American comedy television series
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Meg Donnelly steps Behind The Rope. Fresh off her stint on The Masked Singer, in which she finished in the semi finals last month, Meg is here to chat about the full anthology of her career. Meg talks Zombies, The Winchesters and, of course, American Housewife. Meg talks Miley Cyrus, Robert Downey Jr., Carrie Underwood and last, but certainly not least, working with Lisa Vanderpump. @megdonnelly @behindvelvetrope @davidyontef BONUS & AD FREE EPISODES Available at - www.patreon.com/behindthevelvetrope BROUGHT TO YOU BY: THRIVE MARKET - thrivemarket.com/velvetrope (Get 30% Off Your First Order Of Health Conscious Food, Household Goods, Personal Grooming Products and More) RO - ro.co/velvet (For Prescription Compounded GLP-1s and Your Free Insurance Check) MOOD - www.mood.com/velvet (20% Off With Code Velvet on Federally Legal THC Shipped Right To Your Door) DELETEME - (Get 20% Off By Texting VELVET to 64000 - To Take Control Of Your Data & Keep Your Private Life Private) RAKUTEN - rakuten.com (Get the Rakuten App NOW and Join the 17 Million Members Who Are Already Saving! Your Cash Back really adds up!) WASHINGTON RED RASPBERRIES - Redrazz.org (Find New Ways To Use American Frozen Red Raspberries & Get More Details On Where You Can Grab a Bag) ADVERTISING INQUIRIES - Please contact David@advertising-execs.com MERCH Available at - https://www.teepublic.com/stores/behind-the-velvet-rope?ref_id=13198 Learn more about your ad choices. Visit megaphone.fm/adchoices
Click Here to ask your book writing and publishing questions!Have you ever sat through a back-to-school night and thought, Wow, this could be a novel? Jordan Roter did—and then she actually wrote it. Moms Like Us (coming May 2025 from Little A) hilariously unpacks the cutthroat social hierarchy of LA moms, complete with all the messy, cringey, and oh-so-relatable moments of motherhood and friendship.In this laugh-out-loud episode, we chatted about:
We're back with part two of our episode with special guests Mallory & Evan from Pop Capsule Podcast! Enjoy their incredible synopsis and maayybee we get a Bingo or two!How to Build a Better Boy (August 15, 2014)IMDB WikipediaDirected by Paul Hoen (Luck of the Irish, Tru Confessions, You Wish!, Eddie's Million Dollar Cookoff, Read it and Weep, Jump In!, CGOW, Dadnapped, Camp Rock 2, Let it Shine, Cloud 9, ZOMBIES 1-3)Written by Jason Mayland (Space Chimps, Eureka)Starring: China Anne McClain as Gabby Harrison (A.N.T. Farm, Descendants-verse, Black Lightening, House of Payne)Kelli Berglund as Mae Hartley (Lab Rats, The Goldbergs, Heels)Marshall Williams as Albert Banks / X-17 (Glee, When Hope Calls, Hallmark Christmas movies)Matt Shively as Bart Hartley (True Jackson: VP, Winx Club, The Real O'Neals, The Purge, American Housewife, Total Badass Wrestling, Players, Lopez vs. Lopez)Ashley Argota Torres as Nevaeh Barnes (True Jackson: VP, Bucket & Skinner's Epic Adventures, Lab Rats, The Fosters)Noah Centineo as Jaden Stark (To All the Boys I've Loved Before, The Fosters, T@gged, Black Adam, The Recruit)Ron Lea as General McFee (character actor - Street Legal, Wind at My Back, Doc, Orphan Black, Murdoch Mysteries)Roger Bart as Dr. James Hartley (Bram & Alice, Singing voice of Hercules, The Producers, American Gangster, The Event, Desperate Housewives, Political Animals, Easy to Assemble, Revenge, Trumbo, Episodes, Graves, Good Trouble)Synopsis: Two tech-savvy teenagers unknowingly use military software to program robotic boyfriends with ideal qualities when they grow tired of the high school boys around them.Fun Facts: Ashley Argota Torres and Matt Shively previously co-starred in the series True Jackson, VP (2008), which aired on Disney Channel's rival network, Nickelodeon.Next Movie: Bad Hair Day ★ Support this podcast on Patreon ★
We had so much fun with our special guests, Mallory & Evan from Pop Capsule Podcast that we had to split the episode into two parts! Part 2 will be out in two weeks!How to Build a Better Boy (August 15, 2014)IMDB WikipediaDirected by Paul Hoen (Luck of the Irish, Tru Confessions, You Wish!, Eddie's Million Dollar Cookoff, Read it and Weep, Jump In!, CGOW, Dadnapped, Camp Rock 2, Let it Shine, Cloud 9, ZOMBIES 1-3)Written by Jason Mayland (Space Chimps, Eureka)Starring: China Anne McClain as Gabby Harrison (A.N.T. Farm, Descendants-verse, Black Lightening, House of Payne)Kelli Berglund as Mae Hartley (Lab Rats, The Goldbergs, Heels)Marshall Williams as Albert Banks / X-17 (Glee, When Hope Calls, Hallmark Christmas movies)Matt Shively as Bart Hartley (True Jackson: VP, Winx Club, The Real O'Neals, The Purge, American Housewife, Total Badass Wrestling, Players, Lopez vs. Lopez)Ashley Argota Torres as Nevaeh Barnes (True Jackson: VP, Bucket & Skinner's Epic Adventures, Lab Rats, The Fosters)Noah Centineo as Jaden Stark (To All the Boys I've Loved Before, The Fosters, T@gged, Black Adam, The Recruit)Ron Lea as General McFee (character actor - Street Legal, Wind at My Back, Doc, Orphan Black, Murdoch Mysteries)Roger Bart as Dr. James Hartley (Bram & Alice, Singing voice of Hercules, The Producers, American Gangster, The Event, Desperate Housewives, Political Animals, Easy to Assemble, Revenge, Trumbo, Episodes, Graves, Good Trouble)Synopsis: Two tech-savvy teenagers unknowingly use military software to program robotic boyfriends with ideal qualities when they grow tired of the high school boys around them.Fun Facts: Ashley Argota Torres and Matt Shively previously co-starred in the series True Jackson, VP (2008), which aired on Disney Channel's rival network, Nickelodeon. ★ Support this podcast on Patreon ★
Episode Summary: Menina Fortunato interviews Stephanie Landwehr, a seasoned professional in the dance industry, who has worked with top artists such as Cher, Tina Turner, Jessica Simpson, and Macy Gray. Stephanie now works as a dance agent with Block Talent Agency, helping dancers advance their careers. Stephanie shares her journey from a competitive dancer to a choreographer and, eventually, to an agent. She provides invaluable insights into how dancers can advance their careers by building relationships with choreographers, agents, and casting directors. Stephanie also talks about the challenges and trends in the dance industry, including the shift from large auditions to direct bookings and the importance of proactive career management. She discusses what agents look for in dancers, tips for submitting to agencies, and how to manage finances as a dancer. Show Notes: (0:00) – Introduction to the episode and Stephanie Landwehr (2:15) – Stephanie's transition from dancer to agent (5:00) – The importance of building relationships in the industry (8:00) – Current trends in casting: direct bookings and submission processes (12:00) – The shift from large auditions to direct bookings (15:00) – Tips for headshots: what agents look for in professional photos (18:00) – How dancers can leverage social media to enhance their careers (22:00) – Managing a bi-coastal career and building relationships across cities (25:00) – Financial advice for dancers: saving, budgeting, and multiple income streams (30:00) – Q&A with mentees: injury management and staying proactive in your career (35:00) – Building and maintaining professionalism as a dancer (40:00) – How to get noticed by agents and the casting process (45:00) – Importance of versatility in dance training (50:00) – Final thoughts on dancing, agenting, and career longevity Biography: Stephanie Landwehr has been dancing for her entire life. She feels fortunate to have had an incredibly varied and diverse dance career before crossing over to the agenting world. She worked internationally in all media - from stages in Seoul, Korea, to film sets in Rome, Italy; from the Los Angeles Opera to Cher at Caesars Palace, Las Vegas. Stephanie had the privilege to dance with many music artists, including Panic at the Disco, Cher, Tina Turner, Jessica Simpson, Hole, Chemical Brothers, and Macy Gray. She danced in numerous television shows, including Dancing with the Stars, Penny Dreadful, Veep, Dead to Her, Crazy Ex-Girlfriend, American Housewife, and Lucifer. Some of her film appearances include La La Land, Valley Girl (2020), The Muppets, Gangster Squad, and commercials for Ford, AT&T, Subway, Pepsi, K-mart, Chase Bank, and The Gap's iconic "swing khakis" commercial. Her experience on stages and film sets naturally led her to add ‘choreographer' to her list of professional achievements. Her choreography can be seen in the films Give Me an A, Too Late, and Mafia!; in the Green Day "Last of the American Girls" music video, and commercials for Chase Bank, K-mart, Jell-O, and Burger King. As a dance educator, Stephanie was principal faculty at the Academy of Musical and Dramatic Arts (AMDA), and previously on faculty at Edge Performing Arts Center in Los Angeles and Broadway Dance Center in New York City. In early 2024, she enthusiastically jumped into the role of dance agent and now works for Bloc Talent Agency. She's excited to continue exploring the entertainment industry through a new lens and sharing her love of dance and her vast industry experience with up-and-coming professionals and professional hopefuls. Connect on Social Media: https://www.instagram.com/stephanielandwehr https://www.facebook.com/stephanie.landwehr.14
On today's episode, I talk to TV writer Ed Herro. Originally from Madison, Wisconsin, Ed fell in love with improv in middle school. He started doing comedy in college and moved to New York where he performed on house teams in the early days of UCB. Eventually realizing that one couldn't make a living yes and-ing, he became a touring stand-up and then a TV writer, writing on shows like Jeff & Some Aliens, American Housewife, and The Neighbors. Most recently, he created, with his writing partner Brian Donovan, the series The Sticky starring the incredible Margo Martindale, and it is airing now weekly on Amazon Prime! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here! Theme song by the fantastic Savoir Adore! Second theme by the brilliant Mike Pace! Closing theme by the delightful Gregory Brothers! Podcast art by the inimitable Beano Gee!
Happy Thanksgiving! In this episode, Andrew interviews Bill Callahan about his pilot Massholes. Bill has an impressive résumé, having worked on Spin City, 8 Simple Rules, Scrubs, Psych, American Housewife, and The Goldbergs.A former college athlete turned comedy writer, Bill shares his journey from football to comedy, starting in an agency mailroom and learning from legends like Gary David Goldberg and Bill Lawrence. He discusses the differences between multi-camera and single-camera comedy writing, what he looks for when staffing a writer's room, and the group of friends that inspired Massholes.Thanks for listening—we know you're going to love this episode!For more information about Dead Pilots Society and to listen to past episodes featuring John Hodgman, Emerald Fennell, and many others, visit: https://maximumfun.org/podcasts/dead-pilots-society.
Acclaimed actor and voice actor Diedrich Bader returns to the podcast to commemorate the show's 400th episode. Bader was a guest on Episode 177 while promoting the animated film Superman: Red Son. Bader is in the midst of an accomplished career both as an on-screen performer and a voice actor. Most notably, Bader starred in the Drew Carey Show, American Housewife, and Outsourced. Recently, he appeared in the recently completed show Better Things. In animation, Bader is widely known as Batman from both the classic “Batman: The Brave and the Bold” and more recently “Harley Quinn.” He has also been in Masters of the Universe, Transformers, The Zeta Project, and countless others. Most recently he is playing Harvey Dent/Two-Face in the new animated Batman series, “Batman: Caped Crusader.” In this episode, Bader talks about the state of the superhero genre. He also comments on the difference in Batman characters in Harley Quinn as opposed to Brave and the Bold. He also commented on the fact that this podcast has 400 episodes.
WELCOME, one and all, to the long-awaited premiere of season 4! Today, your good ol' host, Shift Orion, is joined by Nick Roth and Lindsey Haun. Shift and Nick met while wandering around in the howling abyss of social media. Nick was looking for podcasts to talk about his new movie, Hanky Panky, and Shift was looking for inspiration to reboot this show. So Nick hailed Lindsey to join Shift for a chat about this fantastic, whacky, elevated, innovative film made with love under crazy conditions. And they also talk about other things like Nick and Lindsey's kids, Nick's upcoming haunted dreidel film, Lindsey's dark and vague works in progress, and Shift's upcoming sci-fi about an average white American man who gets knocked up by an alien parasite just after landing his dream job and has flashbacks to that one time he tried to convince his teenage girlfriend to not have an abortion. We hope you enjoy this episode and then go watch Hanky Panky on Tubi! Special thanks to Gina Mangiaracinage for hooking it up with the functioning Internet that carried this episode to your ear holes while my Internet was not working. Nick & Lindsey, Co-Directors: Hanky Panky marks the feature debut of frequent collaborators and future Hollywood power couple Nick and Lindsey. Lindsey is a gold-record winning singer/songwriter, an actor and horror icon (Village of the Damned, Trueblood, Shrooms, Color of Friendship), and a director of several award-winning short films and music videos. She is repped by Bohemia Group. Nick is a former middle-school substitute Latin teacher, current pun factory, and film and television writer who most recently wrote on ABC sitcom American Housewife. He is repped by Zero Gravity. About HANKY PANKY Logline: A man and his talking handkerchief save the world from an evil top-hat, and also learn to love. Genre: Puppets and Blood. Runtime: 86 minutes, 4 of which is a fight scene between a napkin and a hat. Full Synopsis: When sweet and quirky ayahuasca marriage counselor Diane mistakenly invites the wrong “Sam” to a retreat she's co-hosting with friends and family at an isolated snowy mountain cabin, instead of her best friend's sister Samantha showing up, she gets Sam, a socially anxious oddball who has brought his best friend, Woody, a foul-mouthed talking handkerchief Sam believes only he can hear, and who is sexually aroused by cleaning up messes. Diane is Sam's opposite, but it's love at first sight. The only thing that stands between them is that right away everyone in the cabin starts being mysteriously murdered, and the whole vacation quickly descends into a zany pandemonium of cults, psychedelics, aliens, and, as Woody himself puts it, delicious chaos. Short Synopsis: A socially anxious oddball and his best friend, a foul-mouthed talking handkerchief who is sexually aroused by cleaning up messes, must confront an inter-dimensional evil in order to save the world and find true love. Trailer: https://www.youtube.com/watch?v=dqKFZm04ViM Official Website: https://hankypankythemovie.com IG: https://www.instagram.com/hankypankymovie FB: https://www.facebook.com/HankyPankyMovie X: https://www.twitter.com/HankyPankyMovie TT: https://www.tiktok.com/@hankypankymovie YT: https://m.youtube.com/@HankyPankyTheMovie LI: https://www.linkedin.com/company/hankypankythemovie/ FEATURED REVIEWS "A perfect pick for 420... gleefully absurd... No matter how deeply you've dived into horror comedies, I can assure you that you've never seen anything quite like this... the comedy equivalent of a Jackson Pollock... sensational... an absolute avalanche of silliness... “ —Kristy Puchko, Mashable https://mashable.com/article/hanky-panky-movie-2024-review "Hanky Panky is a delightfully unserious horror movie crammed with comedy." ––Becca James, Chicago Reader https://chicagoreader.com/film/review-hanky-panky/ "Hanky Panky is a genre-bending rollercoaster that seamlessly blends elements of comedy and horror, all while descending to a new level of insanity… A surreal success in ambitious independent filmmaking." ––Smrithika Majukar, Film Ireland https://filmireland.net/2024/04/08/review-hanky-panky/ "Cheap, Dumb, Delightful... Joyous. It's a silly movie that just wants to make its audience smile, and it succeeds." ––Kyle Logan, Screen Anarchy https://screenanarchy.com/2024/04/hanky-panky-review-cheap-dumb-delightful.html "Hanky Panky is the stupidly funny horror-comedy of the year... wacky, wonderful, and at times completely bonkers." ––Romey Norton, Film Focus Online https://www.filmfocusonline.com/post/hanky-panky-review "It may be a little too strange and outlandish for some, but those who are willing to embrace its unashamed weirdness and its brazen nonconformity are in for a great time." ––David Gelmini, Dread Central https://www.dreadcentral.com/reviews/494104/hanky-panky-review-seth-green-voicesan-evil-hat-in-absurd-new-comedy/?amp "It's silly, it's wild, and it's filthy in all the right ways, made by a team with a clear love of film... No one should deprive themselves of an opportunity to see a napkin learn about the power of friendship." ––Jules Caldeira, Film Inquiry https://www.filminquiry.com/hanky-panky-2023-review/?amp=1 FILM FESTIVAL SCREENINGS & AWARDS LA Comedy Film Festival Official Selection Int'l Independent Film Awards Best Actor (Jacob DeMonte-Finn) Best Supporting Actor (Seth Green) Best Actress (Ashley Holliday Tavares) Best Supporting Actress (Clare Grant) Best Casting Best Directing Best Narrative Feature World Premiere Film Awards Best First Time Filmmaker Best Comedic Script Best Comedy Feature Best Production Design Judges' Choice Central Coast Int'l Film Festival Official Selection Beast Feature Film Athens Int'l Monthly Art Film Festival Best Debut Feature Film Golden State Film Festival Official Selection Best Supporting Actor (Seth Green) Robinson Film Awards Best Comedy Feature Golden Lion Int'l Film Festival Best Actress (Ashley Holliday Tavares) Best Actor (Jacob DeMonte-Finn) Best Comedy Feature Best International Feature Film Los Angeles Film Awards Best Indie Feature Best New Director Italian Comedy Festival International Comedy Prize Five Continents Int'l Film Festival Official Selection Best Director Best Screenplay Best Actress (Ashley Holliday Tavares) Best Art Direction Best Team Performance The IndieFEST Film Awards Best Feature Film Best Ensemble Cast Best Special Effects Cinema Cappuccino Best Feature Film Gothamite Monthly Film Awards Best Feature Film Indie Vegas Film Festival Official Selection Best Supporting Actress (Clare Grant) LA Cinema Festival of Hollywood Official Selection Best Narrative Feature Best Director Best Actor (Jacob DeMonte-Finn) Kalakari Film Festival Official Selection Fortean Film Festival Official Selection MegaFlix Film Awards Official Selection Silver Wing Int'l Film Festival Best Narrative Feature Dreamz Catcher Int'l Film Festival Best Feature Film Independent Horror Movie Awards Best Feature Best Actor (Jacob DeMonte-Finn) Best Humor Best Kill Top Indie Film Awards Best Humor Best Original Idea Kalakari Film Festival Certificate of Achievement Directors' Statement: Hanky Panky was inspired by the way certain zany comedies like Wet Hot American Summer and Caddyshack seemed to capture the energy of locking their whole cast and crew together in, say, a summer camp, or a coke-orgy fueled hotel in the middle of a Florida hurricane with Chevy Chase -- and then somehow get that energy on screen. We shot Hanky Panky in Lindsey's dad's cabin in the mountains above Heber, Utah, where the entire cast and crew crammed together, at 8,000ft of elevation, during the most intense blizzard ever recorded there. It was a true anarcho-communist-guerilla production: literally no budget, nobody got paid, everyone chipped in for food and drugs, and we all cooperatively own the film now. We shot it on a camera our team won with a short film at Slamdance in 2015. A friend who shoots porn let us borrow his lights. By far our biggest expense was that Lindsey backed her car into Nick's in the blizzard and knocked out a headlight, so that did cost us like $900 to fix. It was crazy. Everyone went a little bit crazy. Some of us went a lot a bit crazy. It's our hope that a bunch of that fun, contagious craziness has ended up on the screen. CONTACT Nick & Lindsey: hankypankythemovie@gmail.com GMM's YouTube -- Subscribe and like all our videos please! GMM's IG Credits: Shift Orion, producer/host, graphics guests Lindsey Haun & Nick Roth Soundtrack: New GMM Intro by Wonderful Glass Cage IKISC (in no) Time (back soon 4 round 2) - remix - by Wonderful Glass Cage
This is the after-show for Honey Do List, featuring our interview with Julie Bean and Brian Donovan. Julie and Brian share incredible stories about breaking into the industry and how they worked their way up to becoming showrunners. Brian also discusses his time on the legendary Georgetown improv troupe alongside Nick Kroll, John Mulaney, Mike Birbiglia, and Jacqueline Novak, to name a few. There's great practical and honest insight into showrunning in this episode. Plus, you'll find out why every writer should have a post-it note on their computer that says: "Put it in the bathroom." You'll also hear about the development of Honey Do List and how it went from a tik tok video to a TV pilot. We loved chatting with Brian and Julie, and we know you're going to love listening to this one. Enjoy!The mother-daughter duo and tik tok video that inspired Honey Do List hereTickets to Ben Blacker's show Retro Specs live at The Elysian Theater on 9/29ticket link: https://www.elysiantheater.com/shows/retrospecsFor more Dead Pilots Society episodes and information about our live shows, please subscribe to the podcast!Make sure to like us on Facebook, follow us on Instagram, and Twitter, and visit our website at deadpilotssociety.com
Meg Donnelly (Zombies, American Housewife) joins us this week to share the duality of having a history of severe anxiety while being an entertainer, and how she's been able to turn that into a superpower over the last few years navigating this industry. Meg talks about pessimistic expectations going into new projects and her feelings after the Winchesters/ losing the Supernatural fanbase. We also talk about the wonderful world of farts, falling in love on set, and being haunted by bad first impressions. Thank you to our sponsors:
This month's pilot is Honey Do List, written by Julie Bean (showrunner of Grown-ish) and Brian Donovan (American Housewife). It's based on the real-life story of a mom who extricates herself from a controlling marriage, moves in with her lesbian daughter, Summer, and begins to rediscover joy by checking items off her bucket list, one at a time. This fantastic pilot was written during the pandemic, and we know you're going to love it! Enjoy!The cast for this one includes Katy Mixon (American Housewife), Olivia Scott Welch (Fear Street), Brea Grant (director of Torn Hearts and 12 Hour Shift), Andrew Ti (Yo Is This Racist podcast; That 90s Show writer), Chris Tallman (The Thundermans), Jamila Velasquez (Empire, Law and Order SVU, and West Side Story), Raymond Lee (Quantum Leap), Simon Gibson (Netflix is a Joke Festival & Star of the Amazon Prime Docuseries “Inside Jokes”) and Andrew Reich with stage directions. For more Dead Pilots Society episodes and information about our live shows, please subscribe to the podcast!Make sure to like us on Facebook, follow us on Instagram, and Twitter, and visit our website at deadpilotssociety.com
It is a pleasure to welcome actress, filmmaker, and philanthropist Katie Cleary to The Jake's Take with Jacob Elyachar Podcast. Katie first burst onto the scene when she competed on the first season of America's Next Top Model. After finishing the show and completing her Business and Marketing degree at Carthage University, she moved to Los Angeles. Within weeks of arriving in the City of Angels, Katie Cleary appeared alongside Howie Mandel as one of Deal or No Deal's briefcase models. She also appeared as a guest star on various TV shows, including American Housewife, Entourage, How to Get Away with Murder, Rules of Engagement, and Two and a Half Men. She is also the creator and founder of World Animal News, a platform covering the latest breaking animal, environmental, and plant-based news from around the world. She is also the President and Founder of the animal welfare organization Peace 4 Animals. Both World Animal News and Peace 4 Animals are among the many ways Katie works to give a powerful voice to critical animal issues worldwide, focusing on saving endangered species, especially in Africa. She also produced and wrote the award-winning documentary Give Me Shelter, which premiered on Netflix in 2015. In 2022, she directed Why on Earth. The documentary allowed viewers to travel the globe and experience the vital connection between animals, humans, and the planet. Clint Eastwood, John Salley, Kristin Bauer, Maggie Q, and Shannon Elizabeth also appeared in the documentary. On this episode of The Jake's Take with Jacob Elyachar Podcast, Katie Cleary discussed her time on Deal or No Deal, shared how she started World Animal News, and Why on Earth's filmmaking process. Let's connect on social media! Visit my channels on:A) Facebook: https://www.facebook.com/JacobElyachar/B) Instagram: https://www.instagram.com/jacobelyachar/C) Threads: https://www.threads.net/@jacobelyacharD) TikTok: https://www.tiktok.com/@therealjacobelyacE) YouTube: https://www.youtube.com/@JacobElyacharBecome a supporter of this podcast: https://www.spreaker.com/podcast/jake-s-take-with-jacob-elyachar--4112003/support.
