmel Live!, Watch What Happens Live and others. SE has also consulted on Aaron Sorkin's The Newsroom and AppleTV's The Morning Show, and has made cameos on House of Cards and SNL. As an author SE has written two books, Losing Our Religion: The Liberal Media's Attack on Christianity, and co-authored Why You're Wrong About the RIght. She is on the Advisory Board of Cornell University's Institute of Politics and Global Affairs and INARA.org, and is a No Kid Hungry ambassador. S.E.'s back, and as always it's super fun! After a little chat about the joys of coffee vs tea, we discuss the latest with Trump 2.0, the Iran War, Pete Hegseth, MAGA, the midterms and more. Got somethin' to say?! Email us at BackroomAndy@gmail.com Leave us a message: 845-307-7446 Twitter: @AndyOstroy Produced by Andy Ostroy, Matty Rosenberg, and Jennifer Hammoud @ Radio Free Rhiniecliff Design by Cricket Lengyel

Week two of finding out if Aaron Sorkin is hot or not. For his best, Mita and Nadeem watched "A Few Good Men" for their next movie review. Apparently, they can handle the truth. It's also time to talk the biggest movie of the year, Christopher Nolan's "The Odyssey". 

We're deep in the chaos of Rosslyn and we have THOUGHTS. In this episode of Only Show Fans, your favorite TV recap comedy podcast, we're breaking down The West Wing Season 1 Episodes 21 and 22 and Season 2 Episodes 1 and 2, aka the episodes that had the entire nation asking "who got shot?" Here's what we're getting into: Aaron Sorkin literally did not know who was going to get assassinated when he wrote it. We're not kidding. The man was making it up as he went and somehow it's one of the greatest cliffhangers in television history. A cast member actually got run over filming the Rosslyn scene. Yes, really. We have feelings about this. The eternal debate: Sam Seaborn vs Josh Lyman. Pick a side. We did. Allison Janney and Bradley Whitford are simply built different. We break down why every single scene they're in becomes instantly iconic regardless of who they're talking to. Whether you're a die hard West Wing fan doing a rewatch, discovering the show for the first time, or just here because you love a good TV recap with your favorite sisters-in-law, this episode is for you. Listen to Only Show Fans on Apple, Spotify, or anywhere else you get your podcasts. And don't forget to like, subscribe, and leave a review.  It genuinely helps more than you know.

Next, Nadeem wanted to dive into the world of Aaron Sorkin and find out if he's really hot or not. This week, Mita and Nadeem are watching his worst film, the romantic-drama-comedy "The American President" for the next movie review. Mita and Nadeem also watch and review "The Invite". 

Dana Ledoux Miller ​is a shape shifting scribe. ​ S​he was PA'ing on Lost and The Descendants when she first said out loud that she wanted to be a writer. A decade later, she's co-written and co-directed Moana 2 and written Disney's live-action Moana, in theaters July 10 — becoming one of the ​f​ew Pacific Islander writers steering a major Disney IP. In this episode, we trace ​h​er full arc: from set life in Hawaii, to landing in Aaron Sorkin's writers' room on The Newsroom, to the surreal call that brought her onto Moana. We talk about what it actually feels like to carry the weight of representation on a project this big — the pressure of getting it right, the imposter syndrome that hasn't fully gone away even after a billion-dollar movie, and how she handles public reaction to work she's poured herself into. We also get into PEAK, the nonprofit she co-founded so she's not the only name on the list of Pacific Islander storytellers working in Hollywood. Plus: desert island essentials, her favorite Hawaiian island, and what The Rock is actually cooking.   AOP SUBSTACK

Plus - Tom Holland Says He's 'Got a Lot of Work to Do' to Bring Miles Morales Into the MCU; The Social Network star Jesse Eisenberg explains why he turned down Aaron Sorkin's offer to reprise role as Mark Zuckerberg Learn more about your ad choices. Visit podcastchoices.com/adchoices

We get to do an overview on Aaron Sorkin's Legal Themed Trilogy:   *How does Jack Nicholson portray the ultimate villain who thinks he's correct in A FEW GOOD MEN?   * How do Jessica Chastain and Idris Elba portray their most enriching characters to date in MOLLY's GAME?   *And why did THE TRIAL OF THE CHICAGO 7 come out at the best possible time?           GUESTS: Lynsey G, C. Courtney Joyner, Interviewer Jimmy Carter & Jeff Kerr     CLIPS USED: Siskel & Ebert's mixed review of A FEW GOOD MEN     SONGS USED: "Code Red/Semper Fidelis " and "Kaffe" by Marc Shaiman (from A FEW GOOD MEN OST)

In this episode of 3 Movies That Changed Your Life screenwriter Stuart Wright talks with script consultant Danny Manus about: A Few Good Men, My Cousin Vinny, and The Ice Storm. Discover how these films shaped his screenwriting journey, personal growth, and understanding of cinema's power. Plus, Danny Manus discusses what a script consultant does and how they can help you improve a script and become a better writer. Movies That Changed Your Life   Find out about what a script consultant does and how they can help you write a script and become a better writer and the lasting impact of cinema on Danny Manus's life with Stuart Wright on his movie podcast.   Three common aspects of script feedback Danny Manus gives to writer: [1:20] 1) Integrating the plot and character; [6:40] 2) Being able to identify your hook; and  [18:00] 3) The art of scene writing. [40:20] What makes a good writer for a script consultant? 3 Films That Have Impacted Everything In Your Adult Life A Few Good Men (1992): Noticing writing [15:40] Today, Danny Manus is a huge fan of both Aaron Sorkin and Rob Reiner, but watching A Few Good Men as a 12/13 year old, he saw for the first time, the power in the writing of a movie. It's a master class in the rhythm and build of a story through dialogue. My Cousin Vinny (1992): Unable to stop laughing [21:30] My Cousin Vinny is Danny Manus's favourite comedy of all time. He's seen it over and over 100 times, but when he saw it in theatres aged 12/13 it was the first time he couldn't catch his breath because he was laughing too hard. The Ice Storm (1997): Teen storylines   [27:40] Danny believes there is no American Beauty without The Ice Storm. He simply loves a family dysfunction movie. The teen storylines spoke to him and were echoed in his own early screenwriting efforts at college. Key Take Aways:   Discover how movies that changed your life shape personal and professional growth.  How to integrating plot and character; Can you identify your hook? Learn the art of scene writing. What makes a good writer for a script consultant? Learn what a script consultant does and how they can help you improve a script and become a better writer Understand cinema's transformative power through A Few Good Men (1992), My Cousin Vinny (1992), The Ice Storm (1997) Subscribe on Apple Podcasts, follow on Spotify or wherever you listen to your podcasts for more movies that impacted your life!  Share your favourite movies that impacted your life on X (@leytonrocks) and leave a 5-star review and tell us which 3 films impacted your adult life. Best ones get read out on the podcast About my Guest:   Danny Manus is a script consultant and founder of No BullScript Consulting, which has been helping writers since 2009.  For more about his script consultancy services see https://www.nobullscript.net/about-daniel/    Credits:   Written, produced, and hosted by Stuart Wright for [Britflicks.com](https://www.britflicks.com/britflicks-podcast/)   Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we look back at the incredible career of one of Hollywood's most celebrated filmmakers. A guy who directed one of the greatest coming-of-age films ever made, one of the greatest romantic comedies ever made, one of the greatest mockumentaries ever made, one of the greatest courtroom dramas ever made, and one of the greatest psychological thrillers ever made. And he never won an Academy Award. We are talking about Rob Reiner.Check us out on...Twitter @TSMoviePodFacebook: Time SensitiveInstagram: @timesensitivepodcastGrab some Merch at TeePublicBig Heads Media 