Life is full of pressures and pains and can becomes too much. In this episode of American Housewife we learn the value of the gift of rest that God has given us.
We've been fans of Diedrich Bader for years.From his work on such shows as The Crew Carey Show and American Housewife...and movies like Office Space and Napoleon Dynamite...and over the years he's become a friend of the show....so we were excited to find out he's been in KC to film the upcoming Hallmark movie, Holiday Touchdown: A Chiefs Love Story!!And he's been fully getting the whole KC experience!!
You're listening to the table read of Common Enemy written by Jordan Roter (Girl in Development author, American Housewife, The Watchful Eye). Common Enemy is a multi-generational family comedy about three generations of the same family going through their own version of puberty at the same time. The title comes from a joke Jordan's dad loves to tell. You'll have to listen to the table read to hear it. Common Enemy was developed for ABC Signature. This is a great network family show that totally pushes the envelope of what you can do in that space. It's a great script, with great energy. Enjoy it!Common Enemy stars Beth Dover (Orange Is The New Black, Another Period), Antonio Raul-Garcia (Brooklyn 99, Minions), Zainab Johnson (Upload, Hijabs Off), Nancy Lenehan (The Boys, Veep), Emma Shannon (Righteous Gemstones) Olivia Sui (Smosh, Do Revenge), Keith Szarabajka, (Fargo, The Dark Knight), Jonathan Tucker (Westworld, Kingdom), with stage directions by Andrew Reich. For more Dead Pilots Society episodes and information about our live shows, please subscribe to the podcast!Make sure to like us on Facebook, follow us on Instagram, and Twitter, and visit our website at deadpilotssociety.com
Lisa Selin Davis, author and journalist. She has written two novels, BELLY and LOST STARS, and the nonfiction book TOMBOY: The Surprising History of Girls Who Dared to be Different. She has written for The New York Times, The Washington Post, Time and many other publications. HOUSEWIFE: Why Women Still Do It All and What to Do Instead is her latest book. Lisa Selin Davis delves into her book, 'A Housewife: Why Women Still Do It All and What To Do Instead', examining the modern concept of housewives. She discusses its historical roots, its impact on families and policies, and shares her own challenges balancing career and family. Davis advocates for structural changes like universal childcare and paid family leave, alongside a societal shift towards valuing interdependence. She emphasizes community support in parenting, including the role of institutions like churches and mosques, stressing the need to redefine the American dream. Follow Lisa on Instagram: www.instagram.com/lisaselindavis Follow Lisa on X: https://twitter.com/LisaSelinDavis Follow Erin on Instagram: instagram.com/feminist.mom.therapist Learn more about Erin Spahr: erinspahrtherapy.com Introducing the Inclusive Provider Directory! It is free for families to search. Providers can become a member and create a profile, as well as accessing a number of additional benefits. Friends of the podcast get $30 off the first year of their annual membership with code FEMINIST30. Support the podcast with a monthly donation: https://podcasters.spotify.com/pod/show/feministmompodcast/support Please note: The information provided on this podcast is for educational and entertainment purposes only. The content shared here is not intended to be professional medical advice, diagnosis, or treatment. This page may contain affiliate links. --- Support this podcast: https://podcasters.spotify.com/pod/show/feministmompodcast/support
Mitch Messinger is an award-winning publicity executive with nearly three decades of experience in the entertainment industry. As the founding president and CEO of Messinger Media Management, LLC, Mitch has demonstrated his prowess in creating and executing innovative campaigns across traditional and new media platforms. With a proven track record in domestic and international TV and film PR, Mitch boasts extensive connections within the industry, including press, producers, talent, studio executives, and more. In recent years, he served as an international publicity consultant for LIONSGATE+ as well as covering prestigious events like the Primetime and Daytime Emmys. Additionally, as a vice president at MARC Global Communications, Mitch has lent his expertise to campaigns for prominent clients such as Byron Allen's theGrio and the John and Lillian Miles Lewis Foundation. Prior to these roles, Mitch held key positions at FOX Entertainment and ABC Entertainment, overseeing publicity campaigns for acclaimed series like “Next Level Chef,” “ Call Me Kat,” “Alter Ego,” "The Goldbergs," "Dancing with the Stars,” “The Bachelor” franchise and "General Hospital." A distinguished alum of Syracuse University, Mitch is deeply involved in his alma mater's alumni community, having served as a board member of the national alumni association and co-president of the Syracuse University Alumni Club of Southern California. Beyond his professional achievements, Mitch is a devoted family man, residing near Los Angeles with his wife and college and high school-age children, and is an active member of industry organizations such as the Academy of Television Arts and Sciences and the Publicist Guild, IATSE Local 600. He won 1st place for CableFax's Faxies Awards in the "Press Kit" category for his work on ABC series “The Goldbergs,” “Schooled,” and “American Housewife.” In addition, he was a nominee for the Publicist Guild's Maxwell L. Weinberg Showmanship Award for “Best Television Publicity Campaign” for ABC's “Speechless."Watch the Podcast on YouTube | Read the DiariesHost, Author of Diary of an Actress,. Executive Producer: Rachel BailitEditor, Producer : Max BugrovYouTube: @diaryofanactresspodcastInstagram: diaryofanactresspodcastTikTok: @diaryofanactresspodcastFacebook: diaryofanactress
This week, Abby and Luz take a closer look at the funny fat person trope. Why do we associate fatness so closely with comedy? What is so funny about fat people anyway? And how does this manifest in media representation and our real lives? Support us on Patreon: https://www.patreon.com/morethantracyt Find us on Instagram, TikTok, Threads, and Twitter @morethantracyt! Abby's Instagram: https://www.instagram.com/abbyrosemorris/ Luz's Instagram: https://www.instagram.com/sillygooseluz/ Sources: https://www.theguardian.com/commentisfree/2022/jul/29/is-there-a-single-comedian-out-there-not-fatphobic-apart-from-me-of-course https://tvtropes.org/pmwiki/pmwiki.php/Main/FatComicRelief https://www.psychologicalscience.org/observer/the-science-of-humor-is-no-laughing-matter https://www.scientificamerican.com/article/whats-so-funny-the-science-of-why-we-laugh/ https://www.chortle.co.uk/correspondents/2022/07/01/51074/why_fat_jokes_are_ok I can't link this one so I'm just citing it: Hole, Anne. (2001). Belly laughs and gut fears: the fat female body as site of comedy [Unpublished doctoral dissertation]. University of Sussex. Melissa Zimdars (2021) American Housewife and Super Fun Night: Fat Ambiguity and Televised Bodily Comedy, Fat Studies, 10:1, 50-63, DOI: 10.1080/21604851.2019.1643664
On this week's episode, we have actor Jamie Kaler (My Boys, Tacoma FD, Robot Chicken and many many more) and we talk about his career path as well as his experiences doing stand-up. There's so much more so make sure you tune in.Show NotesJamie KalerIMDB: https://www.imdb.com/name/nm0435695/Jamie Kaler on Wikipedia: https://en.wikipedia.org/wiki/Jamie_KalerJamie Kaler on Instagram: https://www.instagram.com/jamiekaler/?hl=enJamie Kaler on YouTube: https://www.youtube.com/user/jamiekalerA Paper Orchestra on Website: https://michaeljamin.com/bookA Paper Orchestra on Audible: https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon: https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads: https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptJamie Kaler:He goes, Hey, just so you know, when you do watch it, we were running long for time. So we cut the tag. I go, you mean the reveal where I kissed the woman? He goes, yeah, we ran out of time and we cut it. I go, then everything I did up to that moment has no justification whatsoever because this is the craziest thing. He goes, I know. He goes, what are you going to do with tv? I go, all, whatever. And I moved on and I was like, couldn't care less. ButMichael Jamin:You are listening to What the Hell is Michael Jamin talking about conversations in writing, art, and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase And to support me in this podcast, please visit michael jamin.com/book and now on with the show.Hey everyone, welcome back to another episode of What the Hell is Michael Jamin talking about? Well, today I'm talking about acting with my guest, Jamie Kaler. This guy, before I bring him on this guy's credits are crazy. He works a lot and so I'm going to blow, yeah, blow through. I'm going to do the abridge version. If not, we'll be here all day, but I'm going to go way back. I'm on IM db now. I'm only doing the ones that I decide are highlights. But Jag, he's been on Fringe Friends. Suddenly. Susan Carnival, third Rock in the Sun, king of Queens, grounded for Life, married to the Kelly's Arrested Development, Spanglish, seventies show. What else Will and Grace, the Family Stone? Who remembers that? Monk New Adventures of Old Christine Sons and Daughters. How I Met Your mother, my boys. We know 'em from that. And then did I say Parenthood? Did I say shake it up? Did I say Austin and Allie? Did I say Teachers of the Year? I don't remember. I'm skipping crazy Ex-girlfriend. Jesus, dude. It doesn't end the middle Dads in Parks. Oh, we'll talk about that. Heather's robot Chicken. American Housewife. Most recently Taco fd where my partner and I created the character of Polanski. Jamie, that was exhausting. Are we done with the interview now?Jamie Kaler:Honestly, it was so much fun being here, man. All right, everybody, take care. See you later.Michael Jamin:That was such good advice. Sorry, you guys all missed it. Dude, you've been around. How did you get into acting? How does someone get into acting? By the way,Jamie Kaler:People ask me nowadays, and I go, dude, it's nothing. I mean now it's like don't even move to la just start a YouTube channel in upstate Minnesota and try to blow up. And then once you have a following, then you're set.Michael Jamin:But we were talking about on your podcast, the parent lounge, but I know you think it's like a burden, but I think it actually works in your advantage to you, to your advantage because you're really good at it. You're good. You have a great social media presence. You're quick on your feet. It seems to me this, even though it requires more work for you, it actually works in your favor. No,Jamie Kaler:You mean social media doing it this way? Yeah, of course it is, but I already did it. So now I'm kind of the same way that I used to go buy wigs and glue on mustaches and actually lit myself on fire on stage at Acme Comedy Theater when I was doing crazy shows on Friday and Saturday nights in the nineties with that fervor of what are we doing today? We're going to Goodwill, we're going to get some costumes, here we go. And I remember renting equipment, trying to shoot shorts and trying to clerks, and Ed Burns had made the brothers McMullan or whatever, and it was like, come on, we're making film. It was super hard and it was painful and it was costly. And nowadays you can do it with your phone. But I'm older, I don't quite have the drive. I also am watching two little kids.So the time in the day is where I used to go, this is my day. I'm going to go do this now. I'm like, I dropped the kids at school. I had to go to the cleaners. I taking care of the two kids. I got to pick them up. I'm coaching soccer today. So yes, I will say though, especially watching you and you're a writer, but now you have to become a social media guru to get people to see what you've created and you're an artist. But nowadays, gosh, I was posting something this morning about the pregnant pause is gone pretty soon. Humans are going to evolve where the eyes instead of side by side are over the top of each other because horizontal's over everything's vertical. We need to flip our eyes. And years from now, no one will take a breath because we've dictated that. The breath makes people lose attention though. You can take a pause. People goMichael Jamin:Done. IJamie Kaler:Can't. He took a breath. I can't.Michael Jamin:Yeah, I mean, here's the thing. So I just had this conversation yesterday. I dropped an audio audiobook, and so some woman said I was doing a live, she goes, oh, I bought your audiobook. I love it, but I listened to it on one and a quarter speed. But I'm like, but when I take a pause, it's because I want to put a pause there. I want to give you a moment to soak it in. It's not arbitrary.Jamie Kaler:I wanted to take a Richard Pryor act from his comedy special and cut all the air out of it. And so you would take a 50 minute, one hour special where there's a groove. He's in the moment. It would be like if you took Buddy Rich and you took all the space between the drum beats out. You're like, a lot of the art is in the space, and we have forgotten that. And now it's like it's a machine gun or people's brains shut off.Michael Jamin:This is something when we're shooting a sitcom, often, we'll tell the actor, make sure you hold for a laugh here. Hold for the laugh. You will get one. Yeah. What do we do about this?Jamie Kaler:Well, I don't know because I was watching, have you watched Show Gun?Michael Jamin:No. Am I supposed to watch that?Jamie Kaler:It's new. It's based on the book. Oh my gosh, it's glorious. I had never read the book. 16 hundreds. Futile Japan, A simple, brutal, vicious life of it's gorgeous. They had a full society. It's like the 16 hundreds. Wait,Michael Jamin:Where am I watching this? What can I get?Jamie Kaler:It's on FX and on Hulu and Portuguese and Portugal and England are the two powerhouses on the earth, and they are at war, and they're basically fighting for ownership of the east, even though the east are, they're like, wait, we're here. No one's going to own us. So it's all about that, but it's just this beautifully, I mean, it's like art. It's like going to the museum, seeing this story unfold, but people's brains nowadays, some do just riddling. 30 seconds of garbage on TikTok will get a gillion times more views than that. Because I talked to somebody who said, Hey, have you seen Shogun? Someone's like, oh, it just seems slow. And I was like, it's one of the greatest stories of all time. It's one of the bestselling books of all time. It's history and gorgeous and art, and it's beautifully shot. And they're like, ah, boring. I don't have time for that crap.Michael Jamin:We have, right? So what do we doJamie Kaler:If everything accelerates? There has to be a point where the human brain, it's like when they go, oh, this TV's 4K, and you're like, dude, I'm in my fifties. I can't even see 5K. I can't see any K anymore. It's like so resolution. It doesn't really matter. At some point your brain can't acceptMichael Jamin:It. Well, worse than that, so my TVs, I have a nice plasma plasma, but it's probably 15 years old at a cost a fortune when I got it. But the new ones, the resolution's so clear, it kind of looks like you're watching a bad TV show. You know what I'm saying? You watch a expensive movie and it looks like it's bad TV because I'm seeing too much.Jamie Kaler:The human face is not supposed to be seen with that much resolution. You see people and you're like, oh, that dude had a rough nightMichael Jamin:Where youJamie Kaler:Used to be able to hide it, and now you're like, no, no, no, no.Michael Jamin:Right? But then now have you had these conversations with your agent and your managers, or is this just when we were talking about building your social media following, are they telling you this or are you just like, your friends are doing it now? I got to do it too.Jamie Kaler:You mean why try to build this? Well, it's also, listen, it's funny because my wife will give me grief sometimes, and she goes, your stories are too slow. Which is crazy because I'm one of the fastest speakers who's ever lived. Sometimes when I'm working, people go, you need to bring it down a little bit. But on social media, if I don't want to sit and take a 92nd video and edit it down to a minute to take out the 30 seconds of pauses, because some guy, but that's the dilemma. Everything's the lowest common denominator. The jokes are I see something that blows up and I go, that was a great joke when George Carlin told that in 1972, and it was really well written and scripted, and now you've kind of bastardized it and you've put it into a ten second with no, your speaking voice is intolerable. But I get it, that's what people want. They're scrolling through and you're like, that's how it works. So I'm also a dinosaur man. It's like my daughters are 10 and they're already do flying through stuff. I mean, I don't know how to stop it.Michael Jamin:Do you know people, I mean, obviously back in the day when you'd go to auditions now everything's you submit. But back in the day, I'm sure you were going to audition and they're the same 10 actors that you would see trying out for the same part. Do you think they're doing the same thing that you're doing building of social media presence?Jamie Kaler:Well, I think you have to. Nowadays, honestly, I see that the social media presence, it is number one, you don't have to go learn how to act. You don't have to learn how to be a standup comic. You don't have to learn these skills and slowly build your way up the top. You do it because you're a personality. People are intrigued, not by people who are, they're intrigued by humans. It's a voyeuristic thing, I think, where people are like, you'll see somebody and they're just talking to camera. They're not even good speakers. There's something off. There's a crazy story. And maybe they've just been doing it for 15 straight years and built up a following and put some money behind it, put some ads, made sure they got some clicks. Maybe they bought a few followers, and you're like, but the craft, the art of what you do as a writer. I mean, is it slowly falling? But that's the problem nowadays with my kids, we just got the report cards and really good grades, but you can see on the standardized test, they're reading is starting to slip because kids don't read. It's too slow for them. Their brain is like, well, they just can't slow. People cannot slow down anymore. And it's Where does it goMichael Jamin:From here? I dunno, but I have to say that. So a lot of this is, I don't think this is coming from producers. I was on a show a few years ago, maybe let's say 10 years ago, and the studio or the network rather wanted us to cast a guy with a big social media following for this role. And I'm like, wait, really? Why? What about an act? Can we just get an actor? This Hollywood? Aren't there actors everywhere? And it's because networks are having a hard time marketing their show. And these people with followings, they can market their own show.Jamie Kaler:Kevin Hart. I mean, I remember something. They were like, well, you're going to post about the movie. And he's like, if you pay me, and they were like, why would we pay you? You're in the movie. He goes, yeah, you paid me for my acting services now you want me to be your publicist. If you want me to publicize this film, you will pay me for it because I accumulated these 50 million followers on my own. Why would I just give it to you?Michael Jamin:But here's where I'm curious about that though. I'm not sure if he doesn't post, I get his point, why should I do the marketing as well? But if he doesn't do the marketing, it'll hurt him for his next movie because it won't perform as well in the box office. You know what I'm saying?Jamie Kaler:Yes. It's a double-edged sword. But I also think he doesn't care.Michael Jamin:HeJamie Kaler:Doesn't care. He doesn't care because he has that following. He will, and they'll put it into the budget. I'm sure the agents and managers are like, all right, so this is his money that you're going to pay him. This is part of the marketing fee you're going to. And listen, I totally understand it. I'm sure I've lost parts because people have gone over to go, his following is not as big as this guy. At the end of the day, could a ton of other people played Polanski? Absolutely. Would they have huge followings? Yes, of course. So I feel lucky anytime I get a job to promote it, I feel like I'm qualified for that job. But I also know it's, you look back at the history of film and Philip Seymour Hoffman died, the five projects he had ready to go, they just replaced him.He's arguably one of the greatest actors of our generation. Nobody missed a beat. So are we all replaceable? Absolutely. Are we lucky to be in the business? Yeah. I mean, I would argue writers are more necessary because you're creating the project to start with. But as an actor, unless you're Daniel Day Lewis or somebody who's that crazy of a craft, then it's about chemistry, I think. Anyway. But you have to, those people are trying to get their films out, and so there's so much white noise on a daily basis that to cut through that, they're like, well, if this guy has 5 million followers and he puts up one post, what they don't see is that only 3% of those 5 million people even see. But thisMichael Jamin:Is where I think the studios and the networks have really screwed up royally, is that they haven't figured out a way to build their own brand. So my wife and I will watch a movie or a TV show, we'll get halfway through it and all the night, we'll say, let's watch the rest tomorrow. Almost all the time. I forget where I watched it, and now I have to search, was it on Netflix? Did I watch it on Amazon? Where did I watch this? Because there's no brand anymore without a brand. They can't market their shows. They have to rely on other me and you to market their shows. It puts us in the driver's seat, not them. This is like a major blunder on their parts, I feel.Jamie Kaler:It's not just them. I'd say standup clubs, back in the day, you did a bunch of shows. You finally put a tape together, you sent it to a club. The club had a following, the club had the following. And you knew if you went to that club, you were going to see Richard, Jenny, Brian Regan, Jerry Seinfeld, you knew these guys. Whatever show you went to, you were going to be surprised, but you'd be like, man, those guys are really funny. Nowadays, the club is literally a rental space that you bring the following to. That's why they book influencers who have millions of followers, and then they get on stage. And I guess some are good and some maybe don't have, it's a different skill levelMichael Jamin:When you go, do you still perform comedy standJamie Kaler:Up? I do. I used to tour a ton before the kids, and I was on the road all the time. And then once the kids were born, I didn't really want to do that as much. So now I stay home. So I kind of cherry pick gigs to go out for. And the road's a lot different, I feel like, than it used to be.Michael Jamin:So do you feel the quality of the standups, they're not quite as good anymore? Some people are, would you sound like old men? Which one is it?Jamie Kaler:Absolutely. And I say that all the time. I'm a dinosaur. But I will say that maybe the skill nowadays is not being a standup comic, but being a social media manipulator. And I mean that it's always been the skill. People used to hire publicists even back then, and I never did. And they'd be in People Magazine and I'd be like, what's the point of all that? And then as I got older, I was like, oh, fame allows you to do the jobs you want to do. That's really the trick. But I mean, to be Tom Cruise, I never wanted that because that dude can't leave his house. He can't just go to the supermarket, can't go to a park. I never wanted that. But that makes him and DiCaprio, those are the guys that are Johnny Greenlight. They get the first choice of scripts. And so they are allowed to do these amazing jobs that because how many people do you think nowadays can sell a picture?Michael Jamin:Oh, yeah. I mean, that's the whole thing. Or can open, I don't know. Do you think it's more or less, I guess I would imagine it's probably less now. I mean, because celebrities changed. What do you think?Jamie Kaler:I think the era of the movie Star is over. IMichael Jamin:Think Tom CruiseJamie Kaler:And Brad Pitt and DiCaprio, are they going to be the end of, and Damon are going to be the end of it? I mean, no. You see one of her on Netflix and it's like a TikTok, Charlie Delio. I haven't seen it. Maybe she's a wonderful actress. I don't know. But you go up through that ranks and all of a sudden you have 12 million followers or whatever, and then you could sell, I mean, it's Kardashian really was, we all gave her grief, but in retrospect, they were the smartest people in the room. They saw it coming to their credit and made a gillion dollars off of it, whether that's what you want to do with your life. But my kids kids want to start a YouTube page and a TikTok, and I'm like, she's 10. She's 10 years old. That'sMichael Jamin:Too soon.Jamie Kaler:Yeah. I mean, can everyone on earth just be, can we keep an economy running if everyone's just an influencer? I don't know.Michael Jamin:Well, there's the big question, right? If everyone's trying to, yeah, IJamie Kaler:Mean, look at what you're doing. You wrote a book, you sat down, probably took quite a while. It's a very good book. Thank you. I've read it and it's like, but the point is, almost everybody's wrote in a book now, and everybody's a standup comic and everyone's a performer. And back when I did it, it was like people were like, oh my God, you do standup. I'm would never do that. I'm terrified now. I'll be it like a supermarket. And some woman's like, some grandma's like, oh, I do stand up every Tuesday night at retirement home. And you're like, it'sMichael Jamin:Not. But I also feel like you're reinventing yourself, though. I mean, that's got to be exciting and interesting. No, orJamie Kaler:Of course it is. Of course it is. I do listen. I love doing it. And everyone else, it's a love hate relationship because I'll think of something immediately, I'll put together a little funny bit that I, it's like a standup bit or something, and then I'll be able to share it with all my fans and they will respond accordingly. And you're like, oh yeah, this actually is a pretty good, I just also think we're the learning curve. We're the first generation to go through all this.Michael Jamin:Wait, let me tell you how I hoard myself out this morning. So I wondered, because I'm posting a lot to promote my book. I'm doing a lot of lives, and I'm like, I see other people do lives, and I'm not sure what that magic is. They're cooking eggs or whatever. Are we watching this person cooking eggs? Is this right? So I'm like, all right. I told my wife, today's pushup day. So I'm like, all right, I guess maybe I'll just do pushups and people will that work. And I did pushups on live and I don't know, 20 people watched. And I was like, I felt kind of stupid about the whole thing, but people were watching, I don't know, is this what I got to do now,Jamie Kaler:Pushups, I fear it is. If that's what you want to do for a living, I think this is, if you want to be in this business, I think that's the necessity of it. To be honest, I'm not sure I would've ever signed up for this if I knew, although when I was younger, I probably would've like, Ugh, I would've been Truman shown the wholeMichael Jamin:Thing, right? But you wouldn't.Jamie Kaler:I do wonder, my kids, I think they were at their friend's house or something, and they Googled me. They told me, and they're getting to that age, and I'm like, uhoh, what did you watch? And they watched some crazy video I did where I said something stupid or whatever. And I don't know if every moment of our lives is supposed to be captured. I don't know what the answer is. I have such a love hate certain days. I wake up and I go, even this morning I was telling you I was writing a bit about something or other. And then another day I'll wake up and I go, I don't want to do any of it. I just want to go golf. And that was the beauty. I became an actor because it was the easiest thing. I worked hard to become a good actor. I took classes, worked on my craft, but I wasn't, I wasn't on 24 7 trying,Michael Jamin:Tell me if you feel this way, because if I don't, I try to post almost every day. And if I take one or two days off, that turns into three or four. You know what I'm saying? It gets easy not to do it.Jamie Kaler:Of course, of course. But do you feel guilty after those two or three days? Do you have any guilt or do you actually go, oh, what am I doing? This feels great.Michael Jamin:Yeah, it is mixed like you're saying, but a lot of it is like, this is my job. This is how you get a book out there. This is how you can, I work so hard not to work. You know what I'm saying?Jamie Kaler:I'm working harder now than I ever did when all those credits were being made. Yeah,I would bust my ass. I would get ready. And also acting is about physicality. I would make sure I was in shape. I'd work out, I'd do all this stuff, and then I would go either do an audition and then there'd be downtime, and you'd be like, all right. All right. And then you'd kind of ramp it up again. Now it's like just constant blinders on of, and then the problem also I see is the follow-up. When you performed on stage, you either got to laugh right then and there, and you moved on. But now my wife, we have long conversations on Instagram as well.Michael Jamin:What does she do? What does she do on Instagram? What does she, I don't even know what does, sheJamie Kaler:Works in the pharmaceutical industry.Michael Jamin:So why is she, oh, I think you told me. Why is she on Instagram? Oh, does she post on Instagram?Jamie Kaler:She posts, but she has her own page, and then so she's very specific about it. She'll edit and quiz me and I go, do you want to hear my, I don't care. Nobody cares. Just post it. But it's like, well, what do you think this picture or this? I go, nobody cares. What song do you think this song? Is this song saying too much about me? Or should I feel like maybe I should use it? Should it just be instrumental? I go, okay, I don't care. The trick is to post and walk away. And then people will, for the rest of the day, scroll, because it's the dopamine of like, oh, so-and-So ooh, did you know? So-and-So just like that post I put up this morning, I don't know where this ends, but I find that some days if I just do something physical where I'm digging in the garden in the backyard, it's the greatest three hours of my life where I'm like, I didn't think about anything. I don't know. I don't know where it ends, but yeah. But we're also too, get off my lawn old guys who are like, why? You might have kids,Michael Jamin:But how much time do you think you put on social media every day, either way that you're working on or thinking of working on it or whatever?Jamie Kaler:Well, so I wasn't really, I never cared. I never cared. It was just recently that I've started to make an effort during the pandemic kind of destroyed me. I stayed with two kids. I had a kindergartner and a second grader, and my wife was working 12 hours a day. We have an office in the house where she was gone. Oh, wow. We didn't see her for 12 hours a, and I think part of it, she was hiding because it was the pandemic. We also having construction done on the house, it was arguably the worst time in my life. So I was trying to maintain the kids. So I printed out schedules. I made them put their school uniforms on. I took two desks. I set them up on opposite ends of the house. They were doing it on Zoom, but one's in kindergarten and one's on second grade.So they weren't old enough to really go. I got it at nine 40. They'd be released for recess. I'd have to get them snacks at 1130. It was lunch at two 50. School ended, and then we were trying to maintain sanity. So I started this kind of parental mental health zoom at night. And obviously we were drinking extensively pandemic mental health, but drinking, it was mental health, and we were sipping hardcore and sharing horrible stories. And so it grew into this. I started this thing called the Dad Lands, and it just grew. It was just Zoom. It wasn't even a podcast or anything. And that kind of caught on. I mean, there were guys, I was like, dude, don't kill yourself. We're going to get through this thing guys. Were hanging on by a thread. And we made ourselves all feel better because we were seeing that everyone else was going through this nightmare.And that eventually grew into the Parents Lounge podcast with my other buddy who was in it. He was doing Dad Apocalypse. I was doing Dad Lands. We started a podcast. I'm not a promoter, so I really love doing the podcast. We were doing it live. You've come and done it. The parents lounge, it's super fun. It's a parental mental health night. I've kind of laid off the sauce since then, and all of a sudden it kind of grew into this thing, but we never marketed it. We would just throw it out there and then the other dude would put it up on iTunes, but we wouldn't even put a post of like, Hey, Dave Ners on this Monday. Nothing. Just threw it in the ocean, because I don't want to be a marketer. I didn't move to Hollywood to be a publicist. It's not what I do.So finally, we're at the crap or get off the pot phase of look, we have a pretty good following, considering we haven't put one ounce of work into the promotional part of it. And so finally, everyone's like, look, dude, you either have to become a promoter or you are wasting your time. You need to monetize. We could do some live gigs here and there, but all of a sudden ruffle came in, Justin ruffle was our partner in this thing. And all of a sudden everyone's like, all right, so I committed. I'm committing to trying like you with a book where I feel like we have a really great product. How do we get people to see it? And you're like, this is the way to do it. So we went out and I enjoy stuff like this where we have conversations and we get in depth on stuff. But as far as just constantly putting up a story with a link to the podcast to do this and stuff, well,Michael Jamin:That you can outsource, that's easy. We'reJamie Kaler:Outsourcing it. And so we finally started outsourcing it, and I hadn't outsourced it at all, but it's like I equate it to the Gold Rush. It's like the people who really got rich during the Gold Rush where Levi Strauss and Woolworth and the guys who sold the Pickaxes. So at some point, I should become the outsource guy or something. But yeah.Michael Jamin:Do you see, okay, what are your aspirations with the show? What would you like it to become, if anything?Jamie Kaler:So I love doing the show. I would love a strong following where we've kind of branched off to do other stuff. But honestly, live shows. We have done a few and we're starting to book more. And then to monetize it to a degree, once you start putting all the work into it, you're like, well, maybe we should at least see something. But theMichael Jamin:Live show, you have to produce, you got to bring in equipment mics, you've got to mix it. No, justJamie Kaler:Literally as comics, we show up. I can't tell you the last time I soundcheck, ohMichael Jamin:Wait, wait,Jamie Kaler:We're doing the podcast live. You're talking about, but we do it as here's the beauty of what we do. We're already standups. That was a headline in comic touring the country. I did Montreal Comedy Festival. I've been on late night tv. So for me, that's the easy part. When I used to do standup, it was never about the show. It was more I would peek out and go, is anybody here? And the smartest guys on earth were s, Agora Rogan, Cher Joe, coy, who not only were great comics, but they were also really good at marketing themselves. And so those guys were doing mailing lists for 30 years and building, and I wasn't. I would go sets went great, crush it, and then go have a couple cocktails at the bar. I didn't have kids either. I didn't really care about trying to blow it up. So it was never about the show. It was about getting eyes on it. And I feel like that's where we're at now. We have such a strong, every time we go do it, we crush live. And the question is, how do we get other parents and people to go? This would be a great show to come to. That's really the marketing part of it.Michael Jamin:The tour as Right? Is it all, so it's improv or is it scripted, or what is theJamie Kaler:Show? We have acts, I have two albums on iTunes.Michael Jamin:Oh, okay. So it's a comedy show show.Jamie Kaler:It's a standup comedy show that the Skis is a podcast, really. And we would bring our guests with us, maybe we talked about having Lemi and Heffernan come out and do the podcast live with those guys, but it would be billed as the parents lounge live with these special guests. But it's really a standup show for the audience with under the guise of a podcast. And we have bits and we would do improvisational stuff set up and questions with the audience, for the guests and for everybody else. But we just did, and we did it in Sara, Pennsylvania in the fall. And it was like two hours of just, I'm not even sure I touched that much of my material. We were, we were riffing hard, but we always had the material to step back on. It's like that's my favorite is you have these tracks, but you get off the tracks, you fool around. And if all of a sudden it starts to lag a little bit, you go, all right, here's some bits and then bring 'em back in.Michael Jamin:You are listening to What the Hell is Michael Jamin talking about? Today's episode is brought to you by my new book, A Paper Orchestra, A collection of True Stories. John Mayer says, it's fantastic. It's multi timal. It runs all levels of the pyramid at the same time. His knockout punches are stinging, sincerity. And Kirks Review says, those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft, will find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, come check out my book, go get an ebook or a paperback, or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book. And now back to our show.I mean, I don't know. I see people doing it online. I'd be doing exactly what you're saying. They take their podcast on the road and somehow, how do you think they're selling tickets though?Jamie Kaler:Because their followings are so strong that people, a lot of times also, I see these shows, and to me, the shows, I go, there's no show here. It's just this guy showed up. It's basically a two hour meet and greet. But honestly, that's what some people love. They don't even care. They just want to be in the same room. The guy will tell a couple stories, they'll play some bits on, they'll play bits on a screen and make it a show and they'll record the podcast live. But people are so enthralled by people chatting, I really missed my window. It really was my strong suit back in the day of just riffing and going along with stuff and being in the moment and chatting. But podcasts wasn't happening. And at the time when podcasts started, I was like, are we going back to radio? Why would people listen to podcasts? I was shocked. And yet offMichael Jamin:They were. But your brand is, you're trying to aim it towards parents or men dads, is that right?Jamie Kaler:Well, it's all parents and no, we've toured with moms. We usually take out moms. We've had Tammy Pesca, Kira svi on the show, Betsy Stover. We just had Nicole Birch. I mean, I think you need a mom's point of view. So when we do live shows, we typically bring out a mom as well with us.Michael Jamin:But you're talking, but is the focus basically on kids and parenting?Jamie Kaler:It is to a degree. But I also, sometimes we'll watch some of those shows and it's like sometimes parents don't want to talk about kids, so we kind of go where we go, and it's about life. The whole thing was trying to get people to understand that you see Instagram and you think your life. You're like, why isn't my life like that? The point of our podcast is really to go, nobody's life like that, dude. I mean, when's the last time you met someone who just was not absolutely full of shit? Have you met anybody who's not just full of shit? Anyone? Well,Michael Jamin:The thing is, especially in Hollywood, a lot of people were trying to hype themselves up. And I discovered early on, this is 30 years ago, that was the people who were talking most about their career really had nothing going on. And the people who didn't talk about it, they didn't talk about specifically, they didn't want people to hit 'em up for a job.Jamie Kaler:Know what I'm saying? And I said that exact 0.2 days ago, I was talking to Lori Kmar and she was just saying the same when I got here, if you were the one who were like, look at me, look at me. People were like, that guy's a loser.It was almost, and then all of a sudden, humble, I blame it on humble brag, humble brag. Do you remember hashtag Humble brag? That was the first one where people, it's really just a brag. You see humble, but you're really just bragging. But back in the day, I remember doing Friends and Will and Grace, and it was big. It was big. And I really didn't tell anybody. People would come in and talk to me and go, dude, were you weren't friends last night. And I was like, I was. And they go, why wouldn't you tell us? And I go, it seems dirty. I felt dirty bragging about what I was doing. But nowadays, if you're not constantly brag, brag, brag, brag, brag. People are like, well, I guess he doesn't have anything to promote.Michael Jamin:Yeah, I remember even just people, I'm in the business, they'll say, so humble to accept this. I'm so humbled to accept this award, whatever, where they might've been in sales or whatever. It's like, but you're using the word humbled wrong. That's not what humbled humble means. You're literally bragging.Jamie Kaler:I feel that way every time when I'm acting and the director goes and cut, that was perfect. We're going to do it again. And I go, you're using the word perfect improperly. Perfect means there's nothing better. I think that's exactly the meaning of perfect. And you're not using it correctly. I knowMichael Jamin:One of the things that I always get, this is my pet peeve about being a writer. You'll turn in a draft of a pilot you've been working on for months, and you just turn it in and then they'll say, great. We're setting up a notes call for Wednesday. Isn't it possible you love it? You know, don't like it? You already know there's something you want change. It's likeJamie Kaler:You didn't even read the title and you're like, I have notes.Michael Jamin:I have notes. Of course you do.Jamie Kaler:Well, listen, if they didn't have notes, they wouldn't have a job. And so I think they're like, well, I mean, we have to find something wrong with this thing. They would get the screenplay for the sting and go, I mean, does the guy have to have a limp? I don't get the Robert Shaw limp. It's like, dude, can you just go, this is pretty great. And also you're not a writer. It's not what you do.Michael Jamin:It's hard to, now you're killing me.Jamie Kaler:I did a show one time, I won't say the name of the show, but I did a show. It didn't go anywhere, but my character is a car salesman. I see these two guys come into the showroom and I want to sell them a car, and I think they're gay, so I pretend to be gay. This is of course, back in the time when I guess you could do that without being canceled. So I act gay to them to get them to buy the car, and we're going to be friends and stuff. And at the end of the episode, my character then kisses a woman who's another salesperson as the reveal. He's not gay. He was doing it to do that, whatever. So all week, all week, the studio execs keep coming over and they go, dude, you got to gay it up. You got to amp it up. We are not getting the joke. You have to play this extremely gay. And then they would walk away and the showrunner would walk over and go, dude, I want you to play it dead straight. I don't want you to play gay whatsoever. So after every take two people kept coming over, giving me completely opposite notes, and I didn't know who.Michael Jamin:Wait, I a little, go ahead, finish your story because I want toJamie Kaler:Jump on it. So I'm in the middle. I'm doing it. I'm not pleasing either of them, right? I'm right in the middle of guess, maybe a little after. I don't know. And I have played gay characters numerous times in tv, and usually I don't do anything. It doesn't have to be that way. And so I would play it dead straight. And so the show goes, it's a train wreck of a week. I'm just getting eviscerated on both sides of like, I'm not pleasing anybody because I'm trying to ride the line in the middle of between these 2 180 degree notes, whatever. It's a train wreck. We finished the shoot, I'm miserable. I run into the showrunner maybe three months later and he tells me, oh, he goes, Hey, just so you know, when you do watch it, we were running long for time. So we cut the tag.I go, you mean the reveal where I kissed the woman? He goes, yeah, we ran out of time and we cut it. I go, then everything I did up to that moment has no justification whatsoever. I goes, this is the craziest thing. He goes, I know. He goes, what are you going to do? It's tv. I go, all right, whatever. And I moved on and I was like, couldn't care less. But you're like, again, art, you wrote something. Your brain had this beautiful story you wanted to unfold. And then commerce and everybody has to prove that they're part of the mix and they can't be hands on.Michael Jamin:I'm very surprised that you got notes directly from a studio executive. That's inappropriate. They're supposed to go through the director. IJamie Kaler:Thought the exact same thing. And people, it's not how it worked. They came right up to me. Oh, I've had that many times. I've had studio people talk to me all the time. Yeah, well, also, I wasn't a star. I was a guest.Michael Jamin:Yeah, but still you're not, first of all, the DGA can file a grievance over that if they were to complain the DGA, I think that's part of the thing. But here's how I would've, if I were you, this is what I would've done. I would've done one take over the top and one place straight. Okay, I'm going to do two different takes, two different. And you decide later which one you want to use.Jamie Kaler:I think I did do that to some degree. I don't think I said it out loud about you have fun and edit, and also you as a guest star. It's the greatest job, but it's also the worst job. It is. These people have been locked and loaded. I did friends the week I did it, they were on the cover of Rolling Stone. They'd been burned in the press when they spoke. They weren't outwardly mean to me, but they also weren't like, Hey, welcome to the, they spoke to each other in hushed tones away from, and I didn't blame them. They couldn't go to a supermarket. They were just famous beyond belief. But the set was tense, super tense because a lot riding, not a lot of money on this thing. The shoot was eight hours long after four, they got rid of the first audience, brought a whole nother audience in, and you start to watch the sausage get made and you're like, this is supposed to be fun and comedy, but sometimes these things are super tense.Michael Jamin:Yeah, yeah. So interesting. Do you have any experiences that were great sets that you love working on?Jamie Kaler:So many and listen, even that set the cast was great and friends was great. It was here was the greatest thing about doing friends, or even honestly Will and Grace. I watched Will and Grace, I watched the four of them. Dude, they were a machine combined with the writing staff and Jim Burrows directing. It was like a masterclass, the four of them. And they would rewrite on the fly, they'd do one take and almost rewrite the entire scene. And then you would, they'd go, Jamie, here's your new lines. And I did six episodes over the years and each time I went back it was like, you better bring your A game. Because they would change the whole scene. And they go, so you enter here now you say this and then he's going to say this and you're going to go and you're playing spinning at the four of them. Man, they were honestly maybe the best cast I've ever seen. Really. It was like a Marks Brothers. They just were so perfect in their timing. It was pretty impressive.Michael Jamin:I had Max Nik on my podcast a few weeks ago talking the showrunner. The funny thing is I was touring colleges with my daughter years ago, not that long ago, whatever. We were touring Emerson. And the tour guy goes, oh, and this is the Max Munic building. He goes, anyone know who he is? I'm like, max gave you a building. Yeah. Does anyone know who he is?Jamie Kaler:They were both great. And again, I was overwhelmed because I was so new. And my very first one, gene Wilder, played the boss. I'm the dick in Will's law firm, and I had only done a sitcom or two. And then I got Will and Grace out of nowhere on a crazy afternoon. It was supposed to be another big name guy. And he fell out at the last second. And I got cast and was shooting in the morning and I was terrified. And then I show up in Gene Wilders playing my boss, and I had to do a scene with Willy Wonka. I was like,Michael Jamin:No kidding.Jamie Kaler:By the way, I didn't start acting until I was 30. I was a Navy lieutenant.Michael Jamin:Oh,Jamie Kaler:Really? I was the US Navy. Yeah. That's why I played cops a lot. I was a Navy lieutenant. I got out at like 28. I hung around San Diego. Bartended had fun.Michael Jamin:Why did you get it so early? I think you're supposed to stay in forever and get a great pension.Jamie Kaler:Oh my God. It's like I'm talking to my father. My father banged me. I still have the letters. He and I wrote back and forth where I told him I was getting out and he was so pissedMichael Jamin:BecauseJamie Kaler:He was a pilot. My dad flew in World War ii, my brother was an admiral, and I got out to become an actor, and my father was just furious.Michael Jamin:Whatcha doing? You can one time.Jamie Kaler:Then I booked Jag. One of my first TV shows was, well actually my first show was Renegade with Lorenzo Alamas and Bobby Six Killer though, whatever his name is.Michael Jamin:I know I'm jumping around, but did you know Kevin and Steve before you got booked on? Yes. Yes you did. From whatJamie Kaler:I had done, we bumped into each other once a couple times doing standup. I was doing Thema or something, and then I forget how it's all blurry. I did their podcast, chewing it, and then just kind of hit it off with them. And then they came and did mine. And you talk about sets My boys was my greatest four years of my life. It was just, I met my wife, I bought a house. I was on a billboard on Times Square. We traveled the world. We shot on Wrigley Field in Chicago. I mean, it was glorious. Because of that, I started a headline clubs. It was just this like, oh, here we go. And it wasn't until Tacoma FD where I was on a set where, oh, people came early, people stayed late. You were almost going. It was like it brought you back. A kid being going to theater