Brett & Danielle are back for a little double feature-as-a-podcast episode, as they break down the 21st century Steven Spielberg bookends of Disclosure Day and A.I.: Artificial Intelligence.First, they break down two trailers in Aaron Sorkin's The Social Reckoning and the whale-eats-man tale Whalefall.For the rest of the show, they break down last weekend's sci-fi epic Disclosure Day, what worked about it and why audiences are seeming so split on it, particularly the film's final act.In the second part of the double feature, Dani & Brett revisit A.I.: Artificial Intelligence, a completely insane movie that should not be viewed by parents OR children. I promise you, if you've never seen it, you'll have no idea where it's going.Join us for a spoiler-iffic discussion of both films!Follow Hey Julie on Bluesky and submit your questions ⁠⁠@HeyJulieBB⁠⁠.bsky.social, our ⁠⁠Discord server⁠⁠, or email us ⁠heyjuliebigbrother@gmail.com⁠!Watch Hey Julie on ⁠⁠YouTube⁠⁠Follow Brett ⁠⁠@BrettRader⁠⁠.bsky.socialFollow Danielle ⁠⁠@DingDongDani.bsky.social

Tonight on TV Party Tonight, we wrap up our retrospective on Aaron Sorkin's The Newsroom with a look at Seasons 2 and 3, where the series shifts from an idealistic defense of journalism to a critique of its failures. Season 2 centers on the Genoa scandal, a disastrous report alleging the U.S. military used sarin gas in Afghanistan. Inspired by CNN's real-life Operation Tailwind controversy, the storyline explores confirmation bias, source reliability, and the dangers of reporters becoming too invested in a narrative they want to be true. We discuss whether the season's conspiracy-driven plot ultimately undermines its message and why Maggie's Africa storyline remains one of the show's most emotionally powerful arcs.Season 3 turns its attention to the Boston Marathon bombing, citizen journalism, whistleblowers, and government secrecy. As Neal Sampat becomes entangled in a Snowden-era leak and Will McAvoy faces jail rather than betray a source, The Newsroom asks whether journalistic principles can survive in an age of social media, corporate ownership, and political pressure.Join us on our journey to Memphis.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

The trailer for 'The Social Reckoning' has dropped. Jess looks at the tech story at the heart of this upcoming Aaron Sorkin film.

Episode 1121In a week where the latest Mythos AI model managed a full company network takeover, we hear why AI leaders went to the G7 begging for regulation. Most unusual. We look at the disturbing reasons why.  Plus, we give our verdict on the trailer for Aaron Sorkin's upcoming film The Social Reckoning, dive into why Anthropic is facing a court case over "tokenmaxxing" usage limits, and look at Tim Cook's claims that rising RAM costs are forcing Apple to hike prices.Finally, a great chat with our guest Isabelle Roccia about the EU's aggressive strategy to reduce its reliance on Silicon Valley. Find out more about Isabelle and the International Association of Privacy Professionals at iapp.org—----- Listen to Tech Radio now on Apple, Spotify and YouTubehttps://www.podfollow.com/tech

Welcome to Multiverse News, your source for information about all your favorite fictional universes.While it may come as no surprise, the biggest Marvel news this week is still just as exciting as it is obvious with the revelation that Chris Evans will indeed appear in Secret Wars. While not officially confirmed by Marvel, the news broke via a social media post from March 26, that is just now gaining notice, with the actor himself telling Instagram user @comicconmomsi, "I can tell you that...I start work on the next one in a couple of months, I can tell you that," in a video message. That tracks with the projected August production starting date for Secret Wars we've discussed previously.While rumors and speculation are typically not our forte here, the rumor mill surrounding The Batman II cast warrants some attention. In May, we discussed headlines from sources like Variety and The Wrap that seemingly confirmed Sebastian Stan had been cast as Harvey Dent, as he had long been rumored to be, with Scarlett Johansson and Charles Dance announced as Dent's wife and father, respectively. In hindsight, those headlines resulted from Matt Reeve's social media post where he confirmed and welcomed a number of actors as part of the film but did not actually reveal any roles. In the last week, industry insider Jeff Sneider has suggested that his sources claim that Stan will instead play Victor Zsasz and Brian Tyree Henry is set to portray Harvey. Steven Spielberg has returned to the blockbuster arena for the first time in eight years with Disclosure Day, his UFO sci-fi thriller starring Emily Blunt and Josh O'Connor, which opened to approximately $44 million domestically and $93.9 million globally, making it his biggest opening weekend ever for an original film. Meanwhile, Obsession continues its extraordinary run, adding another $19 million in week five for a domestic total of $188.3 million. Spielberg's $115 million production earned strong reviews and a B CinemaScore.Sony has released the trailer for The Social Reckoning, Aaron Sorkin's sequel to The Social Network. Jeremy Strong stars as Mark Zuckerberg alongside Mikey Madison, Jeremy Allen White, and Bill Burr. The film opens October 9.Peter Sarsgaard has joined the Season 3 cast of HBO's The Last of Us in a recurring role. He will play an original character named Amon, one of the leaders of the Seraphites. Production is currently on a planned hiatus to accommodate World Cup matches filming in Vancouver.It: Welcome to Derry writer Jason Fuchs has been tapped to write a new untitled Transformers script for Paramount and Hasbro.Channing Tatum, Jonah Hill, and Ice Cube are in talks to return for 24 Jump Street at Sony Pictures, reuniting most of the original production team.Apple TV+ has renewed horror comedy Widow's Bay for a second season ahead of its season finale this week, and has signed creator Katie Dippold to a multiyear overall deal.Jason Momoa has made clear he has no interest in a PG-13 Lobo solo movie. In an interview with Collider, he said if he makes a standalone Lobo film, it will be rated R, full stop, though he's open to appearing in ensemble DCU projects in the meantime.Peter Serafinowicz has been cast as Peeves the Poltergeist in HBO's Harry Potter series.Anya Taylor-Joy has joined the cast of the upcoming Lord of the Rings prequel The Hunt for Gollum, playing an elf character named Seren.Marvel Comics will publish a one-shot crossover this September titled The Muppets Take the Marvel Universe, celebrating the 50th anniversary of The Muppet Show by teaming Muppets characters with iconic Marvel heroes.Mark Hamill is joining Peacock's Twisted Metal for Season 3 in a recurring role, playing the father of Sweet Tooth.Chris Sanders, co-creator and co-director of the original Lilo & Stitch animated film, will direct Disney's live-action sequel Lilo & Stitch 2. Shooting is expected to begin later this year.