camp, going, well, here, I'm making a show. But again, as you know, it goes by the eps and number one on the call sheet and that dictates the tenor of the show tone. And they wereMichael Jamin:Both the same. Yeah,Jamie Kaler:Yeah. And those guys, that sets a family, literally everybody. And that's why you also have to be really careful. You can't say anything because everybody's related to everybody and they're all friends. And then Soder came and played Wolf Boykins. And I will tell you, I was super, I love those guys. But there's also a little jealousy of, I've always been a team sport guy. I love Sketch probably more than I like standup because there was something about being on stage with other humans and this chemistry. And then you would get off stage and you're like, can you believe how great that just went? There was this, when you would do standup, it's just you. And when you walk off stage, if you bomb or you crush, you own it. But when you are with a group, I love the group dynamics. Interesting to those guys credit the whole broken lizard.I wish I had the state. I'm jealous of those guys a little bit. Kids in the hall, when I first got out, I had an improv group in San Diego and we ended up doing, we got on the front page. I had been out of the Navy like a year. It was in this crazy improv troop, had no idea what I was doing. And there was three other dudes in it. And the comedy club, the improv, started to hire us to be the feature act. And we would get up. We had no mic, so we'd kind of eat it and then the headliner would come out and go, what the blank was that jackasses? And then do his standup act. But I always wanted that group. You have a comedy partner, you write, you partner. I like that more than the solitary thing. And honestly, to go back to the podcast really quickly, the parents lounge, we didn't have a team.We had no team. And so it wasn't until I brought Phil Hudson and Kevin Lewandowski and then Justin Ruppel and his guy Taylor. And all of a sudden I had a group of people behind me who were like, Hey man, this is a really great product. Let's go. So I guess I'm just a team guy. And when I got to that set at Tacoma fd, I'm so sad it's gone because I just, that and my boys are probably the two highlights of my career, really, personally of joy, of going to work, not feeling pressure like Man Will and Grace. It was fun. It was invigorating, it was exciting, scary. It's a little scary, man. You're like a lot of money. There's a huge audience. There's superstars who are making a million dollars a week. I'd leave the table read and go, that dude just walked with 200 k Monday.Thank you. Monday, 200 K what it must be, same on basketball teams where it's like LeBron James and then that dude from Australia. There's a dynamic there where you're like, yeah, you're not flying home in a jet, my friend. I am. It was weird. So Tacoma fd, those guys never once ever made you feel bad about trying stuff, doing a take where you just explore and you could be funny and you let it rip. I equate it back to Seinfeld. I don't know what it was like on the set, but Seinfeld was one of the few shows where they let the guest stars actually get sometimes bigger laughs than the main cast, which I always find in shows to be the true genius of a show where everyone's there, it's a play. Let it rip. I've been on shows where they, I'll blow it up. I was on the seventies show and I had a couple scenes, and I played this goofy guy with a wig on or whatever, and crushed. I mean, I was a nerd. I was a comic book nerd. Huge laughs. And they took me aside and were like, Hey man, just so you know, you will never get a bigger laugh than the main cast,So you might want to tone it down or we're going to be here all day shooting. And I go, really? And they go, I thought they were joking. And they were like, nah. Yeah. Wow. I probably shouldn't say I'm the worst too. I'll burn myself to say stuff. Well, it's interesting. This business is crazy, man. And you sit there and you think we're just making comedy, but people are,Michael Jamin:Yeah, some people are like that.Jamie Kaler:Yeah. People get their feelings hurt. Those little memos where it's like, don't look so and so in the eye. And you think they're joking. They're not joking.Michael Jamin:You've gotten those memos.Jamie Kaler:I haven't personally. Well, I worked on some big movies where it was like, but I also am not the crazy person who walks up to Christian Bale on Vice and goes, Hey man, dark Knight. Huh? You crushedMichael Jamin:It.Jamie Kaler:I sat next to Christian Bale for a day shooting and he was Dick Cheney unrecognizable. By theMichael Jamin:Way, this guy might be theJamie Kaler:Greatest actor who's ever lived. And he leaned over and he was so nice. Everyone was super kind, but he was nice to meet you. And he talked like Dick Cheney. He goes, nice to meet you. I'm Christian. I go, it's nice to meet you too. But I'm kind of laid back and I try not to, but other people will walk up to Bruce Willis on a set some extra and be like, Hey man, can you read my screenplay? And you're like, dude, read the room. What are you doing?Michael Jamin:What are you doing? What are you doing? PeopleJamie Kaler:Are crazy. That's the problem. And crazy people are drawn to this business. So yeah, I mean, if I was Tom Cruise, I might be the guy who look, just keep everyone away from me. I'm trying to get my job done here.Michael Jamin:Well, you know what though? I mean, I was working in Paramount doing a show and they were shooting, I guess some scenes from Mission Impossible. And he had his trailer, Tom Cruise had his trailer, a giant trailer, and then he had a whole tunnel that he would walk through from his trailer to go to the sound stage because he didn't want people in on the lot looking at him when he walked to the set or bothering him, I don't know. Which I thought was very strange. I was like, but we're all even on Paramount in the business. I guess were bothering would harass him. I'm like, Jesus, this is supposed to be a set studioJamie Kaler:People. And it's even worse now. You go to a broad, remember when people dressed up to go to Vegas? I remember going to Vegas in the eighties and nineties and we brought a sport coat right now it's like cargo shorts, flip flops and beer hat or something. And you're like, there's just no decorum anymore. And people are so, and they're trained by their videos that they can yell and do whatever they want. People go to Broadway shows and just yell out and you're like, what are you doing, man? It's a plane. WhatchaMichael Jamin:Yeah? What are you doing? PeopleJamie Kaler:Are horrible. I know when people, I always laugh when people are like, no, I think deep down people are good. Some, I would argue a good hunk not no have no manners.Michael Jamin:That's probably a remnant from social media where they feel like they can just comment and be mean because they're anonymous, I guess.Jamie Kaler:Well, I think the good thing about social media is that everyone can have their opinion heard. But the worst thing about social media is that everyone can have their opinion heard. Yeah.Michael Jamin:Yeah.Jamie Kaler:I love when people like they're uneducated. They've never left their small town America. And they're like, no, no, I am 100% certain this is a fact. And you're like,Michael Jamin:Yeah,Jamie Kaler:When's the last time anyone has said you've raised some really strong points. I'm going to rethink my position.Michael Jamin:When you do see that, it always stands out to me. It's like, wow, look at you and humble. It does stand out. We'll doJamie Kaler:That. Listen, we're all guilty of it. Even just recently, my wife said something to me, I can't remember exactly what it was, and I think your spouse is the one who can really cut you to the bone. And she said something and I was like, what do you know? And then later I thought about it and I was like, no, she's right. I have been, oh, here's what she said. Here's what she said, something about a post I had. And she said, you just come off angry. And I said, no, no. I'm a comic. I'm pretending to be angry. And I think I went back and I watched the Post and it reminded me back to early on at Acme Comedy Theater, I had this sketch where I was with woman and we were on a date, and it was very Jerry Lewis props humor where I kept getting hurt.I kept getting hurt. The window smashes in my hand, it ends by me lighting a candle and I actually lit my arm on fire and then would roll it out as the lights came down or whatever, and it crushed. It did so well. And one night it just absolutely bombed, just bombed. And I kept pushing harder and harder and it was bombing, and I got off stage and I talked to the director and I was like, dude, terrible audience. Tonight goes, no, no. He goes, your problem was you didn't play frustrated, you played and it didn't work. And I go, what a specific note. And I've always thought about that because me personally with my angular features, you have to go with what you look like as well. And if I play frustrated, I'm super funny, but if I play angry, I come off angry. And so she was right and I had to go. I think maybe in life everybody needs a director because you forget. It's really hard to self-direct yourself because you get lost in these megaphones of your own things that you're like, no, no, I'm on track. This is going great. Instead of going, I wonder how the outside world perceives me.Michael Jamin:That's exactly right. Yeah. When I recorded the audio book for my book, I needed to be directed. Even though I direct, I don't know how I'm coming off. Yeah, I mean that's actually probably the most profound thing I've heard today. Well, the day just started, but everyone needs to have a director.Jamie Kaler:Yeah, it is kind of crazy. Yeah, it's weird because we also get caught up in our own, listen, I will say the world is, and I know I'm an older cat and I look back at simpler time. I don't want to be that guy. I was like, it was easier, but it was easier. I equate it to even crosswalks lately when you were younger, if you were going to take that right turn and the dude was crossing the crosswalk, everyone would make eye contact and they'd hold their hand up and then they might even jog a couple steps to go like, no, no, we're in this together. We're a team. No. And nowadays I go, dude, are you trying to get hit by a car? You didn't even look up? Didn't even look up deliberately, and it feels like you're slowing your walk down. It's so odd what's happening. But I do think, listen, back in the day, people used to, if you were in front of somebody's house and you were waiting for them, you'd pull your car over and slide it up, maybe a few cars up. Now they just put it right in the middle of the street, hit their hazard lights and just wait. And you'll be behind them and they go, I don't care. I don't even know why they sell cars with rear view mirrors. They should just get rid of it. No one's looking behind them. Nobody cares about anybodyMichael Jamin:Else. That's so interesting. Yeah, I mean, you're right about that lot people crossing the, I always think that, boy, you really are trusting of me. You really trust me not to hit you with my car. Jesus. Isn't thatJamie Kaler:Crazy?Michael Jamin:Yeah, sure you get a payday, but I might kill you.Jamie Kaler:I think it was safer back then too because you knew, listen back in those days, you knew to be off the road between 10:00 PM and 2:00 AM when everyone was drunk. Right. You knew it and everyone was like, oh, drunk driving was terrible. Nowadays, 10:00 AM yesterday morning the dude next to me getting high on his phone, so now it's like twenty four seven. That's why I can't believe people, I never crossed the street without making eye contact and going, dude, are you on your phone or are you going to hit me?Michael Jamin:Yeah, you got to look for yourself.Jamie Kaler:Exactly. But again, I'm old, so what do I know? It is weird trying to teach my kids and I mean, we've talked because your kid's a little older, but trying to impart knowledge of the world to them to be aware of their surroundings. I always say they're probably years from now, they'll go, like my father always said, read the court. You got to have full court vision. I see it in cars. My wife will be behind one car and I'll go, you can't see that three cars up. That dude stopped. You are changing lanes. I'm looking five cars ahead.Michael Jamin:ButJamie Kaler:People nowadays, it's just this one little, they just keep their heads down and you're like, pick your head up, man. But people don't.Michael Jamin:Yeah, be careful. I need to know. So I want to know business right now I'm jumping around, but business is still slow for you in terms of acting gigs because from what I see, they're not shooting a lot. Is that what you were seeing?Jamie Kaler:That is true, and I've had a handful of amazing auditions lately. Oh, you have? Okay. So yeah, a ton. Not a ton, but here's the dilemma is they're all self-tapes, right? And I'm pretty good at self-tapes. You can see there's the lights behind me. There's a curtain right above me that comes down, and then I shoot it that way and they're pretty great. And I'm again about trying to be directed. I've asked my agents and my managers and been like, Hey, am I self taping these? Right? And they're like, dude, your self tapes are solid, but even there's no feedback. And I do think back in the day, I got a lot of jobs because I was great in the room. I was probably better in the room than I was as an actor. You could take it. I would get hired because a lot of acting is chemistry, and you want to see that the person you're working with is going to be cool and able to hang and alsoMichael Jamin:Take a note. Can you take a note?Jamie Kaler:It's so funny you say that, dude. So lately I was, for a while I was just putting the one take on where I was like, this is how I see this part. But this one I had the other day, it was so good, dude. It was handsome. Adjacent was the breakdown, which I was like, all right, because I've always been, I'm lumberjack good looks. I'm like, I know I've walked into rooms, I've seen Brad Pitt in a room, and I've been like, yeah, that's beautiful. I'm a little al dente. That guy is so gorgeous. I'm on the cover of a paper towel roll. I get it. I know. I'm Portland. I'm Portland. I'm a Portland 10. Portland. I'm a Portland nine maybe. So it's handsome adjacent, early fifties jerk cop. I go, dude, this should be offer only. Why am I reading for this?Michael Jamin:Right?Jamie Kaler:So I did the first take. I submitted one where I was like, more Tacoma fd, I was. I go, well, maybe that's why I got in here. They know me from that. And then I was going to just submit that one and I said, you know what? Because you can't go in a room, dude, the casting directors are so good that I've had the pleasure to work with Wendy O'Brien who did that one is one of my faves. She'll give you notes that will kind of give you a nuanced performance where you're going, oh, I see the change. Yes, yes, yes, yes. Because hard. And so I did a totally separate take. I had a friend over here and I did another take that was so the opposite extreme of he wasn't big at all. He was very underplayed in tone. And when I sent them in, my agent said, he goes really great that you did two separate takes.And I said to him, it's a new show. I've never seen it. I don't know what the tone is. There's no direction. You're literally reading this hoping that your take jives with the guys who are going to hopefully see this tape or not. I don't know. And I also submitted it. The audition came out on Monday. It was due Thursday. I memorized it submitted on Tuesday. The other thing they tell you, they go early, bird gets the worms. So the business has changed so much. You're working really hard to pump these things out, but you're like, is anyone seeing any of it? It would be nice if somebody once just called and was like, Hey man, you're not getting it, but I got to tell you, you did a really good job, man. You what you get in a room or if sometimes you don't, sometimes. Yeah.Michael Jamin:So interesting. The life of an actor. So what is left for you as you wrap up, what is left for you today? What does your day look like today, an average day for you?Jamie Kaler:So we are relaunching the podcast. We have an advertiser that's just come on board. We are currently on Buzzsprout, but we're going to jump to megaphone and we're actually, we're still doing the live ones on Tuesday nights 7:00 PM Pacific Time. It's on right now. It's everywhere. Facebook, Instagram, Twitch, YouTube, it goes out live. We're going to slowly bring that back in and we are jumping to Patreon. So come find us. The parents lounge on Patreon, and then we are, so we're doing all the marketing right now, and then I'm still working with the same guys you work with who have been eyeopening. It's like a master's class in this business of social media about getting people on. Because again, I feel like we have a really solid product that people not onl
Happy Febroween! We unearth a Bonus Halloween episode featuring Biz's sister, Helen "The Spooky Queen" Ellis, talking about bumps in the night, jump scares, and Lex's terrifying attempts to be considerate.Get copies of Helen's books, including Kiss Me In The Coral Lounge: Intimate Confessions from a Happy Marriage, wherever books are sold.Thank you to all our listeners who support the show as monthly members of MaximumFun.org. Go to MaximumFun.org/join to become a member! Share a personal or commercial message on the show! Details at MaximumFun.org/Jumbotron.Visit our Linktree for our website, merch, and more! https://linktr.ee/onebadmotherYou can suggest a topic or a guest for an upcoming show by sending an email to onebadmother@maximumfun.org.Show MusicSummon the Rawk, Kevin MacLeod (www.incompetech.com)Ones and Zeros, Awesome, Beehive SessionsMom Song, Adira Amram, Hot Jams For TeensTelephone, Awesome, Beehive SessionsMama Blues, Cornbread Ted and the ButterbeansMental Health Resources:Therapy for Black Girls – Therapyforblackgirls.comDr. Jessica Clemmens – https://www.askdrjess.comBLH Foundation – borislhensonfoundation.orgThe Postpartum Support International Warmline – 1-800-944-4773 (1-800-944-4PPD)The Substance Abuse and Mental Health Services Administration (SAMHSA) Helpline – 1-800-662-4357 (1-800-662-HELP)Suicide Prevention Hotline: Call or chat. They are here to help anyone in crisis. Dial 988 for https://suicidepreventionlifeline.org and there is a chat option on the website.Crisis Text Line: Text from anywhere in the USA (also Canada and the UK) to text with a trained counselor. A real human being.USA text 741741Canada text 686868UK text 85258Website: https://www.crisistextline.orgNational Sexual Assault: Call 800.656.HOPE (4673) to be connected with a trained staff member from a sexual assault service provider in your area.https://www.rainn.orgNational Domestic Violence Hotline:https://www.thehotline.org/help/Our advocates are available 24/7 at 1-800-799-SAFE (7233) in more than 200 languages. All calls are free and confidential.They suggest that if you are a victim and cannot seek help, ask a friend or family member to call for you.Teletherapy Search: https://www.psychologytoday.com/us/therapists/online-counselingThank you to all our listeners who support the show as monthly members of MaximumFun.org. Go to MaximumFun.org/join to become a member! Share a personal or commercial message on the show! Details at MaximumFun.org/Jumbotron.Visit our Linktree for our website, merch, and more! https://linktr.ee/onebadmotherYou can suggest a topic or a guest for an upcoming show by sending an email to onebadmother@maximumfun.org.Show MusicSummon the Rawk, Kevin MacLeod (www.incompetech.com)Ones and Zeros, Awesome, Beehive SessionsMom Song, Adira Amram, Hot Jams For TeensTelephone, Awesome, Beehive SessionsMama Blues, Cornbread Ted and the ButterbeansMental Health Resources:Therapy for Black Girls – Therapyforblackgirls.comDr. Jessica Clemmens – https://www.askdrjess.comBLH Foundation – borislhensonfoundation.orgThe Postpartum Support International Warmline – 1-800-944-4773 (1-800-944-4PPD)The Substance Abuse and Mental Health Services Administration (SAMHSA) Helpline – 1-800-662-4357 (1-800-662-HELP)Suicide Prevention Hotline: Call or chat. They are here to help anyone in crisis. Dial 988 for https://suicidepreventionlifeline.org and there is a chat option on the website.Crisis Text Line: Text from anywhere in the USA (also Canada and the UK) to text with a trained counselor. A real human being.USA text 741741Canada text 686868UK text 85258Website: https://www.crisistextline.orgNational Sexual Assault: Call 800.656.HOPE (4673) to be connected with a trained staff member from a sexual assault service provider in your area.https://www.rainn.orgNational Domestic Violence Hotline:https://www.thehotline.org/help/Our advocates are available 24/7 at 1-800-799-SAFE (7233) in more than 200 languages. All calls are free and confidential.They suggest that if you are a victim and cannot seek help, ask a friend or family member to call for you.Teletherapy Search: https://www.psychologytoday.com/us/therapists/online-counseling
In today's episode, Girls Gone Hallmark takes on the challenge of reviewing "A Biltmore Christmas." The film, set in the grand Biltmore Estate, is a feast for the eyes and heart, with stunning costumes, a musical scene, and a charming storyline. If you're a fan of Hallmark movies, or just looking for a heartwarming holiday film to watch, you won't want to miss this episode. Tune in to Girls Gone Hallmark and get ready to be swept away by the magic of "A Biltmore Christmas." Spotify Podcast listeners: Spotify allows listeners to rate podcast episodes. Once you listen to a podcast for at least 30 seconds, you get the option to rate it between one and five stars. Return to the podcast's main page and tap the star icon. Then, tap submit. About "A Biltmore Christmas" Director John Putch has 59 directing credits including last year's "A Holiday Spectacular" and before that, "You Had Me at Aloha." He has also directed a good mix of television sitcoms include "Cougar Town," "Scrubs" and "American Housewife." Marcy Holland wrote "A Biltmore Christmas." With 41 writing credits, Marcy is a prolific Hallmark writer including two of the "Hannah Swenson" mysteries and several movies in the "Time to Come Home" series, including this year's "A Time for Her to Come Home for Christmas." "A Biltmore Christmas" was filmed on location at the Biltmore Estate in Asheville, North Carolina in early 2023. Costume designer Keith Nielsen (known professionally Keith Costumes) designed on four movies during the 2023 Countdown to Christmas season. He recently appeared on an episode of Girls Gone Hallmark to help review "Mystic Christmas." Bethany Joy Lenz stars as Lucy Hardgrove. Her appearance on the CW series "One Tree Hill" is probably the biggest project in her 43 acting credits, but she made a big impression paired with Tyler Hynes in "An Unexpected Christmas" in 2021. Kristoffer Polaha stars as Jack Huston. His 76 acting credits include his beloved role on the "Mystery 101" series, a role in the recent Amazon Prime Video book adaptation Harlan Coben's "Shelter," and of course roles in Hallmark romances like "We Wish You a Married Christmas" and "A Dickens of a Holiday!" Related Podcast Episode: The episode where Girls Gone Hallmark gets absolutely roasted by Kris Polaha fans for their review of "A Winning Team." Jonathan Frakes plays Winston. His resume of 96 acting credits reads like a list of things Wendy won't watch. So much "Star Trek." He got his start on a series called "The Doctors" in the late 70s in which he appeared in 90 episodes. Robert Picardo plays Harold Balaban. With 245 acting credits and even more "Star Trek" on this resume! He has five upcoming projects including the horror films "Crimson Shadows" and "Werewolf Game." Mary McDonough plays the director of the His Merry Wife! reboot. This appears to be her first Hallmark movie in her 47 acting credits. Her very first role was on "General Hospital" in 1963. Who Was in "A Biltmore Christmas?" The following is a list of actors who also appeared in "A Biltmore Christmas." A.K. Benninghofen (Margaret) Annabelle Borke (Ava Hayward) Colton Little (Claude Lancaster) David Alexander (William West) Jennifer Cortese (Peggy) Jason Saucier (Security Guard) Tommy Cresswell (Michael Balaban) Alphie Hyorth (Head Angel) Ray Ficca (Gus) Caity Brewer (Becca) Heather Shore (Secretary) Philena Gilmer (Woman)
Helen Ellis is an Alabama-native turned New York Times bestselling author known for her warm brand of humor and amateur poker skills. In her newest release, “Kiss Me in the Coral Lounge: Intimate Confessions from a Happy Marriage”, Ellis offers a glimpse into her long marriage, and insight into what has made it work so well. Ellis joined Jenna Bush Hager to talk about lessons they have learned from their relationships … and how to best handle a snoring husband. Follow the ‘Read with Jenna' podcast now to hear new episodes every week. And the fun doesn't stop here! Want to join our Read with Jenna community of book lovers? You can find our monthly book list and sign up for our newsletter here: TODAY.com/ReadwithJenna You can also find us on Instagram on @ReadwithJenna
On this week's episode, Craig chats with his long-time friend and “The Drew Carey Show” co-star, Diedrich Bader. To quote Craig: “Diedrich Bader, a great actor who has been in everything you've ever liked!” He is best known for his roles in Veep, Better Things, American Housewife, The Beverly Hillbillies, Napoleon Dynamite and many, many others. EnJOY!See omnystudio.com/listener for privacy information.