For this week's Tech Takeover, Jess Kelly, Newstalk's Technology Correspondent, joins Ciara and Shane to discuss the follow-up to the Social Network, The Social Reckoning. Aaron Sorkin's latest cinematic take on Facebook's fortunes

Hi friends, This week is a shorter episode as we have a bonus ep coming later this week! Keep your eyes peeled for our seasonal winter recommendations. You can watch this episode on YouTube. Olivia Rodrigo is coming for the Queen of Pop title with her new album 'You Seem Pretty Sad For A Girl So In Love'. We debrief and share our top picks (upon first listen). One of the most famous celebrity weddings of the year took place in both London and Palermo after Dua Lipa and actor Callum Turner tied the knot. Maggie has a take on the first pictures and we share why locals aren't happy. The first trailer for The Social Network's sequel, The Social Reckoning, has dropped. We debrief the plot of the Aaron Sorkin film and debate if it's the story they should be focusing on. Finally, Gwenyth Paltrow has come under fire after starring in ads for luxury apartments in Israel. Will this make even the tiniest dent in her career?There are no Bookmarked recs this week, as we have a whole episode's worth coming soon. Thank you for listening and if you enjoyed this episode (or any others), please share with a friend or give it a rate and review! Jas & Mags xo See omnystudio.com/listener for privacy information.

Justin Timberlake Biography Flash a weekly Biography. Justin Timberlake's last few days have been quieter on the surface, but there are a few developments and reverberations that matter for his long term story. The biggest biographical signal right now is the renewed spotlight on his role as Sean Parker in The Social Network, thanks to fresh coverage of the upcoming companion film The Social Reckoning. Digital Spy reports that Aaron Sorkin's new movie is bringing the Facebook origin story back into the cultural conversation, with Justin's original turn as Parker specifically referenced as part of the returning mythology around the platform and its founders. Vogue Adria likewise name‑checks Justin's performance as Sean Parker when framing how the new film will revisit the tech revolution era, underscoring how a role he shot more than a decade ago is still central to how pop culture remembers the birth of social media. That continued relevance of his screen work quietly strengthens the “multi‑hyphenate” thread in his biography, even in a week without a new Timberlake movie on the slate. Around the edges of the news cycle, Justin's musical legacy has been unusually present. TikTok guitar covers of Mirrors and dance tributes using I Want You Back and other *NSYNC‑era choreography are trending again, with creators explicitly tagging Justin Timberlake and *NSYNC, a reminder that his catalog remains a go‑to emotional and nostalgic touchstone for younger musicians and dancers discovering him in real time. Fan pages on Facebook continue to resurface his Today Show performance with *NSYNC, keeping the narrative of periodic reunions alive; however, there are no verified reports from major outlets of any new tour dates, official *NSYNC projects, or solo releases announced in the last 24 hours. Any rumors of surprise drops or secret sessions are, at this stage, pure fan speculation without confirmation from Justin, his label, or primary entertainment trades. On social media, there have been passing pop‑culture mentions tying him to long‑standing associations, from Sean Parker and Napster explainers to clips recalling his Saturday Night Live work and Jimmy Fallon collaborations, but again, no major new on‑camera appearance or live event tied directly to him has been verified by outlets like Variety, The Hollywood Reporter, or People in the past day. In other words, this particular chapter in the Justin Timberlake biography is one of legacy echo rather than headline shock: the roles he has already played, both in music and on film, are doing the talking right now, even as he keeps his next move off the public radar a little longer. Thanks for listening and be sure to subscribe so you never miss an update on Justin Timberlake, and search the term Biography Flash for more great biographies. Thanks for listening. This has been a Quiet Please production. Get the best deals https://amzn.to/3ODvOta

On today's show, Sean and Amanda cover one of their most anticipated movies of the year: Steven Spielberg's alien thriller ‘Disclosure Day,' starring Josh O'Connor and Emily Blunt. Before diving in, Sean revels in the glory of an all-time New York Knicks victory that extended their NBA Finals lead over the San Antonio Spurs to 3-1 (0:43). Then, they hit myriad movie news headlines and, most importantly, react to the first trailer for Aaron Sorkin's ‘The Social Reckoning' (12:47). Next, they have a wide-ranging conversation about ‘Disclosure Day,' which they found to be an incredibly fascinating movie, not without flaws, and an amazing platform for Emily Blunt, who delivers the best performance of her career (38:05). Finally, they go into full spoilers and break down specific plot points, character motivations, and the final shot of the film (1:05:29). Hosts: Sean Fennessey and Amanda Dobbins Producer: Jack Sanders Production Support: Lucas Cavanagh Learn more about your ad choices. Visit podcastchoices.com/adchoices

Huge pop culture drop today!

Bienvenidos a un nuevo episodio de “Cinefilia y Otras Hierbas”. Soy su anfitrión, José Enrique Guzmán, y hoy el estudio se llena de una cadencia muy especial. Hoyno necesitamos explosiones, ni persecuciones de autos, ni coreografías de artes marciales para dejarlos al borde del asiento.Hoy el espectáculo está en la palabra.Continuamos con nuestro Ciclo de Aaron Sorkin, el guionista que convirtió el diálogo en cine de acción puro. Sorkin es un cirujano del verbo; sus personajes no hablan para comunicarse, hablan para competir, para desafiar, para devorarse entre sí. La calidad de su diálogo tiene una musicalidad y una precisión milimétrica donde una coma mal puesta puede arruinar una escena completa. Sus palabrascortan, emocionan y tienen el mismo ritmo frenético que una persecución a trescientos kilómetros por hora en una autopista.Y la prueba reina de esto es la película que nos convoca hoy: “Steve Jobs” (2015). Una genialidad interpretada de manera magistral por Michael Fassbender, dirigida por la energía cinética de Danny Boyle y acompañada por una descomunal Kate Winslet.La historia de cómo se gestó esta producción es casi tan dramática como la película misma.Tras el éxito de La Red Social, Sony quería repetir la fórmula. Scott Rudin, el productor, le llevó el proyecto a Sorkin basándose en la monumental biografía de Walter Isaacson. Originalmente, David Fincher iba a dirigirla y Christian Bale iba a ser Jobs, pero tras exigencias de presupuesto y un cambiode estudio que llevó el proyecto a Universal, Fincher quedó fuera y entró Danny Boyle. Bale renunció porque, según se cuenta, sintió que el volumen y la velocidad del diálogo de Sorkin eran una montaña humana imposible de escalar.Fue ahí donde apareció Fassbender para darnos la interpretación de su vida.Pero el verdadero milagro de esta obra radica en la estructura de su guion. Esta película merecía y merece muchísimo más reconocimiento del que tuvo en su momento, a pesar de las nominaciones al Oscar para Fassbender y Winslet. Sorkindesafió todas las leyes de la biopic tradicional. Esta no es unapelícula al uso de "nació, creció, inventó una computadora y murió" No. Sorkin estructuró el guion como una obra de teatro en tres actos perfectos, donde toda la acción ocurre tras bambalinas, exactamente 40 minutos antes de tres de los lanzamientos más importantes de la carrera de Jobs.Seamos claros desde ahora mismo: esto no es un documental. Si vienes buscando rigor histórico absoluto o una cronología exacta de los hechos, estás en el lugar equivocado. Al igual que pasó con La Red Social, Sorkin se toma licencias dramáticas gigantescas. En la vida real, Steve Jobs nunca tuvo esas confrontaciones operísticas con su mano derecha Joanna Hoffman, con Steve Wozniak, con John Sculley y con su hija Lisa, todas juntas en un pasillo, minutos antes de salir a cambiar el mundo. Eso no pasó así.Pero esa es la magia de la dramatización. Es un recurso creativo brillante para hacer un estudio de personaje profundo, descarnado y fascinante. Sorkin utiliza esos 40minutos de tensión previa a los eventos para desnudar el mito, para confrontar al genio con la gente que lo rodeaba y para explorar el costo humano de la genialidad. Es un lienzo dramático magnífico, una tragedia shakesperianamoderna en la era de Silicon Valley.Hoy, en Cinefilia y Otras Hierbas, vamos a analizar a profundidad los tres actos de este guion, la puesta en escena de Boyle y cómo el diálogo puede ser el efectoespecial más poderoso del cine.Empezamos.Patreon: patreon.com/cinefiliayotrashierbas⁠Correo: cinefiliayotrashierbas@gmail.comNo olviden suscribirse, compartir este episodio y dejar un comentario y un like, eso nos ayudará a crecer y a encontrar más audiencia.¡Que lo disfruten!#AaronSorkin⁠ ⁠#MichaelFassbender⁠ ⁠#Cine⁠ ⁠#KateWinslet #DannyBoyle

Take pleasure in the gut-wrenching excitement of a 90s action milestone! This week on The Dana Buckler Show, we are heading straight to Alcatraz to break down Michael Bay's 1996 definitive high-concept thriller, The Rock.Coming off the success of Bad Boys, Michael Bay was handed the keys to a massive blockbuster budget, a killer premise, and an absolutely legendary cast. The result? A beautifully shot, fast-paced, explosion-filled masterpiece that stands as a high-water mark for the golden era of 90s action cinema and Hollywood summer blockbusters.In this cinema retrospective, film historian Dana Buckler dives deep into: The Powerhouse Trio: The incredible, lightning-in-a-bottle chemistry between Nicolas Cage's frantic, vinyl-loving FBI chemical weapons expert Stanley Goodspeed and Sean Connery's sophisticated, badass British operative John Patrick Mason. The Sympathetic Villain: Ed Harris's brilliant, nuanced performance as General Hummel—an antagonist with legitimate, tragic motives that elevate the stakes way beyond a standard hostage situation. The Pinnacle of 90s Action: From the iconic, destructive Ferrari car chase through the streets of San Francisco to the brutal shower room standoff, we break down why the practical effects and set pieces in this film still hold up today. The Uncredited Script Doctors: How Hollywood legends like Quentin Tarantino, Aaron Sorkin, and Jonathan Hensleigh secretly helped polish the razor-sharp dialogue. Whether you're a long-time fan who can quote "Your best! Losers always whine about their best" line-for-line, or you're revisiting this classic Don Simpson and Jerry Bruckheimer production era for the first time, grab your green smoke and join us for the ultimate film review.Welcome to The Rock!Join our Facebook group https://www.facebook.com/groups/danabucklershowJoin my Patreon for early access to all episodes, plus a new exclusive podcast, go to Patreon.com/howisthismovieSubscribe to the podcast on your favorite podcast platform by going to https://linktr.ee/DanaBucklerShowJoin our Facebook group https://www.facebook.com/groups/danabucklershowJoin Our Patreon for early access to all episodes, plus a new exclusive podcast, go to Patreon.com/howisthismovie #TheRock #TheDanaBuckler Show #90sAction #NicolasCage #SeanConnery #MichaelBay #FilmPodcast #MovieHistory #CinemaRetrospective #ActionMovies #90sCinema #FilmBuff

With more twists than that time Twisted Sister turned up at a Chubby Checker concert, and then went to watch the film ‘Twister' while eating a massive bag of Liquorice Twists, Chris has chosen a drama (is it a drama?), thriller (is it a thriller?), legal melodrama (is it a legal melodrama?) from 1993: MALICEEND CREDITS- Presented by Robert Johnson and Christopher Webb- Produced/edited by Christopher Webb- "Still Any Good?" logo designed by Graham Wood & Robert Johnson- Crap poster mock-up by Christopher Webb- Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission(c) 2026 Tiger Feet ProductionsFind us:Twitter @stillanygoodpodInstagram @stillanygoodpodBluesky @stillanygood.bsky.socialEmail stillanygood@gmail.comhttps://linktr.ee/stillanygoodSupport the show