You guys are in for a treat! It's episode two of The Sleeping Father written by Michele Mulroney & Kieran Mulroney (Power Rangers, Sherlock Holmes:A Game Of Shadows), based on the novel by Matthew Sharpe. Michelle and Kieran originally wrote this as a screenplay for Warner Bros and was later revived as a television series for Warner Bros. Television. Enjoy it!We had a terrific cast for this one including Dave Foley, Ennis Esmer, Ciara Bravo, Daniel DiMaggio, Nichole Sakura, Niles Fitch, Sarah Rafferty, Bellina Logan, Greg Hess, and Andrew Reich with stage directions.If you'd like to see the video feed of The Sleeping Father, you can do so by going to maximum fun.org/join and become a member for as little as $5. For $5 you'll get our entire catalogue of bonus content and a bunch of bonus episodes too! Tune in next week for our interview with Michele & Kieran. Thanks for watching and supporting our show! Enjoy!If you're trying to support the writer's strike below is the organization Andrew referenced in his opening. Link here. For more Dead Pilots Society episodes and information about our live shows, please subscribe to the podcast!Make sure to like us on Facebook, follow us on Instagram, and Twitter, and visit our website at deadpilotssociety.com
We have a truly one-of-a-kind dead pilot for you this month! It's The Sleeping Father, written by Michele Mulroney & Kieran Mulroney (Sherlock Holmes: A Game Of Shadows, Power Rangers), based on the novel by Matthew Sharpe. It follows the slow-motion implosion and long and ridiculous recovery of the Schwartz family after patriarch, Bernie, goes into a coma and comes out of it even more screwed up than when he went in. Michele and Kieran originally wrote this as a screenplay for Warner Bros and it was later revived as a television pilot for Warner Bros Television. The Mulroneys have lived with and worked on this adaptation for well over a decade, and we are happy to bring you not just one, but two episodes of this criminally dead project! They wrote a great second episode that we will be bringing you next week. This is an unconventional and unpredictable story about a messy family that we know you're going to love. Enjoy it!We had a terrific cast for this one including Dave Foley (Newsradio), Ennis Esmer (Blindspot), Ciara Bravo (Cherry), Daniel DiMaggio (American Housewife), Nichole Sakura (Superstore), Niles Fitch (This Is Us), Sarah Rafferty (Suits), Bellina Logan (ER), Greg Hess (LA to Vegas), and Andrew Reich with stage directions.If you'd like to see the video feed of The Sleeping Father, you can do so by going to maximum fun.org/join and become a member for as little as $5. For $5 you'll get our entire catalogue of bonus content and a bunch of bonus episodes too! Tune in next week for our interview with Michele & Kieran. Thanks for watching and supporting our show! Enjoy!If you're trying to support the writer's strike, you can do so here. For more Dead Pilots Society episodes and information about our live shows, please subscribe to the podcast!Make sure to like us on Facebook, follow us on Instagram, and Twitter, and visit our website at deadpilotssociety.com
Today we have the fourth episode of “Dear Adolf,” a six-episode series that aired in 1942. The series was produced by the Council for Democracy and broadcast over NBC. Each episode featured a letter to Adolf Hitler. This episode, “A Letter from an American Housewife and Mother,” stars Helen Hayes. Be sure to visit our website at BrickPickleMedia.com/podcasts for past episodes and more or find us on Facebook at facebook.com/ww2radio.
This week, Emmy nominated Writer/Producer Jonathan Fener, (American Dad!, iCarly, The Mindy Project, and many more) is on the podcast discussing the importance of having access to industry professionals, getting his footing in the industry, and working in the multi-cam world.Show NotesJonathan Fener on IMDB: https://www.imdb.com/name/nm0271779/Jonathan Fener on Twitter: https://twitter.com/jfenskiMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:I always say, you're kissing the wrong asses. Kiss the asses of assistants because they're not go, you know, they don't get their asses kissed. They, they love it. I mean, who wouldn't get, give 'em some attention. They get abused all the time, then they rise up eventually. So, yeah, those are the ones. You gotta be nice to the assistants always, you know.Hey everyone, it's Michael Jamin. Welcome back to Screenwriters. Need to hear this. I have a wonderful guest today. This is a, this is a, I'm gonna tell you the story, how, how we met. So, as you know, the Writers Guild of America's on Strike, and my next guest is a well-known Setcom writer, although we've never worked together over the years. So our paths, you know, we haven't really crossed, but we know all the same people. And then we started, we were on the picket line outside of CBS Radford, and we started chatting and we had a really nice talk. And I was like, well, this, I gotta bring this guy in the podcast. So everyone, if you're driving your car, please pull over, put your hands together. A warm round of applause for Mr. Jonathan Fener. He is, let me just give you some of his credits before I let him talk.You'll notice it's a 45 minute podcast, and I, I do talking for about 44 minutes of it, but I'm gonna talk about your credits. He, he wrote on Bette, the Bette Midler show, Veronica's Closet, do-Over Kid, notorious. It's all relative Method. And Red Father of the Pride, you remember that one with Siegfried and Wright the 78th Annual Academy Awards. I wanna talk about that. American Dad. We know that happy endings, old Soul telenovela, the Mindy Project. How come that wasn't a show? Why was that? Just a project. Trolls Holiday, Elliot to Vegas, American Housewife, trolls, holiday in Harmony. We'll talk about that. And most recently, the iCarly reboot as well as well Mullaney. But guys, this guy's been around the block. John, thank you so much for being on the show.Jonathan Fener:My pleasure. Thanks for having me. Thank.Michael Jamin:So, I wanna find out, I wanna know all about your, your history. Let's take it back from the beginning when your great grandparents met. Let's really do a deep dive into your life. ,Jonathan Fener:Eastern Europe.Michael Jamin:Eastern Europe. Let's justJonathan Fener:Do, yeah, let's go back to Eastern Europe.Michael Jamin:But tell me were you, were okay, so how did you first break into the business and did you always know you wanted to be a, a, a setcom writer?Jonathan Fener:Yeah. I, I, even when I didn't know that's what I wanted to do, I, I look back and I'm like, oh, that's what I wanted to do. You know, I, I feel like I'm part of a, a generation that you know, back to watching television shows, videotaping, you know, Saturday Night Live and Uhhuh and sitcoms and, and like I used to audiotape them toMichael Jamin:StudyJonathan Fener:Them and watch. Yeah. And, and, and like, I would, I would watch Saturday Night Live, even when I was old. It wasn't old enough to like watch it. I would tape it on the VCR that we had, the, the one that popped up Yeah. At the top. And then and then I would have an, and then in the morning I'd watch it all day. And I would, and, and I used to make mixtapes, I guess video mixtapes where I would like, like mix and match different sketches that I liked. And then I and I used to listen to those all the time. And then I would also, I'd watch television shows. I did do that thing where I, I would tape television shows and then I would try and like write out the script. I didn't, I didn't know what the formatting was, so I always was interested in Yes, you'dMichael Jamin:Write it, what kind of word for word? Or you'd write your own,Jonathan Fener:I'd write it word for word. I would transcribe.Michael Jamin:Because that made you a writer then. Did you think that was, what was the point of that?Jonathan Fener:Well,Michael Jamin:,Jonathan Fener:It's like this this, this is gonna sound douchey maybe, but I remember reading this quote, I, I, I think Hunters Thompson once said that he used to just type pages of the Great Gatsby, just to feel oh, what it was like to really, to write those words. Yeah. and so you can draw a direct line between me and Hunter s Thompson and The Great Gatsby. Yeah. And, you know, the Bette Midler show. Like, they're basically one to one.Michael Jamin:But then, and Okay, go on. So then, then as a kid, you,Jonathan Fener:Well, I always was a, I was a huge comedy fan. I was a huge movie, television, e everything fan, standup comedy. I loved standup comedy. Right. So was always too afraid to do it. But yeah, I mean, I always knew I wanted to be part of making that comedy, you know, television, movies, all that stuff. So I went to Fast Forward, I went to usc. I, I I didn't go to the film school, but I, I just was, just wanted to be in la Oh. And I guess sort of the way sort of goes, you, you get outta school and, and I, I knew a guy that I went to school with who worked at a talent agency, and he got me a job as a messenger when they were still inMichael Jamin:Existence as a messenger. And so you were driving around town delivering envelopes.Jonathan Fener:That sounds terrible. Thomas Guide. WithMichael Jamin:Your ThomasJonathan Fener:Guide, right? No yeah. In the heat and the traffic. And howMichael Jamin:Long did you do that for?Jonathan Fener:I was probably a messenger for about, I don't know, matter of months, maybe like 3, 4, 5 months. And then a desk opens up and then you're, you're answering phones, so, oh, soMichael Jamin:You didn't have to go to the mail room, you went from Messenger toJonathan Fener:It really wasn't a mail room. I, it was a very small town agency. Okay. It, it was called the Herb Schechter Company. Sure. I dunno if you ever No, I've heard. And it was like back in the day where, you know, he mostly represented like TV writers. They had a whole below the line department. It was a small agency and they didn't really have a male. One boutique. Yeah. Boutique. Boutique. They had a lot of like, guys that were like supervising producers on Magnum, stuff likeMichael Jamin:That. But that's a good, but then, so how long, cuz you know, I was a, I was an assistant at William Morris for three days. I got fired on my second day and I go, but I stuck out the week. I finished the week . So I, I applaud you for being like, it's just a hard job being an assistant for an agent, because I found it was,Jonathan Fener:Yeah. Yeah. I mean, I was an assistant for a lot of different people. I was, I, and it, I think it helped that it was kind of, I, I don't know if low, I guess low stakes, cuz it wasn't like, I wasn't at caa. I wasn't at, you know, William Morris. I was at this tiny little agency and this woman I worked for was, you know, she represented like stunt coordinators and, and oh, like that. So not that, look, I still had to do the like, rolling calls thing and all thatMichael Jamin:Stuff. But did you, but did that, did that give you context? Like what did that, what what, what was your takeaway from doing that job for howeverJonathan Fener:Long? Honestly, a lot of the jobs I had until I was a writer were, it taught me what I didn't want to do. Yes. I'm like, oh, I work for an agent. I don't wanna be an agent. Right. And then there's like a network of assistances mm-hmm. where, you know, there was another agent there, this really nice woman named Deborah Lee. I still remember her. She she called me in one day. She's like, what do you want to do? What are you doing? I'm like, I don't know. You know, I mean, I, I think I wanna write, but, you know, may maybe I wanna be a creative exec. I just, I wasn't sure. Okay. So she was like, well, I have a friend who works at Fox and they need an assistant. So, you know, if you wanna get outta here and go work there.And I was like, great. So I went to go work for this other woman and then I just met, I would just meet assistants and they would offer me other jobs. I worked for this guy. My biggest assistant job was I worked for this guy John Matian, who was the president of Fox Network. Mm-Hmm. . So that was the first time where I saw an entire television season from pitches, development scripts and shooting all the way through. Right. Cause I was on his desk and I read every script that came across his desk that was like, I don't know if you remember that guy, or even like, that was the year, that was like in the early mid nineties when they were like, maybe gonna try and do like friends. Like they had this show called Partners and Ned and Stacy andMichael Jamin:Ned and Stacy. Yep.Jonathan Fener:It was becoming a little bit more of like, let's try and make a, a friends clone. So like the XFiles was happening then, right? It was just like, it was, I had one year where I had an entire overview of television and I'm like, and then I would read the scripts and I'm like, I think I can, I I can do this. I can. SoMichael Jamin:Did who, where did you learn to write then? What do you, what was the next step?Jonathan Fener:I just figured it out. I mean, I think that what happened was I met my partner who was my friend Josh by Cell. And we were buddies. And he was at UCLA in screenwriting school actually. Okay. And he was actually writing with his dad. He, him and his dad were writing a script together. It was, it was very, and I was, we would just talk about stuff. And, and then, so the story is that we had another friend who was a PA on this show called The Single Guy. Yep. Remember that show with Jonathan Silverman? Yes.Michael Jamin:Jonathan Silverman. Yep.Jonathan Fener:Yeah. The Brad Hall show. And we, he used to bring home scripts every week and we would read them and we were like, I can't remember, one of us pitched an idea, but funny if they did an episode, whatever, like in real time of whatever. And then we're like, we should write it. Let's just write it. We know how to do it. We should just write it. So we sat down and wrote this script and it was, I thought it was pretty good. And , we, we, and, and again, the assistant network was we knew somebody who was an assistant to Richard Whites at the time. Yeah. Who was a young guy. AndMichael Jamin:And young agent. He was I c m probably, right?Jonathan Fener:Yeah, yeah, yeah, yeah, yeah. And, and it was just one of these things where like, after a while I was assistant for three, four years and I had access cuz all the young people that I was working with were now becoming executives or agents. Yeah. So there were people you could actually hand your script to. They would read it as opposed to just throwing it in a pile. Right. And the, the, the long and the short of it was Richard read the script because Brad was a client of his, and I remember he called me at my house and he was like, your friend Mallory gave me your script. I think it's funny and I think that you need to write something else because no one will read a single guy. He's like, I only read it because I represent Brad, but no one will read. He's like, you have to write friends, you have to write Seinfeld, you have to write news, radio, whatever. So Right. That, that was kind of the first thing where we were like, Hey, we can maybe do this. Let's doMichael Jamin:This. That's interesting because this is what I say. Cuz people always sit and they're like, well, do I have to move to Hollywood to break into Hollywood? It's like, well, this is how you do it. You get these jobs, you know, you become an assistant and you network or you get on the network and then that's how you make connections. So that's what you did. I do. I wonder, do you think the assistant network is still strong now? I mean, so everything's changing so much.Jonathan Fener:Yeah. You know, it's a good question. You know, it's like, that's the age old question. Like, how do you break in? And, you know, I feel for years now that like, maybe that's not the way it's done anymore. May maybe I'm just looking at like, stuff as like an older guy where like I look at people and I go, I don't know. Can't you make your own television show on your phone? Or something like, I, but you know, you, you still need some kind of access, I think. And maybe I don't even, maybe I don't, I can't wrap my mind around it a little bit. But like, it just seems like if you do, if you write something, if you make something, someone's gotta watch it. Someone's gotta see it. Mm-Hmm. that can make a decision for you or, or help you. Right. And that's about, that's about that relationships.Michael Jamin:But then how did, so what was your next step? How did you get on staff?Jonathan Fener:We wrote a bunch of specs and we had some friends that were becoming agents. A guy that I, I, I was, I was an assistant with a guy who became an agent and he was a paradigm. We, we kind of, we worked with him for a little bit, but it was, we, cuz like we were friends and like, when things don't go so well sometimes mm-hmm. , it's like it's messing up the relationship. So I think we just were able to get, look, we, we, we, anybody that would read our script, that was a, that was a young agent, we would somehow try and get to them. And everybody passed. One guy at I C m mm-hmm. was signed us. I mean, I, I remember very clearly getting a phone call. I, I, you know, my partner and I, Josh, our birthdays are a week apart. We really were like, you know, we were friends, we were, you know, we, it was like intertwined lives. But we were having like a joint birthday party mm-hmm. . And we got a phone call that, you know, they wanted to sign us. And that was a big, big fuckingMichael Jamin:Deal. And, and what, and they submitted you to which show? What was the first show then?Jonathan Fener:Well, this is funny how things work too. So his one big connection was this woman shit. Her name was Debbie. This is Embarra. I, that's okay. She, she ran Bry, Kaufman Crane. She was like their development person.Michael Jamin:Right.Jonathan Fener:And I feel bad that I don't remember her name cuz she was sweet. And, but that was a good relationship that he had. Mm-Hmm. . So they submitted us for Veronica's Closet. Right. The, it, it was, it had done a year. It did. Well, you know, Christie alley's back to TV and it was, I mean, it was Thursday night. Yeah. Nbc I mean, it was a huge, huge show. AndMichael Jamin:Let's take it back for a second. That used to be a big time slot. Thursday night, n b slate, nbc. Now I don't even know what now. I don't know what they, what they're doing there, but maybe some, it's reality. It's soJonathan Fener:Fire, something fire.Michael Jamin:Is it some dump Dumpster fire? But that's the one. So, but it's, so, but this is something else that you bring up which I think is really interesting. Like, people always say you're kissing, I always say you're kissing the wrong asses. Kiss the asses of assistant because they're not go, you know, they don't get their asses kissed. They didn't, they love it. I mean, who wouldn't get, give 'em some attention. They get abused all the time, then they rise up eventually. Yeah. So those are the ones you gotta be nice to the assistants always, you know,Jonathan Fener:Oh, yeah. Christmas, you know, send them, get the, get the gift card, do the thing. Yeah. I mean, you know, they'll put your call through. I mean, look, I mean, they can do only so much, but yeah, it was, it's just, again, everybody, even if it's the same trajectory, everybody's story is a little bit different, you know? Yeah. And you know, it, it was, I think we were, I think we were lucky, but it was also, it was a, it was, you know, I, I hate to sound like I'm a thousand years old, but it was a very different time. Yeah. And, you know, staffing was like, almost were all seemed like so many opportunities. And it was just like, it almost seemed like, it wasn't like, you know, if I'm gonna get staffed, it was sort of like, where am I gonna get staffed? And, and but, but you know, you sweated out and I never felt like that. I mean, and for every, we, we, I don't think, you know, look, I, I think we were good and, and, but and still are. But you know, I never felt like we were juggling offers . Yeah. You know, it was definitely like, you know, okay, we got this gig and, and you know,Michael Jamin:Yeah. People don't, people don't realize that as well. Like, once you're in, it's great. It, that first job is hard, but you're, then you always gotta worry. You gotta worry about your next job. None of it's, you know, if people think well, you know, it is like you must have it made, but you don't, you never have it made. You're always hustling.Jonathan Fener:Never.Michael Jamin:What did you feel your first season as a staff writer? Did you feel comfortable? Did you feel like, oh, and over your head?Jonathan Fener:Honestly, no. I, I, I can say that with confidence. I felt like I got there and I was like, yeah, this is what I should be doing. Oh, you said I'm not just Yeah. You know, look, we were the youngest guys that, you know, we were the staff writers. Right. The baby writers. It was a very challenging place to work. I mean, you know, Bry, Kaufman Crane, you know, look, we, I could, we could do an entire podcast on just working on b Brianca's Closet and just literally being down the hall from season five of friends. It's like the Beatles. Yes. They, they, their, their dressing room is down the hall. And I'm, you know, with Jerry the Pacemakers or something. Not that, not that. That's, that's a great reference, by the way, for all your younger,Michael Jamin:I don't, I don't know. Listener. Yeah.Jonathan Fener:Just some, but it was like, and the show was, you know, it, it was what it was. It was funny. There were tons of funny people on that show, people I still talk to, to this day. Honestly, but it was like the, the culture of that. And I think it, it's a, it's, it's not a news story in sitcoms. But, you know, we worked, we watched the Sun come up all the time, and it was really, that was my first step. It was like, I had never done it before, but I was like, I knew immediately. I'm like, this is not the way it, this is not the way it should be. Right.Michael Jamin:Was it cause stories were being tossed out? Or notes from the network or what?Jonathan Fener:Yeah, it, it was poor, poor management.Michael Jamin:Oh, time management. It wasJonathan Fener:Poor time management. You know, I would say like, you know, you're, when you work on a, on a show with terrible hours, you're just like, you're a victim of somebody else's badMichael Jamin:Work. Well, there's, there's that. Yeah. Yeah. I always felt very when we were running a show, I was like, I always felt I would crack the whip just because I felt like I want people to go home. I want stop messing around. And, and I was a hard ass in that way. Cause I wanna go home and I think you wanna go home too, don't you? You know, like, let's just work and go home.Jonathan Fener:Those are the ones, the ones that don't want to go home. Those are theMichael Jamin:Worst. Yeah. Those are the worst. Right. Did you, were you on many shows like that, where you felt like a hostage ?Jonathan Fener:No. well, let me think. Not really. That was the worst. And then there were a couple other shows that were rough, but I think that, like, as time went on, I definitely got lucky as time went on that I, I worked for de Decent people.Michael Jamin:Well, you also had another show that was basically the stepchild, which was American Dad compared to Family Guy. I mean, family Guy. Was this behemoth, not that American Dead was any slouch, but you were still in the shadow of a, a family guy, right?Jonathan Fener:That's right. The other one. Yeah. Yeah. The other show. Which, but that Yeah. And that, that was good point. No, but it was, it was and animation was something that I, you know, we got into pretty early on too. And I really, really liked that. And you know, there, there's animation usually is not terrible because the deadlines are, are way far apart. Yeah. Like, as far as like, you know, like Multicam is probably the worst because it literally, you gotta rewrite itMichael Jamin:Tonight at four, at four o'clock you start your day basically. Yeah. AfterJonathan Fener:The run Yeah. Run through is it ruins your whole night. And then it's like someone has, like, if you're doing single