The 2024 election was a disaster for the Democrats. They have never been held to account for any of it. That would ordinarily be the job of the legacy media, but they've long since abandoned any pretense of objectivity. They are part of the “resistance,” and friendly fire is not in the job description.Do I sound bitter? I suppose I am. I once believed in not just the Democratic Party but the Obama coalition. I was a loyal, devoted soldier who believed we were all fighting the good fight, even before Trump won. We were the side that cared about climate change, women's rights, the poor, and the marginalized.It took me decades to go from being a cynical 18-year-old in the 1980s who didn't think there was any point to voting to a person who believed my vote could change the world. That cynicism would be polished off over time, as we headed into the 1990s with political correctness and therapy culture on the rise. We wanted to fix ourselves. We wanted — needed — to fill the void left by the doom spiral in the aftermath of the “Me Generation” and their counterculture revolution.It was Bill Clinton, by way of Aaron Sorkin, who ultimately pulled us out of it and primed us for a spiritual revival under the euphoric, history-making win of Barack Obama. I believed in hope and change. I believed in a new America.I believed my friends on Facebook who treated me with respect and love every time I fired off an impassioned plea for votes. I believed all of the women who made those signs for the Women's March, the Climate March, and the Gun Control March. I, too, thought Trump's win meant America couldn't handle the first black president and the Confederacy was back for another round.What I know now is that none of it was real. We were not the New Puritans leading the country into the promised land. We were like every other political party, seeking absolute power and total control. Any truthful autopsy would have to start there. The Democrats have been lying to themselves and lying to their voters about what these last ten years have really been about: the refusal to relinquish power after losing an election. Democracy becomes a problem for a party that no longer believes in it if the wrong people win.From Real Clear Politics podcast Andrew Walworth, Tom Bevan and Carl Cannon:Any honest autopsy of the 2024 election would have to start back in 2016, when Hillary Clinton was anointed by Obama, who leapfrogged Biden, meaning Biden would finally get his shot in 2020. They should have thought that one through because it would come back to bite them four years later when they pushed him out of office.They practice top-down democracy, in which party leaders attempt to steer voters in the right direction rather than allowing candidates to make the case to the people. The problem with the Democrats is that they needed someone like Donald Trump to blow through their carefully laid plans.The shame of what the Democrats did in 2024 is almost as bad as what they did in 2020 to orchestrate Joe Biden's win. Both of these elections were rooted in the mass delusion that Donald Trump wasn't just a political opponent but an existential threat, so anything goes - even censoring the Hunter Biden laptop, or pushing out a duly elected president.That delusion gave them unlimited power in their minds, which made them the most corrupt political party in my lifetime, taking what never belonged to them, pushing “resistance theater” throughout American society, and coming up mostly empty anyway.A real autopsy would require cleaning house on all of it, admitting everything. It would require admitting to their voters that they knew they were lying about Trump to cover up their own failures.After all, wouldn't it have been easier just to offer the people something better rather than treating Trump like a supervillain that could not be destroyed by ordinary means? No, because their biggest problem is that their only vision for the future is to reach back into the past. They still want to undo the Trump presidency rather than learn from it. They are fighting to bring back the utopia we all built under Barack Obama, and that has been the Democrats' fatal mistake.Barack Obama's grip on the party means they can't move forward.A real autopsy would have to talk about Obama's ongoing influence and control of the party. Why do you think he's making appearances with Zohran Mamdani and James Talarico? He sees them as the party's future because they are Obama clones, more or less. You don't see him out there boosting Gavin Newsom, just as you don't see many leaders on the Left rising to take Obama's place. They must all be shadows of him, which is why it was Kamala Harris in 2024, Joe Biden in 2020, and Hillary Clinton in 2016.Obama couldn't lose. He was treated like a god and king. He was never going to let Trump win this ten-year war. He couldn't hand the country over to the guy who dared question his birth certificate, the guy they called a “racist” and a “rapist,” but more than that, he represented the undoing of the Obama Coalition and the worldwide movement it inspired. There was no way the Democrats were ever going to let that happen. By 2016, they had control of almost everything, from institutions to universities to culture, so why not use it? Exiling and disenfranchising Trump voters was all done in the name of Barack Obama. You see, it had to be racism that gave rise to Trump because Obama couldn't fail.Isn't it so much easier to blame America? To blame it on sexism and racism? Isn't that what they tell themselves now about 2024? America wasn't ready for any woman, especially a woman of color? Isn't it easier to see it that way rather than address the real problem with the utopia we all built: it shuts too many people out?The Culture of Silence and the Climate of FearThe Vanity Fair story about how Democrats fear Kamala Harris running again is telling. Or rather, not telling. They are too afraid to use their real names. It is still considered blasphemy inside the Democratic Party to criticize her, as she has attained Obama-level status. She campaigned for Obama back in 2008 and was once called the “female Obama.” Harris rode the coattails of making history.Winning was easy for her. She was pretty and tough. She made the Democrats look good and won every single race as her star began to rise: District Attorney, Attorney General, Senator, and Vice President, next in line behind a very old Joe Biden. Probably, he would have stepped aside and handed her the presidency had he won a second term. Either way, Harris was not the best choice for Vice President, and the Democrats knew that at the time.The 100 people who signed a letter urging Biden not to choose Harris for “cosmetic reasons” were then shamed back into silence lest they be called racists and misogynists. The so-called autopsy vindicates Harris, which is all part of the same game. She is too big to fail and too popular to be cast aside, especially now after the redistricting fight has put Democrats back in “Jim Crow 2.0” mode.A real autopsy would have to confront this: how they continue to fall back on the same blame game: it's those racists over there. It's not our fault. We haven't failed our voters. We have to stop them. We have to keep fighting this war against them, our fellow Americans.How can they even begin to confront who they are and what they've become? How can they reckon with all of the madness they've put the American people through for ten long years? The January 6th show trials, the lies about Kenosha being a “Civil Rights” protest, the mocking and celebrating of Charlie Kirk's assassination, the raiding of Mar-a-Lago, the censoring of dissent via the FBI on social media, Russiagate, the collapse of a once-thriving culture, impeachments, indictments, and the unending No Kings protests.If they want a real autopsy, they should talk to people like me, once loyal supporters who were chewed up and spit out by a political party that could not tolerate even simple questions about “cancel culture” mass hysteria, or the rising intolerance in the Left writ large, or why someone's career would go up in flames just for voting for Trump. And forget about asking whether toddlers should wear masks or pre-teens should take medication that sterilizes them for life.I walked away from the party in 2020. I couldn't believe what I watched them do, what I helped them do, to drag Joe Biden over the finish line. I knew he was too old. I knew Kamala Harris was a ticking time bomb. I knew it would all blow up in our faces eventually. But lying was so much easier, especially with a full-court press serving as a propaganda front. They have been lying for so long that they don't even know how to stop. The biggest lie was that Trump was a “fascist.” They're still telling that lie. They're still scaring Americans into manic desperation every day. The lies are what drove me away. I couldn't live with them. The truth matters, especially if you're cutting up the body to find out what killed it.The lies began in 2016 when Hillary Clinton, the Democrats, and loyalists like me couldn't face the truth about why she lost. It was one lie piled on top of another, and no one had the courage to face down the social media mobs to set the record straight. Any dissent was met with strict reprisals. Before long, everyone settled into a climate of fear and a culture of silence as the new normal.Their problem goes back to the Art of War. If you don't know yourself or your enemy, you will succumb in every battle. They should first try to understand themselves. If they could just see who and what they are, and why America would choose Trump a second time, they'd be halfway there. Then, if they could understand Trump, who he really is, rather than the character they invented, they'd finally come back to the real world with the rest of us.The Democrats are in love with the dream Obama sold, not the reality of what America became with the Democrats in power. There are too many truths left to face. There are too many ghosts haunting them. There is no point in performing an autopsy on a body with nothing inside but smoke mirrors. // This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.sashastone.com/subscribe

Chris Paul is joined by his good friend Josh Capps, a literature professor and screenwriter from Louisiana, sitting in for Burning Bright. The two break down Warren Beatty's 1998 political satire Bulworth, which Beatty wrote, directed, and starred in opposite Halle Berry, Oliver Platt, Don Cheadle, Isaiah Washington, and a nearly silent Sean Astin. Josh argues the film sits on a fascinating cultural crux point. He thinks 1998 was the pivot year when Hollywood shifted toward heavy programming, citing The Truman Show, Deep Impact, Armageddon, and The Siege all landing in the same window. The guys dig into Bulworth's opening confession that political assassinations are just a normal Tuesday for a senator with a fixer on speed dial, the eerie parallel between Bulworth dropping the mask once he had a hit out on himself and the way Trump later dispensed with the political pretense entirely, and Aaron Sorkin's fingerprints on the worst Halle Berry monologues about NAFTA and manufacturing. They also wander through the rise of West Coast rap as a marketing tool aimed at young kids, Public Enemy's 1994 song calling out a fake World Health Organization pandemic, the hierarchy of corporate political influence, and the difference between memory and story.

A Few Good MenHosts: Clark Coffey & Cullen McFaterIn this episode, Clark Coffey and Cullen McFader discuss Rob Reiner's 1992 film 'A Few Good Men,' exploring its cultural impact, performances, and the writing style of Aaron Sorkin. They delve into personal experiences with the film, the direction, and the philosophical questions it raises about the justice system. The conversation also touches on visual storytelling techniques and the balance between performance and cinematography in the film, the limitations of Aaron Sorkin's narrative style, and the performances of the lead actors. They discuss how the film addresses philosophical questions about morality and justice, while also analyzing the character dynamics and emotional depth brought by the supporting cast. The conversation highlights the film's entertainment value and its impact on audiences, reflecting on how perceptions of military culture have evolved over time.Subscribe to Soldiers of Cinema for honest, wide-ranging conversations on film, from cult favorites to award-winners - with two filmmakers, decades apart.TrailerDirector: Rob ReinerStarring:Tom CruiseJack NicholsonDemi MooreSocials:FacebookTwitterInstagram

The Rage Select Podcast is SHOOTING FOR THE STARS this week as Amanda and Jeff discuss their complicated feelings about Aaron Sorkin as well as Jeff's suprising turn to The Dark Side and ALL THE NEWS of the week! MP3 here - http://traffic.libsyn.com/rageselect/RageSelectEpisode643.mp3 RSS feed here - http://rageselect.libsyn.com/rss iTunes here - https://itunes.apple.com/us/podcast/rage-selects-podcast/id657490976 Email address for your questions: mail@rageselect.com FOLLOW Tessa on Instagram - https://www.instagram.com/tessamorrison FOLLOW Matt on Twitter! - https://twitter.com/spankzilla85 FOLLOW Brian Salisbury on Twitter! - https://twitter.com/JunkfoodCinema FOLLOW Jeff on Twitter - https://twitter.com/RageSelect FOLLOW Grant on Twitter - https://twitter.com/BaronVonGrant LIKE Rage Select on Facebook - https://www.facebook.com/RageSelect Listen to our podcast and if you enjoy it, SUBSCRIBE! Check out the full website at http://www.rageselect.com #rageselect #podcast

Today, I'm thrilled to announce my interview with veteran actress Patricia Conolly, who has appeared in over 30 Broadway shows. Tune in to hear some of the stories of her legendary career, including acting with Laurence Olivier in THE BROKEN HEART, a note Tom Stoppard gave her during THE COAST OF UTOPIA, playing for Lauren Bacall in WAITING IN THE WINGS, understanding her part in THE HEIRESS, a mystical experience taking over for Geraldine Page in BLITHE SPIRIT, working with the APA company on YOU CAN'T TAKE IT WITH YOU, a kind gesture from Aaron Sorkin during TO KILL A MOCKINGBIRD, what Tony Randall asked her during JUDGMENT AT NUREMBERG, using an accent for THE FRONT PAGE, having dinner with Tennessee Williams, and so much more. Don't miss this in-depth conversation with a true theater legend.

Tonight on TV Party Tonight, Jesse and Mark revisit Season One of HBO's The Newsroom, Aaron Sorkin's cable news drama that premiered June 24, 2012. Starring Jeff Daniels as anchor Will McAvoy, the series follows the staff of fictional network ACN as they attempt to produce serious journalism inside a system driven by ratings, corporate pressure, and personal dysfunction. Featuring Emily Mortimer, Olivia Munn, Sam Waterston, Dev Patel, Alison Pill, John Gallagher Jr., and Thomas Sadoski, the show blends newsroom chaos with Sorkin's signature rapid-fire dialogue and moral grandstanding. Critics praised the performances—Daniels won an Emmy—and the ambition of the series, while others criticized its smug tone, hindsight politics, and lecture-heavy writing. More than a decade later, The Newsroom remains a fascinating time capsule of the early 2010s media landscape and the growing battle between journalism, entertainment, and outrage culture.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

Jesse Jackson, contact center leader and host of Set Lusting Bruce, joins Mark Graban to share his favorite mistake: going gun-shy as a new leader when veterans push back with "we tried that, it didn't work." Jesse explains why that deference cost him his best ideas, and how a Harry Chapin story about "two kinds of tired" reshaped the way he leads. Episode page with video, links, and more We get into the real cost of staying quiet when you're new, the difference between listening to your team and being silenced by them, and the Aaron Sorkin line about surrounding yourself with smart people who disagree with you. Jesse also shares a cautionary tale about volunteering for a role he wasn't ready for, and what he changed about how he chooses opportunities now. The conversation moves into what psychological safety actually looks like day to day - treating new ideas as honest experiments rather than ego defense, and making sure team members feel heard even when their advice isn't taken. We close with a stretch of podcasting craft (forgetting to hit record, scheduling buffers, the value of embracing tangents) plus tangents of our own on Bruce Springsteen, the misunderstood patriotism of "Born in the U.S.A.," and Spinal Tap. If you've ever walked into a new role with ideas and quietly let them die in the face of "that won't work here," this episode will give you a sharper way to think about when to push and when to listen.