camera, you know it, you're usually reading a script for the next week. So, you know, you want to get it done by tonight, but, you know, maybe you can leave a couple of jokes and then the next day you can like, sort of clean it up. Right. But like Multicam, they're, they're at rehearsal at 9:00 AM so they need a script.Michael Jamin:Yeah. Yeah. And that was your joint. You were on the Warner Brothers slot. All right. So then, so then what happened? You, I'm gonna, I'm going with your credits over here. So Veronica's closet. And then what about, what was, you were there for, well, how many, well, how many seasons was that? The show was what? Two seasons?Jonathan Fener:They did? Th they three. I was on the last two.Michael Jamin:The last two. And then when it was done, what happened?Jonathan Fener:When it was done, I was like, I, I did it. I, you know, no, I, I was like we, we just got back out in the staffing pool, you know?Michael Jamin:Right. And then you just jumped.Jonathan Fener:We, we, yeah, that was the next, the next season we went to, we got on the Bette Midler show, which at the time was like massive. It was massive. ThatMichael Jamin:Was massive. And then,Jonathan Fener:And that's another, I'm sorry to interrupt. I was gonna say, like, that's an interesting story where, you know, I don't know if you think of 2 26 year old guys as like, yeah, we gotta get those guys on the Bette Midler show. Mm-Hmm. . But our agent submitted us, and at the time we were even thinking to ourselves like, what, what samples can we write that are a little different? So we wrote a Buffy, the Empire Slayer Script, just cuz like, we liked the show and Right. The tone. And so we wrote that and then, and I think we were like, maybe we can look and see about, you know, maybe getting on like an hour or something like that. And then the, it just so happens that Jos Whedon, I think worked for the guy that created that show, Fette.Michael Jamin:So I was gonna say, I wanted to say Cohan and Nik, but no, that, I don't think that's right. Who created it?Jonathan Fener:Jeffrey Lane.Michael Jamin:Jeffrey Lane, of course. Right,Jonathan Fener:Right. Who was a big mad about you, dude.Michael Jamin:Yes. And then, then working for Bette. I mean, that's, that's a whole other thing. You have this oversized star, really a giant star. And she must have had a lot of creative input.Jonathan Fener:Yeah, yeah. You know, she had opinions, but no, she was it was, it was nuts. I mean, you know, they picked that show up for a full season, which even, even then wasn't a thing. And she, she just was like, like such a massive force, you know? Yeah. Almost too big for television. I would even say, like, I remember thinking, she's on the stage and I'm like, and I mean the sound stage. Like I can see her playing Caesars just live or in the movies where she's gigantic. But there's also, there's, there's, I don't know if muting is the right word, but you know what I mean, like, like, there's just something about those mediums that like, sort of, and, and I just think on tv she just was like, massive. Just like, but, but, you know, really funny. And, you know, she did everything. You know, she sang the Rose and she, it was like, pulled out all the stops. It was just, it was almost like, and I don't think she knew what being on a television show entailed. I think when you take people that have never worked on TV and put them on tv, they're like, I have to come back again tomorrow. And Yeah. Tomorrow. And it's a new script today. And like, they're used to shooting films, but even like, it, it's, it's a grind for everybody. Yeah.Michael Jamin:Yeah.Jonathan Fener:SoMichael Jamin:She, she became a little cantankerous. You think ?Jonathan Fener:She, I think, yeah. No, she, she, she, you know, she liked me. she liked me and my partner. We, we wrote this episode actually with Kobe Bryant in it.Michael Jamin:Oh, okay.Jonathan Fener:And I think they were like, get the young guys to write this. And Kobe was, and he agreed to do the show. I think his wife was a huge Bette Midler fan. He, I think he said, I mean, he was nice guy. I remember meeting him and the show, I mean, think about this. We shot the sh we shot our episode in the forum. Like, and, and the, the, the plot of the show is that, that becomes like, she basically accidentally gets onto the court and she starts dancing with the Laker girls. IMichael Jamin:Don't know, but it was a multi happened. It was a Multicam, right?Jonathan Fener:Yeah. But they just, they shot it on the forum, I mean, on form. They, and it was, it was the kind of thing where it was like, whatever it cost, it cost,Michael Jamin:Right.Jonathan Fener:They booked the forum and, and that episode sort of turned out okay. And then I think she felt like, oh, these guys get the show. So they took us out, she took us out to lunch, and she's like, what should, what should the show be? You guys see that? OhMichael Jamin:No. Oh no. And you guys are, you guys are story editors at this point. Right. See, that would be panicked about that. That's not good.Jonathan Fener:Co Cohen was at that lunch too.Michael Jamin:Oh, she took Rob. See, that's the thing. She lovedJonathan Fener:Rob, loved Rob.Michael Jamin:My, my rule of thumb early in my career is don't let the actors know your name cuz only bad things can come of it. . And then, and then, right. So she takes you and now you're, maybe you don't wanna talk about this, but I, that puts you in a difficult position because she should be taking the showrunner and the showrunner should be bouncing you. She should be bouncing the ideas and not, you know,Jonathan Fener:You know. Yeah. It was a Yeah, it was. I mean, I didn't know. We were just like, well, you know, just more do more of this stuff. Right, right. You know, we'll, you know, go to a baseball game. Or, I, I just think she, I, I, look, I think that she was searching for what the show was. I think the showrunner was, I think they just were, and it was a, it was a weird, not a weird premise, but it was like, she, she played a character named Bette, and she played Aer that was a famous Hollywood actress and had been in a movie called The Rose and all these things that were true. Right. But she kept saying, I'm, but I'm not Bette Midler.Michael Jamin:She would say that in the show, but I'm not Bette Midler. She would say, she would say that toJonathan Fener:Us. Oh, okay. Cause we would write jokes and she's like, but I'm not Bette Midler. And we're like, but you were in The Rose. And we're like, okay. Bette Schidler. You're bet. Schidler. Yeah. And, and, and a lot of stuff that happened to her in real life we would try and put into the show. But it was like, it was just one of those things where we were just trying to find our footing and, and, and never really found it.Michael Jamin:Wow. But that's pretty cool though. I mean, hanging out with Bette Midler's pretty cool. SheJonathan Fener:Was something else, man. She was like a, like I said, like a force, like just funny and, and just larger than life. AndMichael Jamin:You know, but we were, we didn't just shoot me. And and George Siegel, of course, in the seventies, there was no bigger actor than George Siegel. And he wasJonathan Fener:Huge. Yeah. Funny.Michael Jamin:And then c just shoot me. And we wrote an episode and he, George could not have been a sweeter guy, such a nice guy and great sense of humor. But there was one episode he, I guess he wasn't happy with what he was playing. Maybe he didn't have enough lines, or maybe he thought his storyline was dumb or whatever. . But I remember he, we were all the writer's rehearsal. And George goes, you know, I was nominated for an Emmy. I'm sorry. He was, you don't have nominated for an Oscar. You know that. Right. And one of the writers goes, yeah, that was a long time ago. George. Get in the dunk tank. . And George thought that was so funny. I mean, he like, to his credit, he just laughed. He thought it was great. .Jonathan Fener:That's so funny.Michael Jamin:That's what's fun about working with some of these, you know, some, some of these old timers are great, some of them are, you know, a little di difficult. Who knows. All right. So then what, at what point did you guys start developing your own shows? Cause that's always a big leap.Jonathan Fener:You know, we, we were kind of like wanting to do that early. And I remember that was another thing that was not encouraged. Yeah.Michael Jamin:Not then itJonathan Fener:Wasn't at all. It was just sort of like, it was the tail end of it, but it was kind of just like, here's the model. Get on staff. Mm-Hmm. work your way up to producer, supervising producer, get a deal. Mm-Hmm. and then you develop. Right. So that was the, that was the the road. But we were like, no, we have some ideas. And you know, if they don't wanna listen to us at, at nbc, then maybe they'll listen to us at mtv. So we had heard that MTV was looking to develop shows. Cheap show. I mean, it's like that thing every, like couple of years. MTV's like, we wanna do scripted. And then they would hardly ever do it, but Right. We had this idea that we would do cuz they wanted to repurpose videos, but somehow do it in a scripted way.So we had this idea that we would do like Dream on, but with music videos. So it was about a kid whose interior monologue was music videos instead of old movies. Right, right. And like, just seemed it was like risky business, but the kid is 16 and he's just that. So we sold that. We actually sold that and wrote it and it never got shot. But that was like, pretty early. That was like a couple years in. And we sold a movie. Like, we were kind of like trying a bunch of stuff. But I think that we early on were like, I feel like we should do our own stuff too. Uhhuh . So I always have said like, like, like I don't, I don't know what it's like to have just like one job. I always feel like I was doing two things at once. So like, eventually if people are always like, they're on staff, like I was always on staff. And then on the weekends I was working on the other thing.Michael Jamin:You see, people don't understand how exhausting that is cuz you're on staff, you're working very long days and then on the weekends you're working more. You know, it's, it's, it's good for you when you're, you know, it's hard. It's hard to do that. Yeah.Jonathan Fener:It was hard. And I think it was the right look. I wasn't, I was, I was, I was married, but I didn't have any kids and mm-hmm. , you know, but it's, it was tough, man. I mean, you know, and, and that was back before you, we were zooming. So like, we would go, I'd go to Josh's house, he'd come to my house, Uhhuh, . I mean, we used to literally meet in the middle and trade.Michael Jamin:Oh. Cause you guys, you guys let, did you live far apart from each other?Jonathan Fener:Yeah, yeah. We, we, we, yeah. UsuallyMichael Jamin:Trade far discs. So I'm, I'm skipping ahead a little bit, but, but I'm curious to know, well first of all, I wanna know how, what was the academy, how did you work on the Academy Awards? How did that come about? That's such an odd term for you thatJonathan Fener:Yeah, that was, that was the connection. There was, that was the year John Stewart hosted, I don't know if that was his first time. I know he did a bunch of times. It was the year of crash crash one. Okay. The best picture. And like Philip er Hoffman one for Capote, but John was Right. Was hosting and he brought out like a bunch of daily show people. And my partner went to college with a guy, Ben Carlin. Yes. Who I kind of became friends with too, because of those guys. So, so Ben was running the Daily Show. He was one of the eps. And so when he came out, he called me and Josh and a couple of other guys and asked if we wanted to be part of the staff of people. Basically they, the, the Daily Show guys wrote the monologue. They asked us the la guys to write like short film parodies of the nominees.Right. So, and then, you know, maybe help out with the, and and, and on on show night we would be part of the joke room cuz they're writing jokes throughout the night. With like, I mean, Bruce Lance was there mm-hmm. and some local school guys were, were there. But so yeah. So we basically pitched like 20 little short filmed things and they picked five or six of 'em and then we got to produce them and, and, and all that. But we were part of that whole thing. That sounds fun. Yeah, it was really fun. It was really, really fun. And like on show night, we literally, they put us down in this basement and we are like watching the show live and it was like instant messaging. If whatever, who, if somebody won something, we would like shoot a bunch of jokes up to them and the wings. ButMichael Jamin:Did you have to wear a tuxedo to do that? Yes. In my mind. You, I knew it in my mind, you have to wear a tuxedo even though you're not gonna be on camera, but you're at the Oscars. Wow. They tell you thatJonathan Fener:Because Yeah. Be because we were, I mean, it was really cool. I mean, we got, went, went to, you know, my, my wife and, and Josh's wife and, and all the wives got to go to the show. Right. They got tickets to the show. We were downstairs and then afterwards we went to the governor's ball. Right. I mean, it was really, I mean, we had access.Michael Jamin:That's a trip.Jonathan Fener:That's, it was, that didn't get a gift back. I was really hoping I'd get like a, because I always, I'm like, there's like a trip to Australia in there or something, but I,Michael Jamin:But you got a nice, you got a nice paycheck that's got that kind of counts for something.Jonathan Fener:I don't remember how much we got paid. I don't know if it was, I, I feel like, I don't knowMichael Jamin:Now what about it was great. What about the Mindy Project? Cuz that was like a big, that must have been a big experience for you.Jonathan Fener:Yeah. Yeah. That was, that was fun. And, and that when we were, we had a deal at Universal mm-hmm. . And we had, we, we were kind of lucky. Like we, that was when I worked on the Malaney show and Right. We did a lot of development when we were there and we supervised and ran a couple of shows there. But that was sort of towards the end where they just asked us to come and help out.Michael Jamin:Okay.Jonathan Fener:Oh, for a season. Yeah. And it was it was like, it it is one of those things though, where it was a very tight, well-oiled machine and we, and it was, it was fine. It, it was, it was kind of funny though cuz it was like, you, this sort of happens where, you know, you, you write pilots, you shoot pilots, you run shows, but then sometimes you're a staff guy again. Yeah. And that was a gig where we were sort of like, alright, we're part of this staff. And, and everybody there was like, really funny, really smart. Like, I think, I think that writer's room literally had like three former Lampoon editors, Uhhuh and just like really, really funny smart guys. Right. And women. And we just were like, okay, we're just pitching jokes.Michael Jamin:You're, oh, okay. And then so that, that's, that's the whole experience. But did Mindy run the show? Was she the showrunner at,Jonathan Fener:I mean, she, I she, she had, there was a guy named Matt War Burton, who was sort of running the room mm-hmm. When she was gone. Because the most impressive thing was that she, she shot all day. Yes. Because it was seeing the camera show. She was the star of the show. But she came in at lunch, Uhhuh . And Matt would pitch her and she very efficiently was like, I love this. I love this. What if this happens? What if this happens? Gotta go. And so she, she had the final say. Right. But she was busy, you know. Yeah. And, and that, I I'm trying to think Melany was that way too, but Melany was really part of the writing and that was also a Multicam. So,Michael Jamin:And that was probably, it's, that Melany show was probably three years too soon. Like, you know, like before he really became huge.Jonathan Fener:Yeah. Yeah. That was, you know, I, I think that, that, this was my opinion and I'm not like making this up. And I remember we used to talk, like John was trying, I feel like John was trying to do something where, you know, everyone just looked at it and at face value and said, oh, it's Seinfeld. He's just doing Seinfeld. But Uhhuh, I think he really, really liked the, the medium. He liked multi-cam, but there was a part of it that I think was a little bit satirical. Mm-Hmm. . But it really, I, I think that if you didn't know that you're just like, oh, he's just, is just a, you know, like I feel like some of the stories that he pitched he felt were funny because it's like, oh, this is kind of a clammy story. But I, but I think it's funny in like, I'm doing it with a wink. Right. But I think people maybe saw it and said, there'sMichael Jamin:No wink. I don'tJonathan Fener:See the wink. Yeah. There's no, yeah. And, and, you know, but it, it was, it's not that it was the wrong vehicle because it was his show. And, and, and he is the funniest guy in the room always, you know? Right. I mean, and NA, see Petra was on the, was in the cast too. She was really funny. There was a great cast. Elliot Gould was on that show. Martin Short was on that show. Yeah. It was like, it was, it was, it was really, really fun. But yeah, maybe it was, I, I think maybe he was trying to like rein, not reinvent the multi-cam, but just like, turn it on 10 a little bit. Right. And it maybe wasn't, no one was like, ready for that.Michael Jamin:Hey, it's Michael Jamen. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michael jamin.com/watchlist.Did you, cause whenever we developed for comics, we, you know, we wound up studying, then we read, we watched the act, we read, listened to their, whatever the audio books or, you know, read their, did you do the same as well forJonathan Fener:I just knew you mean for that show or for,Michael Jamin:Well, for Malaney or, or for any, any comic that you're writing for. Really. Or even like Bette, you know, for example,Jonathan Fener:Well, Bette, I mean, we definitely like combed through her career and her life and mm-hmm. tried to get stories from it. Mm-Hmm. yeah. Whenever, and, and, and, and, you know, the, the Mullany thing, we, we kind of like, we were also, that was a period of time where like, we were on that staff for a period of time, and then we had a pilot picked up and went to go shoot it. Oh. So we were sort of there for a, a specific period of time. But like, that show was all him to me. I mean, he ran that with a guy John Pollock, a good friend who who's also like, he, he's, he's such a good, he's a pro guy. He's a pro and, and can guide things. He's so funny and smart. But so I think that, that they really clicked well. And there were a lot of really funny people on that staff too. But yeah. Yeah. I, I think that to answer your question, it's always good, especially if you're dealing with somebody who's gonna put a little bit of their lives into it, to just mm-hmm. because I mean, frankly, you, you kind of want to like, connect with them too. Like, it's something that they can connect with. Right. Unless they don't wanna do it. Unless they wanna be completely a different person if they're being some version of themselves. Yeah.Michael Jamin:What's so odd is that you and I have never worked together, even though we've worked with so many of the same people, you know? Yeah. It seems, it seems like very odd that, you know, how how did that never happen? But how do you see, like, so okay, we are on strike. How do you see the business now? Like, what do you, like, what's your take on the past, I don't know, three to five years? You knowJonathan Fener:Everything's going great. It's great.Michael Jamin:Everything's perfect.Jonathan Fener: and just getting betterMichael Jamin:.Jonathan Fener:I, everybody knows what's going on. Yeah. no, I I think it, to me it feels like it's a massive sea change. Yeah. It really feels like even having lived through the first strike, like that was streaming was just kind of coming around and, you know, Netflix was a thing and, but now everything has completely been disrupted and mm-hmm. , I just think that I mean look, this is nothing new, but like, you know, to, to me, cable seemed to be working okay. And then streaming came in and it just seemed like there were no parameters. It's like all the streaming services come, came around. And I understood economically that like all the studios are gonna want to have their own thing mm-hmm. and not have to license it to anybody anymore. But without the structure of a, of a schedule, like a nightly schedule, it's just like, it just became a bottomless pit.Yeah. And so there was this five, you know, it, it was the, it was the old, it was the, the Wild West again. And there's a billion shows. And I, I, you know, some of these studios I guess were just like, wait, this is so expensive. Like a full staff for every show and we're making so many shows. We need to, now, now it's like we overspent now we need to back up a little bit. And then, but in the meantime, to me, I just felt like it was, like the rules got changed where there was a somewhat of a model in network television and even cable where it's like, we're gonna pick this show up for X number of episodes. We're gonna have this many people on staff. That's the way it's done. Mm-Hmm. . And then now the, it's like, oh, we have this new area of streaming. We're just gonna do things differently. Now we're gonna hire three people. Mm-Hmm. , or the guy that created the show is just gonna write 'em all and then shoot 'em all. And it, it just, I don't, it's, it's, you know, I mean, all I can know, all I can do is keep doing what I do, but it's, you know, it seems more, it, it really seems, it feels like the ground underneath us is that much more Yeah. Shaky. Really shaky.Michael Jamin:How do you, and what's your take? I don't know if you work a lot with, well you know, young, well, let's see. I actually, I have two questions I wanna ask you cuz your last, your last network show was probably was what The Mindy Project? Cause I haven't worked, I haven't worked in the network for a while. It's all been cable. Right.Jonathan Fener:The last network show I worked on was American HousewifeMichael Jamin:Oh. American House. So it's so interesting. Which wasn't even that long ago. And so you're working with young, there's bigger staffs on network. You're, they're bringing in younger writers. What's it like? What, what are the kids like? Do you think they're different these days on network shows?Michael Jamin:Because we had a hierarchy. We had, there was a pattern. There was a, you know, all broken.Jonathan Fener:Yeah. Yeah. Yeah. I, I, I, I think it's probably better. I mean, I worked, I worked in some rough rooms and then I worked in some more, you know, I certainly, I don't feel like I ran a rough room. What do you mean?Michael Jamin:What do you mean by rough room? What were they like?Jonathan Fener:Just a, that the, the real hierarchy. Like when I was a staff writer, you were not really expected to talk very much. Right. It was kind of like sit and listen. Right. But and then I'd say I'd, I'd pitch something and they'd be like, not now. And I'd say, I'm sorry. And they'd say, don't be sorry. Just be quiet.Michael Jamin:. Don't be sorry. Don't let happenJonathan Fener:Again. Don't be sorry. Just be quiet. I, I, and like, look, that's the, that's the, it was always done with a joke. You know what I mean? Right. And, and like, I don't ever feel like I was treated cruelly. Mm. I mean, I mean, I guess I, I guess it was cruel that, you know, I did feel like I was held hostage and, you know, yeah. Going home at 6 30, 7 o'clock in the morning in, in rush hour traffic the wrong way. Like yeah. My nights and days were mixed up. But like, eventually what I was gonna say was I just feel like there was something to earning it a little bit. You know, I, I just feel like, you know, even even those first jobs, like, especially like Bright Coffman Crane, I remember there were certain things that you, like, they were big on floor pitching Right.On, on, on, on show night. And that's great experience. I mean, look, multi cams aren't around as much as they used to be, but like, I remember learning