Tom Duncan and Sara Shea continue their journey through Season 1 of The West Wing, this time with episode 1.22 - the first season finale. We are joined by friend of the show, Klarissa Beckstead (I've Seen That One podcast). In this episode, Sara is given a difficult choice, our intrepid hosts grade The West Wing - Season 1, and they pick what's to come next for Season 2.Chapters:00:00 Introduction02:45 Recap of Season One and Episode 22 of The West Wing05:59 Emotional Reactions to the Season Finale08:52 Character Development and Plot Predictions11:48 Political Themes and Real-World Parallels14:45 Interpersonal Relationships and Character Dynamics17:47 Discussion on the Iraqi Plotline20:52 Reflections on Historical Context and Relevance26:12 Character Favorites and Dynamics28:42 Exploring Toby's Depth and Complexity29:44 Emotional Resonance of Space Tragedies31:34 Cliffhangers and Viewer Reactions33:44 Anticipation for Future Episodes39:39 Navigating Choices, Decisions, and Chaos48:39 Overview of Season Ratings and Rankings51:33 Acting Performance Evaluation54:33 Writing Quality Assessment57:36 Intangibles and Emotional Impact01:00:35 Cinematography and Visual Presentation01:03:30 Narrative Structure and Cohesion01:06:34 Character Development and Dynamics01:20:27 Character Development and Mistakes01:22:41 Ratings and Expectations for Season One01:25:03 Editing and Pacing in Aaron Sorkin's Work01:28:15 Final Thoughts on Season One Ratings01:29:30 Choosing the Next Show: Options and Decisions01:41:27 Deciding on 'The Good Wife' for Next SeasonKeywords:The West Wing, TV analysis, character development, political drama, episode review, emotional impact, storytelling, season one, character analysis, show notes, TV show analysis, binge-watching, season finale, show grading, streaming options

McKay's focus today is on the power of discovering what lies within ourselves, and he begins by introducing the story of Aaron Sorkin. Armed with a passion for drama and theater from an early age, it wasn't until Aaron dared to fail that he found success. His story serves as a testament to the power of daring to fail and discovering what lies within us.McKay also shares the stories of Eric and Laura, individuals who both faced adversity and overcame it to find success. Their stories, along with Sorkin's, inspire us all to embrace our own journeys and discover our potential. They also teach us that, to find what lies within us, we must be resilient, determined, and willing to let go of what we cannot do, while remembering who we are and where we came from. Mckay's words of wisdom here today, combined with these powerful narratives, empower us all to discover the very best that lies within us.Episode Highlights:Open Your Eyes' two-year anniversary Aaron Sorkin's storyHow the best that lies within us can lead to remarkable successEric and Laura's stories of overcoming adversity and finding success Embracing our journeys and discovering our potentialThe power of resilience and determinationLetting go of what we cannot doRemembering who we are and where we came fromDiscovering the best that lies within youQuotes:"The best that lies within you is waiting to be discovered.”"Success is not the absence of failure; it's the persistence through failure.""Daring to fail is not about wanting to fail. It's about recognizing that failure is a possibility, and deciding to take the risk anyway.""Believe in yourself, and the rest will fall into place.""The most important thing to do is to get started, even if it's a small step.""The things I cannot do, I will let go. But the things I can do, I will learn to do well.""She continued to write, and she became a successful author, living out her passion for writing about horses and racing.""To find what lies within you, you may need to remember who you are and where you came from."Links:https://www.mckaychristensen.org/

Our most-requested movie is celebrating its 30th anniversary! It's the kind of movie where a cable car inextricably flies straight up into air out of nowhere... A scene so amazing that Isaac Slade calls in to premiere a sequel to his Fray hit "Over My Head (Cable Car)" right here on this episode! We also have a brand new segment called "When was the last time David Hallgren watched this movie?" that we think will really go places. What if Quentin Tarantino wrote the Nicolas Cage parts, Aaron Sorkin wrote the government scenes, Sean Connery hired British writers and basically just played James Bond, and somehow it all came together into the only Michael Bay film in the Criterion Collection? The Rock absolutely should not work — and absolutely does.If you'd like to advertise with us or sponsor us, please e-mail greatbadmoviesshow@gmail.comSubscribe to Great Bad Movies wherever you listen to podcastsMore Great Bad Movies online:InstagramGreat Bad Movies WebsiteYouTubeEmail us at greatbadmoviesshow@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Host Jesse Jackson welcomes returning guest Jeff Blum, a Chicago-based freelance sports and entertainment writer and para-professional working with autistic students. They briefly discuss current sports topics including the Bulls' streaky season, trades, and franchise management, plus comparisons to other struggling teams. Jeff shares limited impressions of Springsteen's large “Tracks 2” set, mentions favorite deep cuts, and discusses seeing the Springsteen-related film, praising its entertainment value and its connection to renewed appreciation for the album Nebraska. The conversation then shifts to Aaron Sorkin's work, starting with Sports Night and covering The American President, A Few Good Men, The West Wing, The Newsroom, Moneyball, The Social Network, Steve Jobs, Molly's Game, and Charlie Wilson's War, emphasizing sharp dialogue, morality, journalism standards, and changing media culture. Jeff plugs upcoming writing on the Olympics and a list of 1976 albums turning 50 in 2026, and Jesse closes with show contact and network information. Learn more about your ad choices. Visit megaphone.fm/adchoices

“You can't handle the truth!” But can you handle finally watching A Few Good Men? In this episode of Missing Frames, Shawn introduces returning guest Richie Pepio to Rob Reiner's iconic courtroom drama A Few Good Men. Together, they unpack what makes the movie work, from Aaron Sorkin's signature dialogue (and early “Sorkinisms”) to Reiner's direction and the film's stacked cast, including Tom Cruise, Jack Nicholson, and Demi Moore.Along the way, Shawn and Richie reflect on Sorkin's evolution as a writer, the film's origins as a stage play, and why A Few Good Men remains such a defining showcase for powerhouse acting and a reminder that Rob Reiner was truly one of the all-time great filmmakers.HOSTSShawn EastridgeRichie Pepio

It's a very special West Wing reunion! This week, we're looking back at Rob's 2020 conversation with legendary writer and director Aaron Sorkin, the writer of "The West Wing," as well as films like "The Social Network," "A Few Good Men," and "Molly's Game." They discuss the "West Wing" reunion special, their favorite episodes of the show, how Rob was cast as Sam Seaborn, a disastrous moment from the opening night of "A Few Good Men" in London, and doing Chekov with Christopher Walken. Make sure to subscribe to the show on YouTube at YouTube.com/@LiterallyWithRobLowe! Got a question for Rob? Call our voicemail at 323-570-4551. Your question could get featured on the show! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Olivia Munn talks casing Steve Martin's house and being the only actor to talk too fast for Aaron Sorkin. Plus, panelists Rachel Coster, Peter Grosz, and Joyelle Nicole Johnson visit the Supreme CourtTo manage podcast ad preferences, review the links below: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

Wrapping up our short exploration of Aaron Sorkin, we turn to his 2015 film Steve Jobs. Loosely based on Walter Isaacson's biography, the film unfolds across three vignettes leading up to major product launches. Sorkin uses these moments to dig into Jobs' personal conflicts, as well as his aggressive, domineering approach to work. Enjoy our review of Steve Jobs (2015).   Cinema Spectator is a movie podcast hosted by Isaac Ransom, Juzo Greenwood, and Cameron Tuttle. The show is executive-produced by Darrin O'Neill and recorded and produced in the San Francisco Bay Area, CA. You can support the show at patreon.com/ecfsproductions. Follow us on YouTube, Facebook, Instagram, and Twitter @cinemaspectatorpodcast. Isaac and Cameron began recording podcasts with their first project, Everything Comes from Something (2018), and are now focusing on new weekly content for Cinema Spectator. Cameron Tuttle is a full-time professional cinematographer who majored in film at SFSU and collaborates on corporate, private, and creative productions. Cameron is the expert. Isaac Ransom works full-time as a marketing leader with creative experience in brand, advertising, product, music, and film. Isaac is the casual. Juzo is a producer, director, and avid film enthusiast who knows everything about cinema. The podcast is a passion project by three longtime friends; we hope you enjoy it! Thank you for your time, generosity, and support.

Join me on the couch in Molly Bloom's hotel room at the Four Seasons in downtown Toronto.  Molly began her career as a world-class skier, but while training as a pre-teen was diagnosed with severe scoliosis. Her doctor told her she could never ski again, but even as a pre-teen Molly had incredible strength of mind and she ended up back on the slopes only a year after her surgery.    By age 21, she was ranked #3 in North America. She then took off to LA and began running one of the most exclusive, high-stakes, underground poker games in the world, featuring players like Alex Rodriguez, Tobey Maguire, Leonardo DiCaprio, Ben Affleck, and was raking in millions of dollars per year. Then what happened? The feds went after her! The mafia went after her! And there was a dramatic takedown. While awaiting sentencing, she wrote her life's story in her memoir, Molly's Game. That book became a bestseller and was turned into a movie written and directed by Aaron Sorkin, writer of The West Wing and The Social Network, starring Jessica Chastain (as Molly), Idris Elba, and Kevin Costner.   Molly has been featured on Ellen, NPR, LA Times, VICE, and many more. But beneath the surface is a story that, as she says in this chapter, has never been shared before.    There was a journey happening inside Molly that forced her to look at the downsides of her ambition and addictive personality.    So get into something comfy, grab a seat between us, and let's talk about life altering public defeat, how a memoir transforms into an action-packed Hollywood feature, the liberty in losing everything, finding the 'monetizable asset' in your life, and Molly's 3 most formative books.    Let's flip the page back to Chapter 42 now....

For the past seven decades, Tim Matheson has been an on-screen favorite in Hollywood. In his new memoir, 'Damn Glad to Meet You: My Seven Decades in the Hollywood Trenches,' Matheson looks behind-the-scenes of his illustrious career and reveals what it was like to learn from and work alongside the greats, including Lucille Ball, Dick Van Dyke, Steven Spielberg, and Aaron Sorkin. Also 'Virgin River' has its 7th season out now on Netflix.

Bradley Whitford, a classically trained stage actor, gained fame as “Josh Lyman,” on NBC's 'The West Wing,' which earned him his first Emmy award in 2001. He went on to win Emmys in 2015 and 2019 for his work in 'Transparent' and 'The Handmaid's Tale' and is grateful to have had the opportunity last year to direct the show's fifth season penultimate episode, “Allegiance.” He is currently filming “The Diplomat” alongside his West Wing co- star, Allison Janney. Whitford appeared in AMC's limited series 'Parish' alongside Giancarlo Esposito, a drama about a taxi driver whose life is upended after picking up a Zimbabwean gangster. He also starred in the independent film 'I'll Be Right' There with Edie Falco and completed work on Netflix's limited series 'The Madness,' opposite Colman Domingo. He is also known for his work in the Oscar-nominated films 'Get Out,' 'The Post,' 'Scent of a Woman,' and Lin-Manuel Miranda's 'tick, tick… BOOM!' Whitford also produced the documentary, 'Not Going Quietly,' about the life of progressive activist Ady Barkan. Other notable film credits include Warner Bros' 'Godzilla: King of the Monsters,' Disney's 'Saving Mr. Banks,' and HBO's Lyndon B. Johnson biopic, 'All The Way,' among many others.  TV credits include Apple TV+'s 'Echo 3,' NBC's 'Perfect Harmony,' which he executive produced and starred in; FOX/Netflix's 'Brookline Nine-Nine,' Showtime's 'Happy-ish,' ABC's 'Trophy Wife,' CBS' 'The Mentalist,' FOX's 'The Good Guys,' and NBC's 'Studio 60 on the Sunset Strip,' among others. Growing up in Wisconsin, Whitford studied theater and English literature at Wesleyan University and attended the Juilliard Theater Center. He has appeared on Broadway in Aaron Sorkin's 'A Few Good Men' and in 'Boeing, Boeing' with Mark Rylance. Off-Broadway credits include 'Curse of the Starving Class,' 'Measure for Measure' at Lincoln Center, and 'Three Days of Rain' at Manhattan Theatre Club. Regional credits include the title role in 'Coriolanus' at the Folger Shakespeare Theatre in Washington, D.C., and Oberon and Theseus in 'A Midsummer Night's Dream' at Hartford Stage. In 2021, Whitford starred in the Old Vic's production of 'A Christmas Carol' at the Ahmanson in Los Angeles as “Ebenezer Scrooge.” Also at the Ahmanson, in 2023, Whitford recently played the scene-stealing “Narrator” in the hit farce 'Peter Pan Goes Wrong.' Learn more about your ad choices. Visit podcastchoices.com/adchoices

Andrew Ross Sorkin (1929: The Inside Story of the Greatest Crash in Wall Street History) is a financial columnist, TV anchor, and author. Andrew joins the Armchair Expert to discuss a kid telling him when he was young that god drew him wrong, actually working with Aaron Sorkin (no relation) on his show The Newsroom, and landing an unofficial internship at The New York Times as a senior in high school. Andrew and Dax talk about why his motto as a finance journalist was ‘chasing interesting,' understanding not trusting the stock trading system because it doesn't deserve to be trusted, and his tips for getting ChatGPT to tell the truth with verifiable facts. Andrew explains writing an exposé on going into debt to buy stocks, shocking and unexpected stories of fallout from the stock market crash of 1929, and parallels he sees in current financial trends accompanied by an argument for transparency.Follow Armchair Expert on the Wondery App or wherever you get your podcasts. Watch new content on YouTube or listen to Armchair Expert early and ad-free by joining Wondery+ in the Wondery App, Apple Podcasts, or Spotify. Start your free trial by visiting wondery.com/links/armchair-expert-with-dax-shepard/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.