a ton. Like, I, I can still shoot back to the time we were on show night and a joke bombed, and then you just huddle up mm-hmm. and you're just staring at each other and everyone's thinking, and you gotta come up with an alt. And people are pitching stuff and it's like, and you pitch a joke and everybody laughs and you're like, oh my God, you're theMichael Jamin:Hero.Jonathan Fener:Amazing. And then, yeah. And then, and then they put it in and itMichael Jamin:Dies and it, and it dies. Yeah. That's what a flip joke. People listen. That's what a floor pitch is. I'm showing that on a multicam, you at the last minute throw a joke in after one bombs. SoJonathan Fener:Yeah. Right. And then you finally, you, you give up and you just pitch a joke with the word nipple in it. . And people laugh at that and you're like, ah, I hate myself. Yeah. But no, but, but I, I think that now, you know, ha like being the older guy and, and even, you know, running a show, like, there, there is a, there is a certain level of like, everybody has an equal voice mm-hmm. . And, which I think is good, you know, but I also think that there's, it's not that you are less than at all. To me it was always about like experience. Mm-Hmm. . Like, you, you just gotta, you know what it is, it's about, it's, there's, there's no substitute for being able to read the room. Yeah. And there are people sometimes that are younger and less experienced and they, they pitch an idea and no one says anything, which is like the night, it's, it's, you know, the worst is if someone says, that sucks. Right. But if you pitch a joke or a story and no one really like, jumps on it, no one Yes. Ands it, you know what, let it float away because Yeah. You know, and then if you re-pitch it and then you re-pitch it,Michael Jamin:You're gonna get yelled at, you'reJonathan Fener:Gonna get yelled at. Like, that's just not cool. And I feel like sometimes maybe people don't like that anymore. You know? Yeah. Like, you're not supposed to do.Michael Jamin:Yeah. I hear you. What, what? Surprised It's so hard. There's a huge learning curve on their job. And when someone pitches an idea, if it's a good idea, it really doesn't matter who it comes from, but it's pretty obvious when it's a good idea. The right. Like the, the senior writers are, oh, that's good. Right. And if you're new inexperienced, you just don't know what's, what's a good idea from a bad idea. And I think they sometimes get a little offended or hurt. It's no, it's, it's not, it's not, it's not, it's just the idea. It's not you, you know? Right. The idea didn't land.Jonathan Fener:Sometimes it's them. No. Sometimes it'sMichael Jamin:ThemJonathan Fener:. But yeah, it's, it best idea wins always, always, always. Yeah.Michael Jamin:Best idea. Gets you homework faster and so and so. Yeah. I know. Well, I was gonna ask you something else. Oh. Oh, that's, that's how I was gonna say we met, we met years ago. Cause you were running a show, which is an interesting thing that you did was said you were running a show called Awesome Town, but you were running it. Someone else with less experienced writer wrote it and you guys were brought on to supervisor it. Right,Jonathan Fener:Right, right.Michael Jamin:It was like, so talk about your experience doing that kind of stuff.Jonathan Fener:That was the first time we'd ever done that. We've, and we've done that a bunch just because I feel like my partner and I, that's not really something that a lot of people love to do, like run other people's shows. Everybody wants to, you know, get your own thing. And we were writing our own pilots at the time too. But if you get enough experience, honestly, you know, my feeling is you want to have as many skills as possible in this business because mm-hmm. , you know, you want to just have another arrow in your quiver.Michael Jamin:Yeah.Jonathan Fener:That's the right term. But like, so i, if you can successfully help someone just guide the ship and it's their show and they've never done it before, cuz that's a really hard job.Michael Jamin:Were there creative struggles though, between you and them at all when you do this?Jonathan Fener:No, honestly, no. I really feel like it was this guy, Adam Ste. Hillel, who's like super nice guy. He he's like big feature guy now. I think he wrote Black Adam. Mm-Hmm. , he like, works with the Rock a lot and, and he created Undateable with Bill Lawrence too. Mm-Hmm. . So he's, he's had a bunch of stuff. No, he's very nice guy. Very funny. And it was actually kind of cool that he got this job on, it was basically just about the, these four like early twenties friends and negotiating life afterwards and they threw a lot of stuff. It's funny, I remember they, they picked the show up because I feel like a, b C was looking to do something in the younger space. Right. But it did, it was one of those shows. It wasn't, it was very low concept. And there was a whole opening teaser that we, I I always suspected, this is why it got picked up cuz it was very, it was very American pie.It was like kind of dirty and there was like a couple and somebody had peanut butter on them and a dog was looking and Right. You can imagine. So but I remember thinking like, this is why they picked it up because this is outrageous. There's no way they ever shoot this though. Right. Which is like, that's like an age old story in tv. It's like the thing they love about it. Mm-Hmm. is the thing they cut first. It's exactly right. You know, it's like you, you, you pick up a show called like Immortal because the, the lead character ha has been alive for a thousand years. Uhhuh. And then the first note is, can we make him immortal please? Yes,Michael Jamin:That's exactly right.Jonathan Fener:Yeah. but, and you do it cuz you're like, oh, they just they just picked up the show. They just gave me a budget and Right. But so they, they made a bunch of changes to this show and including changing that entire teaser. But it was, it was just an opportunity that came because again, like I think we had written a pilot for the studio that made it and they needed somebody we, like, we had just gone through, you had a deal,Michael Jamin:You probably had a deal at the time, an overall deal. Right.Jonathan Fener:I don't know if we had it like, you know what we did, I think we had just sold a pilot to like 20th Uhhuh . And it was like a very good experience, but we just, it just was one of those shows that like almost got there but didn't Yeah. But then, then they picked up all their other shows and they're like, oh, we're gonna pick up this show with these guys. And we had a good relationship with the development people that like, you know, maybe John and Josh can help with that. So that was awesome. That was, that was like, and I remember like, we cast whoever we want. Like we changed roles because we found, like I'd never seen Brett Gelman before and he came in and was so funny. We're like, we're putting him in this show somehow. He was easily 10 years older than everybody. Well, was supposed to be a coworker, Uhhuh, , ally Wong came in, we're like, Uhhuh, let's create a intern. But it was like, it, it, it was like, it was the first it was a good gig to get. And then from there we, we got a bunch more of those gigs to sort ofMichael Jamin:Like, see, that's, that's a talent, because a lot of, I think sometimes when you have a no, a young creator will create a show. Then they assign a showrunner, and sometimes the showrunner's like, well, listen, my name's on this too, and I don't want this to have, I don't have a stink on me if this is terrible. So they kind of turn into what they want it to be. It doesn't sound like you did that. It sounds like you were very much trying to realize the vision of the person who created these shows, which is nice of you.Jonathan Fener:Yeah. I mean, I don't, maybe that's just the way that we are. I mean, I just feel like that's the fir like, and I'm, look, by the way, that's probably a good way to get the gig, is to go have lunch with them and go, listen your show, man. We're just here to help you carry the water from here to there. Right. And we know how to do it. And but that it's the truth. I mean, honestly, I like, I don't want it to be bad, but like, you know, and like, I'll tell you what, I think I'll give you my opinion, but also like, again, I don't know anybody that could ever do that, show that job alone. Like, it's, it's miserable and not mis, you know what I mean? And we we owe, and plus, you know, you could relate to this too, just being, I mean, being on a writing staff is collaborative anyway, but being in a writing partnership, you just really learn how to negotiateMichael Jamin:Mm-Hmm. Jonathan Fener:Compromise. Mm-Hmm. and talking it out. And, you know, single writers tend to be really, you knowMichael Jamin:Yeah.Jonathan Fener:Hold onto their stuff cuz there's mm-hmm. Never any other counterpoints. So I feel like we have the right skillset forMichael Jamin:That. Yeah. There's also a sense of, there's so many decisions to be made. If I don't make this one decision, that's okay. I gotta make a million other decisions. So it's okay if I didn't, if I don't make this one decision, you know, there's a lot to do.Jonathan Fener:Yeah. I don't need to be in wardrobe. I always say that. I don't need to be, I don't need, I I you can do rack check. I don't need to do that.Michael Jamin:Yeah, yeah. There's exactly, there's exactly, there's a ton. I, when we ran Marin, we, the the wardrobe people loved us cuz they chose us choices. And I go, what do you think, you know, well this one. And I said, well, why do you think that one, they gimme reason. I go, all right, sounds like you know what you're doing, . Sounds like you got a good idea there, so let's do what you say.Jonathan Fener:Yeah. Yeah. I mean how, how many episodes did you do of Maryland?Michael Jamin:We did four seasons. I, I want, it was probably around 50. Cuz each show, each season was, I don't know, whatever, 12, 13 or something like that. Uhhuh . So, yeah. But that was I c and that was a pleasure because it was low budget. They just leave you alone. It was wonderful. So, yeah.Jonathan Fener:And I mean, did you finally that it was, was it hard to produce? Because I mean, how big was your staffMichael Jamin:The first season? So that was a show that was created by this guy Duncan Birmingham. We didn't create it, but he wrote the pilot. He was a young writer. He wrote the presentation and then with Mark, so that season, the first season when they picked it up, it was Mark Marin, who's very good writer, but had no writing experience for sitcoms. He's a, you know, standup, this guy Duncan Birmingham, who was a, a young guy who they just, they they could exploit. So he had no experience and it was me and my partner, and that was it. So we, the ones with any real sitcom experience. And then, but then as each season one, we picked up a couple more writers and then we rounded it out. But but it was a great, it was a wonderful experience, but the budget was tiny. The budget was, it was like nothing. It was nothing. Yeah. And we shot each episode in two and a half days, soJonathan Fener:Really?Michael Jamin:Yeah, it was, yeah. As long as someone's finger wasn't in front of the lens, we got it. , let's move it on. So yeah, that was, that was such a great experience. And, and, and no one remembers that. No one remembers, you know, like, hey, the show, it wasn't that perfectly lit. Yeah, that's okay. But people liked the writing. They like the acting. That's the important thing, you know. So what if the camera went like this a little bit ?Jonathan Fener:Right. my, yeah, my partner always was like, when you're like, he's like, they're doing laundry. They're paying their, they're paying their bills while they watch this. Like, they like the people. Oh,Michael Jamin:Oh, yeah.Jonathan Fener:Yeah. They're like, they're, they're, they're like, they're listening. They're half, you know, they're, they're not,Michael Jamin:Not even anymore. Now they're on their phones and watch. I mean, now they're really not watching the show. . He's Right. Cause like everyone, you know, Siebert, you say the same thing you'd say. Like Yeah, they're, they're reading People magazine, not any anymore. They're not, now they're on, they're watching the show and on TikTok and getting text messages, , they're not paying attention.Jonathan Fener:They're reading the live tweeting. Yeah. Of other people read, likeMichael Jamin:Watching the show for them, so. Right. It's an odd time, but yeah. So what do you s so what do, what excites you then going forward? What, as we, as we wrap it up, what is your, like what excites you now?Jonathan Fener:In entertainment?Michael Jamin:Yeah. Or just, yeah. As a, as a writer. Yeah.Jonathan Fener:I still, I mean, I like what I always liked, honestly. Like, I feel like right now I want to, the thing that I want to do is I, I want to try new things, but I also, I know this is like, but but, but, but also I feel like as I get older, like you have to, you have to always write what's sort of like, I don't know, is like personal to you. Like, I don't know, this is, because then it sort of seems inauthentic. Right? but having said that, like I think that I, I would really like to get back into animation mm-hmm. , I feel, I feel like I, I know it's like, I feel like features, like, like I feel like weirdly streaming has opened that up. Mm-Hmm. a little bit too, cuz like, you know, it's hard to get a movie out in the theaters. I mean, especially now. Yeah. it's not a Marvel thing or something like that. So like, there might be like avenues to go with with streaming movies and stuff like that. But like, I don't know. That's, I mean, it's, it's, it's, I I feel like I don't have any, a good answer to that question because I still really, like, I, I still feel like I always have ideas, Uhhuh, but and, and honestly like more often than not, like I'm looking to collaborate with more people. Yeah. Different people, you know, becauseMichael Jamin:Not necessarily on air talent, but writers as well.Jonathan Fener:Other writers. Yeah. Yeah. I just feel like, you know, if you're lucky you have a long career and mm-hmm. a lot of different types of careers and, you know, my partner and I always said like we we've sort of had an open marriage a little because mm-hmm. , we started out together, we, and, you know, you work very closely with a writing partner and, and we worked together for many, many years and then we sort of split on staff for a while, and then we came back together mm-hmm. for a while, and then now we're separate again. ButMichael Jamin:Was that hard for you when you're writing after you split to start writing alone? Let's say even on staff, cuz this is the first Okay. You usually, you have somebody to bounce an idea off of. Now you're, you're on, you know, you're looking at that blank page by yourself.Jonathan Fener:Yeah. Yeah. It's hard. Mm-Hmm. , it's hard to be in that. It's, it's, it's definitely hard. And I feel like I'm getting better at like, sort of reaching out to mm-hmm. other writers and just sort of like, can you look at, because it's like my wife can't hear it anymore, you know? Yeah. Like, go walk into the kitchen. It's like, would this character say that? She's like, I don't know, like, what are you talking about? So I have to, I I I just feel like you have to, I guess you, you learn to sort of like mute your ego a little bit mm-hmm. and just sort of like, let o let other, like, sometimes you just have to talk it out and, and that's what a partner was for, you know. Yeah. but I don't even know if I answered your question. That'sMichael Jamin:Okay. We're just, we're we're chatting. What about, what about advice for aspiring writers? What do you, what do you tell them? Either about the craft or about the business?Jonathan Fener:I mean, to get in nowMichael Jamin:Mm-Hmm. .Jonathan Fener:I think that starting out the, the best thing about now to me mm-hmm. , is that it seemed like in the beginning when we started, it was really all about like, what's the speck of the big show.Michael Jamin:Mm-Hmm. ,Jonathan Fener:Which there's a, there's an art to that, you know, beca
Diedrich Bader grew up in Paris, watching movies from Charlie Chaplin, Buster Keaton, and Fred Astaire. Through some unique circumstances, he ended up performing as a Chaplin in front of a large crowd, getting a standing ovation, and he was hooked from then on to become a comedic performer. Diedrich has over 200 credits, a mixture of performances and voice work, including Office Space, Napoleon Dynamite, Veep, The Drew Carey Show, The Beverly Hillbillies, American Housewife, and most recently, AMC's Lucky Hank. This is one of three Lucky Hank interviews, so be on the lookout for my chats with actress Mireille Enos and creators Paul Lieberstein and Aaron Zelman. In this interview, we talk about Diedrich's love for physical comedy, appreciation for child-like characters, how sitcom audiences have changed their viewing habits over the years, the scene that made him nervous in Lucky Hank, and his view on perseverance over the course of a long career. Want more? Steal my first book, Ink by the Barrel - Secrets From Prolific Writers right now for free. Simply head over to www.brockswinson.com to get your free digital download and audiobook. If you find value in the book, please share it with a friend as we're giving away 100,000 copies this year. It's based on over 400 interviews here at Creative Principles. Enjoy! If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts? It only takes about 60-seconds and it really helps convince some of the hard-to-get guests to sit down and have a chat (simply scroll to the bottom on your iTunes Podcast app and click “Write Review"). Enjoy the show!
On this episode of Made in Hollywood Mark and William discuss the effects of AI on Hollywood. You may also hear irrelevant things in this episode about Guardians of the Galaxy 3, Marvel, Disney Plus, Are You There God, It's Me, Margaret?, Abby Ryder Fortson, Rachel McAdams, Edge of Seventeen, Judy Blume, ChatGPT, Kelly Fremon Craig, Hallmark, Quentin Tarantino, Martin Scorcese, CinemaCon, Jonathan Majors, Gay Hendricks, Beyoncé, Frank Sinatra, King Charles, Princess Diana, Camilla Parker Bowles, Prince William Duke of Cambridge, The Crown, digital make-up, Indiana Jones, 80 for Brady, Jane Fonda, Henry Fonda, American Housewife, Katy Mixon, On Golden Pond, and Robert Redford.
With special guest David Perez Babich, Anna and Derek debate what it actually takes to be an effective pimp, why more morgue humor would have been nice and so much more during their discussion of Ron Howard's Night Shift (1982).Connect with '80s Movie Montage on Facebook, Twitter or Instagram! It's the same handle for all three... @80smontagepod.Facebook: https://www.facebook.com/80sMontagePodTwitter: https://twitter.com/80sMontagePodInstagram: https://www.instagram.com/80smontagepod/Anna Keizer and Derek Dehanke are the co-hosts of ‘80s Movie Montage. The idea for the podcast came when they realized just how much they talk – a lot – when watching films from their favorite cinematic era. Their wedding theme was “a light nod to the ‘80s,” so there's that, too. Both hail from the Midwest but have called Los Angeles home for several years now. Anna is a writer who received her B.A. in Film/Video from Columbia College Chicago and M.A. in Film Studies from Chapman University. Her dark comedy short She Had It Coming was an Official Selection of 25 film festivals with several awards won for it among them. Derek is an attorney who also likes movies. It is a point of pride that most of their podcast episodes are longer than the movies they cover.David Perez Babich is an award winning actor, director, and musician who thrives on story-making in all forms. Recent television appearances include Grown-ish, American Crime Story: Impeachment, Liza on Demand, and American Housewife. He will be appearing on Season 2 of Killing It to be released later this year. His Tech-Horror short film, A Unique Opportunity was a nominee in Atlanta Shorts Festival and a Platinum winner in Spotlight Film Festival in 2021. His current projects include a mysterious silent short film about past lives and a tennis drama.
The American Housewife Containing the Most Valuable and Original Receipts in all the Various Branches of Cookery; and Written in a Minute and Methodical Manner
Christine Lakin is a Director, Actor, Producer and a Choregrapher. Christine is probably best known for her role as “Al” in the 90's sit-com Step By Step. More recently, she was one of three Hollywood Darlings on the Pop Network alongside Jodie Sweetin (Fuller House) and Beverley Mitchell (7th Heaven). These three women produced the highly improvised comedy loosely based on their real lives and friendship. Christine has also appeared in dozens of films and TV shows such as Modern Family, The Rookie, Station 19, American Housewife, Mothers Day, CSI, The League, Melissa and Joey, Valentines Day, Veronica Mars and You Again. She's voiced multiple roles on FOX's Family Guy, Cartoon Network's Clarence and is known as Jane from The Walking Dead game, Seasons 1 and 2. She is the voice behind PeeBee in EA's Mass Effect: Andromeda. She also narrates numerous audio book - in fact over 150, including the best selling Bosch/Ballard detective series by Michael Connelly, in which she voiced Renee Ballard. Christine has also performed in several acclaimed theater productions, notably as Clarice Starling in the cult-hit Silence, The Musical LADCC award and dozens with LA favorite, The Troubadour Theater Company. She has regularly hosted for CMT, VH1 and E! including the recent Burbank International Film Festival. Christine is also a nominated choreographer, whose work has appeared in many national commercials and on HBO's Westworld, True Blood, Schooled and ABC's The Goldbergs. She has worked on films such as You Again, and Parental Guidance alongside such talent as Sigourney Weaver, Betty White, Jamie Lee Curtis, Steve Carell, Jennifer Garner and Bette Midler. She is the creator of the hit storytelling show, Worst Ever, which ran to sold-out crowds around Los Angeles and New York before being developed and sold as a series with Thank You Brain Productions. It was turned into successful podcast found on Apple and iTunes. Additionally, she has sold scripted content to MTV, Hulu, and has developed with Whoopi, Inc., Campanario and Warner Horizon. Most recently Christine has been behind the camera, directing episodic television for Apple, Disney+ and ABC including The Goldbergs and High School Musical, The Musical, The Series. We chat about mentors, pivoting, saying “yes”, collaboration and success, choreography and getting into directing, second guessing ourselves, imposter syndrome and play and fun. The video footage of this entire chat is now out as well (one day after release)! So check them out on YouTube under Michael Kahan Check Christine out on: Instagram: https://www.instagram.com/yolakin/ Twitter: https://twitter.com/yolakin Facebook: https://www.facebook.com/ChristineLakinVerified/ Vimeo: https://vimeo.com/christinelakin ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan
On this week's episode I have the pleasure of speaking to a very special guest. My next guest has worked in the US entertainment industry for over a number of decades. My next guest is an extremely talented individual with a wide range of Bonne Fides. I'd Love to Introduce this insanely talented and kind individual Randall Winston! He's an actor, director, producer and has done so much more. He has acted in multiple shows (Possibly best known for his portrayal as Leonard the Security Guard and Death on the TV comedy scrubs). He has directed a number of shows including but not limited to Scrubs, Cougar Town, Head of the Class, American Housewife and Most recently on the Apple TV new smash hit comedy “Shrinking”. He is possibly more well known professionally for his work as a producer. Randall was kind enough to open up about his professional journey and shares some of his firsthand stories working on some of the above-mentioned shows. I really hope you all enjoy this great chat as much as I had recording it. Thanks Again M!
Today I had the absolute pleasure of speaking my colleague and friend, Ruben Dario. Ruben has recently worked on amazing shows like, Euphoria, AP Bio, Grey's Anatomy, American Housewife and will be seen on the upcoming Paramount Plus show, Fatal Attraction. Ruben shares how he was “Baptized” into this industry and also the importance of having steady work outside of acting to support your craft. He also took the time to answer several listeners questions. Enjoy!!! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
Gloria Garayua talks working with Jim Carrey, joining the "Grey's Anatomy" family at the height of its reign, and the time she had to find a way to incorporate a tissue in her audition! About Gloria: Gloria Garayua is an actress and an acting teacher. She is most recognized from Seasons 4, 5, and 6 on "Grey's Anatomy" as Intern Graciella, and Season 3 of "How To Get Away With Murder" as Detective Davis, "Blanca" in "Fun With Dick and Jane" with Jim Carrey, and such series as "Reckoning" on Netflix, and much more. She recently created an online video series for anyone interested in starting acting classes called “Acting For True Beginners”. Check it out on her website www.gloriagarayua.com. Gloria was born and raised in the Bronx in New York City. She received her B.F.A. in Acting from Long Island University where she graduated Summa Cum Laude. Both of her parents are from Ponce, Puerto Rico. She speaks fluent Spanish and intermediate French, and plays beginner piano. She enjoys music, dancing, singing karaoke, and has 2 awesome kitties: Felix and Beeker. She works as an acting teacher and audition coach when she is not herself acting, both privately and at Azusa Pacific University. Guest Starring roles include: ABC: How To Get Away With Murder, Grey's Anatomy, The Good Doctor, Castle, CougarTown, Desperate Housewives, NYPD Blue, How To Get Away With Murder, American Housewife. CBS: Cold Case, NCIS: LA, SWAT, Criminal Minds, NBC: ER, FOX: Bones, TNT: Animal Kingdom, Rizzoli and Isles, Southland, Showtime: Shameless, Weeds, FX: The Shield, Anger Management, Snowfall Studio films include: Sony Studios and Imagine Entertainment: Fun With Dick and Jane, Four Good Days: Starring Glenn Close and Mila Kunis, and more Theatre work includes: Ariel in “The Tempest”, “Two Sisters and a Piano” by Nilo Cruz at the Old Globe Theatre, and more VO work includes: LEGO Friends, Official voice of the Safety Spiel at the “Guardians of the Galaxy, Cosmic Rewind” ride in Disney World Florida, Dubbing: Tokyo Godfathers, Fate: Grand Order, Cyberpunk Edgerunners. Follow the show on social media! Instagram: https://instagram.com/thanksforcominginpodcast/ Twitter: https://twitter.com/tfci_podcast Facebook: http://facebook.com/thanksforcominginpodcast/ Theme Music by Andrew Skrabutenas Producers: Jillian Clare & Susan Bernhardt Channel: Realm For more information, go to thanksforcominginpodcast.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Dr. Dan interviews Kurt Braunohler -- Dad, comedian, and co-host of Exactly Right's Bananas podcast – about parenting, humor, and his just released streaming special PERFECTLY STUPID.Dr. Dan and Kurt's conversation today is funny, sometimes bananas(!), and will make listeners laugh out loud. They discuss comedy, kids, Dad humor, parenting, Dad-ing, and how laughter really is the best medicineKurt Braunohler has two children. Kurt can be seen in Judd Apatow's feature “The Big Sick” and Lionsgate's "Long Shot" as well as the upcoming horror film “Barbarian.” He's appeared in "The Good Place," "Bob's Burgers," "Black Monday," "Lady Dynamite," "American Housewife," and more. Kurt regularly appears on late-night sets on "Conan," "The Tonight Show with Jimmy Fallon," "The Late Show with Seth Meyers," and "The Late Late Show with James Corden" and is co-host of the continuously sold-out variety show “Hot Tub” for 17 years with Kristen Schaal. Follow Kurt on Instagram @kurtbraunohler.Email your parenting questions to Dr. Dan podcast@drdanpeters.com (we might answer on a future episode).Follow us @parentfootprintpodcast (Instagram, Facebook) and @drdanpeters (Twitter).Listen, follow, and leave us a review on Amazon Music, Apple Podcasts, Wondery, or wherever you like to listen!Don't forget, you can hear every episode one week early and ad-free by subscribing to Wondery+ in the @WonderyMedia App.For more information:www.exactlyrightmedia.com www.drdanpeters.comFor podcast merch:www.exactlyrightmedia.com/parent-footprint-shopSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Turn down your dials, because it's cacklin' season! The Sisters Ellis, Helen and Biz, reunite to talk scary movies, fainting in theaters, and The Prunemaster. Plus, Biz gets burned up!Pre-order your copy of Helen Ellis' new book, Kiss Me in the Coral Lounge, wherever books are sold. Follow Helen on Twitter @WhatIDoAllDay. Order Helen's other books at her Penguin Random House page: https://tinyurl.com/3vwwueehThank you to all our listeners who support the show as monthly members of MaximumFun.org. Share your genius and fail moments! Call 206-350-9485Be sure to tell us at the top of your message whether you're leaving a Genius moment, a Fail, or a Rant! Thanks!!Share a personal or commercial message on the show! Details at MaximumFun.org/Jumbotron.Visit our Linktree for our website, merch, and more! https://linktr.ee/onebadmotherYou can suggest a topic or a guest for an upcoming show by sending an email to onebadmother@maximumfun.org.Show MusicSummon the Rawk, Kevin MacLeod (www.incompetech.com)Ones and Zeros, Awesome, Beehive SessionsMom Song, Adira Amram, Hot Jams For TeensTelephone, Awesome, Beehive SessionsMama Blues, Cornbread Ted and the ButterbeansMental Health Resources:Therapy for Black Girls – Therapyforblackgirls.comDr. Jessica Clemmens – https://www.askdrjess.comBLH Foundation – borislhensonfoundation.orgThe Postpartum Support International Warmline - 1-800-944-4773 (1-800-944-4PPD)The Substance Abuse and Mental Health Services Administration (SAMHSA) Helpline - 1-800-662-4357 (1-800-662-HELP)Suicide Prevention Hotline: Call or chat. They are here to help anyone in crisis. Dial 988 for https://suicidepreventionlifeline.org and there is a chat option on the website. Crisis Text Line: Text from anywhere in the USA (also Canada and the UK) to text with a trained counselor. A real human being.USA text 741741Canada text 686868UK text 85258Website: https://www.crisistextline.orgNational Sexual Assault: Call 800.656.HOPE (4673) to be connected with a trained staff member from a sexual assault service provider in your area.https://www.rainn.orgNational Domestic Violence Hotline: https://www.thehotline.org/help/Our advocates are available 24/7 at 1-800-799-SAFE (7233) in more than 200 languages. All calls are free and confidential.They suggest that if you are a victim and cannot seek help, ask a friend or family member to call for you.Teletherapy Search: https://www.psychologytoday.com/us/therapists/online-counseling
THIS IS A GREAT ONE FOLKS! "At the end of the day, it's the audition and what you're doing with the material" - Brett Greenstein I'm thrilled to introduce you to my friend Brett Greenstein. Brett and his partner, Collin Daniel, formed their company Greenstein/Daniel Casting in 2004. They are one of the most respected and prolific casting offices in Hollywood with their focus mainly being TV comedies. They have cast (too many) TV Pilots to name, television movies & Independent film. Some credits include: Reboot on hulu, Never Have I Ever on Netflix, American Auto, Home Economics, Hot in Cleveland, The Odd Couple, BH 90210, Superstore, American Housewife & Sprung Here we go!. Enjoy! Brett Greenstein IMDB: https://www.imdb.com/name/nm0339207/?ref_=fn_al_nm_0 Elizabeth Boykewich is a Coach & Facilitator specializing in Transformation, Mindfulness & Leadership. She is a casting maven and served as the Head of Casting for ABC Family & Freeform at The Walt Disney Company for 17 years. Giant THANK YOU to all of the actors who submitted questions. If you'd like to submit a Q to be answered on the podcast or tik tok please visit the "for actors" page on my website. Link below. SUBMIT A QUESTION HERE: https://theeb.co/for-actors EB Imdb: https://www.imdb.com/name/nm0102130/?ref_=fn_al_nm_1 WE DISCUSS: +How Brett started in the business +What was it like casting Reboot during the pandemic? +One of his favorite projects to cast +The nuts and bolts of an international open call + What if I don't get the whole script? How do I prepare? +Why actors often don't see the whole script for episodic casting? +How to tell if it's a single camera or multi camera show by looking at the script +How many actors do you see for an episodic role? +How is it different from pilot casting? +Do you see tapes only until you find the right person? Or do you go through them all? +When do you ask for re-tapes? +What Brett misses about the in person auditions +Should an actor go on tape even if they don't feel right for it? +How should I tape myself depending on the type of show? +What makes my self tape stand out? "At the end of the day, it's the audition and what you're doing with the material" +What to do in a table read +Don't do this on social media. +What is the best way to get back on a CD's radar? +How do CDs keep track of so many actors? +Whats a master list? +Who goes through the breakdown submissions? +Do you bring in actors you don't know? +How do casting directors decide who to bring in +Advice for new actors moving to Los Angeles +What Brett's watching and loving right now. --- Send in a voice message: https://podcasters.spotify.com/pod/show/elizabeth-boykewich/message Support this podcast: https://podcasters.spotify.com/pod/show/elizabeth-boykewich/support
Leslie Bibb has worked with some of the biggest names in the business. Noted for her comedic flair, she can be seen in the newly released “God's Favorite Idiot” and the upcoming TV series, Mrs. American Pie. In this episode, Leslie shares her journey as she touches on fear, intentions, and unapologetically asking for what you need. These are the unforgettable stories that landed Leslie Bibb right here. Show Links: PATREON: @thatoneaudition THE NEW TRIPLE THREAT: Level Up Your Acting Career INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher Guest links: INSTAGRAM: @mslesliebibb IMDB: Leslie Bibb Credits: WRITER: Erin McCluskey SOUND DESIGN: Zachary Jameson WEBSITE & GRAPHICS: Chase Jennings ASSISTANT: Elle Powell SOCIAL OUTREACH: Bebe Katsenes
Jake Choi is one of the funniest, friendliest and freshest actors around. It's a tall order to be phenomenal at both comedy and drama and Jake proves his worth project after project. His work as Miggy on Single Parents was some of the best single-camera comedy in the history of the genre. https://Instagram.com/thejakechoi Support from our Sponsors: ------------------------------------------------ * For 15% OFF your subscription to Voice123 visit: * https://www.Voice123.com/plans/pox * FREE SHIPPING on all TURTLE BEACH / NEAT MICROPHONE orders * https://www.dpbolvw.net/click-100595441-14299609 * FREE SHIPPING on all ROCCAT orders * https://www.dpbolvw.net/click-100595441-14525775 * For 10% off VOICE STRAW visit the link below! * https://voicestraw.com/discount/POX10?ref=c33e2x1zok * For 10% off RIVERSIDE.FM SUBSCRIPTION visit the link below! * https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=Pox ---------------------------------------------- Please subscribe and follow us on all social media and enable notifications on all podcast platforms! https://www.PointsofeXperiencePodcast.com ---------------------------------------------- Questions? Email Info@pointsofexperiencepodcast.com Instagram: https://www.Instagram.com/PoXPodcast Twitter: https://www.Twitter.com/PoXPodcast Facebook: https://www.Facebook.com/PoxPodcast TikTok: https://www.TikTok.com/@PointsofeXperience ------------------------------------------------ Original Music by: SkaneMusic - https://www.instagram.com/skane.music/ Edited by: Keith "Neku" Lawson - https://twitter.com/OzmaNeku
This episode we discuss some of our favorite couples from some of the shows we have watched this year. The shows discussed are Revenge, Normal People, Sky Med, Law and Order, Melissa & Joey, and American Housewife.Follow us on Instagram and Twitter @thetvdeepdive. Email us at thetvdeepdive@gmail.com with any comments or suggestions!
Actor Carson Rowland joined host Robert Peterpaul to discuss kindness on the set of his shows Pretty Little Liars: Original Sin and Sweet Magnolias, how his family and wife lift him up, the link between acting and neuroscience and more. Carson Rowland has been in love with acting since he can remember, first stepping into the spotlight with the recurring role of Cole Reyes in Nickelodeon's I Am Frankie. Over the years, Carson has become known for his work on shows like the ABC sitcom American Housewife, but it wasn't until he booked the role of Tyler Townshend on Netflix's charming series Sweet Magnolias that his star really shone. It grew even brighter this summer with the release of HBO Max's hit Pretty Little Liars: Original Sin, where Carson plays high schooler Chip. In addition to acting, Carson is also a singer-songwriter, but he mainly does that for himself. He also casually has a BS in Neuroscience from Florida Atlantic University, something he earned while simultaneously being a working actor. Got kindness tips or stories? Please email us: artofkindnesspodcast@gmail.com Follow Carson @carsonrowland Follow us @artofkindnesspod / @robpeterpaul Resources: 988 - Suicide and Crisis Lifeline National Sexual Assault Hotline Support the show! (https://www.buymeacoffee.com/theaok) Music: "Awake" by Ricky Alvarez & "Sunshine" by Lemon Music Studio We are supported by the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices
New Jersey native Emily Rothstein began her career after graduating from the University of Southern California with a degree in Cinematic Arts. She spent nine years at ABC Studios where she worked in both drama and comedy development, assisting the drama team in the development of such series as AMERICAN CRIME and HOW TO GET AWAY WITH MURDER, and the comedy team on THE MUPPETS and AMERICAN HOUSEWIFE. She has been working at NBC Universal on the comedy development team across all platforms since September of 2019 where she is responsible for developing new projects in addition to identifying new voices and emerging talent. She has worked on series such as “Wolf Like Me” and on the upcoming series based on the “Pitch Perfect” movie franchise for Peacock in addition to “Mr. Mayor” on NBC. Learn more about your ad choices. Visit podcastchoices.com/adchoices
The Sasso's sit with artist Stephen Bruce in the studio this week. You have probably encountered his work as it has been on some of the most popular TV shows and movies to come out of Hollywood in recent years. From House, Law & Order, Criminal Minds, Californication, Big Bang Theory, The American Housewife, to movie sets like The Avengers, Iron Man 3, Avengers: Endgame, Horrible Bosses, and The Social Network, his acid painti [...]
Hey Turners and Mashers! We are back (for today) to share with you another episode! This week, Niki tells you about American Housewife by Helen Ellis. Then Ty shares with you all about his favorite chill game: Fallout 4 New Vegas. This week was an interesting one for sure before we go on a very short Hiatus to catch our breath. Thank you all for the listens and we hope to be back and in full swing for you in the next few months! Much love, Niki and Ty! Until then, you can follow our socials and buy some Merch!: https://linktr.ee/pageandbuttonspodcast --- Send in a voice message: https://anchor.fm/pageandbuttonspodcast/message Support this podcast: https://anchor.fm/pageandbuttonspodcast/support
Nicole did her homework this week and tells all about her audiobooks coming to shelves soon! New titles include mystery and thriller reads, some romance, and other fiction and nonfiction titles. Tori talks about some young adult and nonfiction titles that have caught her attention this week. The resources discussed in this episode are listed below: Cultish: The Language of Fanaticism by Amanda Montell; Feeding the Soul (Because it's My Business): Finding Our Way to Joy, Love, and Freedom by Tabitha Brown; Something to Hide by Elizabeth George; Seasonal Work: Stories by Laura Lippman; American Housewife by Helen Ellis; Stronger Than You Know by Lori Foster; How Much I Love by Marie Force; The Sentence by Louise Erdrich; The Paper Palace by Miranda Cowley Miller; The Truth About Forever by Sarah Dessen; Ain't Burned All the Bright by Jason Reynolds and Jason Griffin; The First Rule of Punk by Celia C. Pérez; MetaMaus by Art Speigelman; Maus by Art Speigelman; Skin of the Sea by Natasha Bowen
It's the seventy-second episode of On The List with Brett Gursky. This week's guest Ruben Fleischer talks all about his career as a director. Ruben and Brett talk about his latest movie “Uncharted”, starring Tom Holland and Mark Wahlberg, which was just the #1 movie in the world for 2 weeks in a row. Ruben gives Brett all the behind-the-scenes stories about the making of the film, including what it was like filming in Berlin during a global pandemic… especially when their original start date was March 16th, 2020. Then Ruben takes Brett back to the beginning, from growing up in Washington D.C. and making home movies to attending college at Wesleyan University as a history major. Ruben talks about his first gig as a P.A. on “Dawson's Creek”, which was followed by a job as director Miguel Arteta's assistant. Ruben explains how he got to direct his first movie “Zombieland” in 2009, starring Jesse Eisenberg, Emma Stone, Abigail Breslin, Woody Harrelson, and Bill Murray- and how it catapulted his career. Then Ruben tells Brett how he chose his next film “30 Minutes Or Less”, starring Jesse Eisenberg again, alongside Danny McBride, Aziz Ansari, and Nick Swardson. From there, they talk about Ruben's third movie “Gangster Squad”, starring Sean Penn, Josh Brolin, Ryan Gosling, and a reunion with Emma Stone. Ruben also discusses directing the pilots for the hit NBC show “Superstore” (which he also produced), the ABC sitcom “American Housewife”, and the Netflix series “Santa Clarita Diet”, which starred Drew Barrymore and Timothy Olyphant. Then Ruben shares stories about the making of his next two films- “Venom” starring Tom Hardy, Michelle Williams, and Riz Ahmed, and “Zombieland: Double Tap”, which reunited the original cast 10 years later. Of course Brett asks Ruben if there will be more “Zombieland” and “Uncharted” movies in his future. Last but not least, Ruben shares his advice for aspiring filmmakers. Be sure to check out “Uncharted” now playing at a theater near you.
Writing advice from Helen Ellis, author of Southern Lady Code, American Housewife, and Eating the Cheshire Cat. * To listen to Helen's full interview with host Zibby Owens on the podcast Moms Don't Have Time to Read Books, click here: https://bit.ly/3mO0J7F * To read (or re-read!) this writing advice, click here: https://bit.ly/3gfLliX * Want to buy SOUTHERN LADY CODE? Click here: https://amzn.to/3e1tXfg * Feel inspired to write? Submit your work to Moms Don't Have Time to Write, a Medium publication. Guidelines here: https://bit.ly/3w1aQdi * Love what you hear? Subscribe! Give us a 5-star rating! Leave a comment! * And please follow us on Instagram @momsdonthavetimetoreadbooks!
Diedrich Bader is an American actor and voice actor. Many know him for his roles as Oswald Lee Harvey on the long-running comedy “The Drew Carey Show” and Lawrence from the film “Office Space.” Bader has had roles in animated features such as “Ice Age,” “Surf's Up,” “The Simpsons,” and voiced the role of Batman in the animated television series “Batman: The Brave and Bold.” He has also been in the comedies “The Beverly Hillbillies,” “Napoleon Dynamite,” “Miss Congeniality 2: Armed & Fabulous,” “Balls of Fury” and “Meet the Spartans.” He was the series lead on the NBC comedy “Outsourced” and was also seen on USA's “Psych,” TV Land's “The Exes,” Netflix's “Arrested Development” and Fox's “Bones.” Additionally, Diedrich was on three seasons of HBO's “Veep” as Bill Ericsson, opposite Julia Louis-Dreyfus. In addition to ABC's hit family comedy “American Housewife,” he is also currently starring as Rich on FX's “Better Things,” opposite Pamela Adlon. His upcoming projects include the DC Universe animated series “Harley Quinn,” for which he voices the role of Batman, and the feature film “Jay and Silent Bob Reboot.” Don't miss Diedrich Bader on the season finale of ABC's "American Housewife" March 31st. Follow Diedrich Bader Twitter: https://twitter.com/bader_diedrich Instagram: https://www.instagram.com/baderdiedrich/?hl=en ------------------------ Follow American Housewife https://www.instagram.com/americanhousewifeabc/ https://twitter.com/AmericanWifeABC https://www.facebook.com/AmericanHousewife ------------------------ Dave + Lisa https://www.facebook.com/lisachristiradio https://www.facebook.com/bravedaveradio https://www.instagram.com/lisachristi https://www.instagram.com/bravedaveradio
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