Podcasts about nyu

Sophia Dew and Sofia Puccini are joined by Ruby Thelot, designer, artist, cyberethnographer, professor at NYU, and founder of 13101401, for a wide-ranging conversation about internet culture, AI, digital communities, and how technology is reshaping the way we relate to one another. Drawing on years of research into online behavior, Ruby explains how digital cultures form, why algorithms shape more than just what we see, and what AI is changing about creativity, communication, and identity. They discuss cyberethnography, online subcultures, "machinic taste," AI companions, social norms, internet language, and why Americans often say they dislike AI—even as they increasingly rely on it in everyday life.   Resources: Follow Ruby X: https://x.com/being_on_line Substack: https://beingonline.substack.com/ Follow Sophia on X: https://x.com/sophiadew Follow Sofia on X: https://x.com/schisofrenia Follow MTS on X: https://x.com/mtslive Stay Updated:Find a16z on YouTube: YouTubeFind a16z on XFind a16z on LinkedInListen to the a16z Show on SpotifyListen to the a16z Show on Apple PodcastsFollow our host: https://twitter.com/eriktorenberg Please note that the content here is for informational purposes only; should NOT be taken as legal, business, tax, or investment advice or be used to evaluate any investment or security; and is not directed at any investors or potential investors in any a16z fund. a16z and its affiliates may maintain investments in the companies discussed. For more details please see a16z.com/disclosures. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

One motto — it only takes one yes — and the resilience habit that turned 100 rejections into a career before age 24. Simar Bajaj sent 100 cold emails to Stanford surgeons as a 16-year-old with zero research experience. One said yes — and that's the whole philosophy: resilience isn't about not getting rejected, it's about reducing rejection to a task and staying in motion anyway. In this episode, Dr. Juna talks with the award-winning health journalist and incoming Stanford med student about the mindset that he had to publish over 90 peer reviewed medical papers most while an undergraduate at Harvard, publish health reporting for the New York Times, and win scholarships to Oxford and Stanford. They also dive into how Simar's radiologist uncle and immigrant parents shaped that resilience long before any of it. It's a RELAX TO SOAR™ conversation built entirely around the “TO”: try, get told no, adjust and try again. Control your time and cognitively offload your health with the 6month RELAX TO SOAR™ system. Signup now to get free email support with your planner:mindbodyspace.com/storeMindBodySpace is hosted by Dr. Juna, Mom · MD · EdM — a Harvard-trained educator and NYU-trained physician, double board-certified in diagnostic radiology and lifestyle medicine. She's on faculty at The Juilliard School, where she created and teaches “RELAX TO SOAR” and has taught resilience and peak-performance skills at institutions including corporations, organizations, schools, (Achievement First Charter, NYU School of Medicine, Columbia Law School), plus to tens of thousands more online. New episodes weekly — follow along and head to mindbodyspace.com/store for the RELAX TO SOAR™ Resilience System to put your wellness habits on autopilot.

Jess Row is the author of the novel Your Face in Mine, the essay collection White Flights: Race, Fiction, and the American Imagination, and two collections of short stories, The Train to Lo Wu and Nobody Ever Gets Lost. His fiction has appeared in The New Yorker, The Atlantic, Tin House, Conjunctions, Ploughshares, Granta, n+1, and elsewhere, has been anthologized three times in The Best American Short Stories, and has won two Pushcart Prizes and a PEN/O. Henry Award. He has received a Guggenheim fellowship, an NEA fellowship in fiction, a Whiting Writers Award, and a Whiting Creative Nonfiction Grant. In 2007, he was named a “Best Young American Novelist” by Granta. His nonfiction and criticism appear often in The New Yorker, The New Republic, The New York Times Book Review, Bookforum, Threepenny Review, and Boston Review, among other venues. He directs the undergraduate creative writing program in the Department of English at NYU and lives in New York City and Plainfield, Vermont. His latest is the shortstory collection titled, Storyknife. Learn more at jessrow.com Intro reel, Writing Table Podcast 2024 Outro RecordingFollow the Writing Table: @writingtablepodcastEmail questions or tell us who you'd like us to invite to the Writing Table: writingtablepodcast@gmail.com.

Melody Anderson joins me and discusses having a crush on Tonto; going into radio journalism; hearing a radio broadcast of Who's Afraid of Virginia Wolf and wanting to go into acting; moving to LA and modeling to pay bills; getting gigs of Welcome Back, Kotter, Pleasure Cove, Elvis, and BJ in the Bear quickly; starring in Flash with Max von Sydow; playing it straight; meeting Queen; co-starring in Dead and Buried with a sick Jack Albertson; getting great reviews as an undead school teacher; going against type on Bunker's Place; wanting to be like Jean Arthur or Carole Lombard; guesting on Fall Guy and with Dirk Benedict on A-Team and Battlestar Galactica; CHiPs; Police Woman Centerfold; starring in movies of the week; Manimal; loving the animals; show is made fun of but was a fun job; playing Edith Adams to Jeff Goldblum's Ernie Kovacs; High School USA; Boy in Blue with Nicholas Cage; St. Elsewhere; Murder, She Wrote; going to NYU to get her masters in social work; being a trauma treatment specialist; wants to be known for doing good; EMDR treatment; sees patients 20 hours a week; Zoom therapy; www.counselingbymelody.com; calming techniques; what she does if patients recognize her

In this special episode, created by one of our student podcast fellows, NYU student, Alisha Lee, interviews Sally Seo, a fellow graduate student within the Animal Studies department with a background in documentary storytelling. Alisha speaks to Sally about the infiltration of documentaries into pop culture and her transition into academic research after a former job in the Original Documentaries department at Netflix.Sally's interests center on how connection and narrative shape our care toward nonhuman animals and the environment. Her background is in documentary storytelling, most recently at Netflix Original Documentaries, where she helped commission projects, develop ideas in-house, and lead diversity and inclusion initiatives. Building on that experience, she is now conducting a research project funded by the Center for Environmental and Animal Protection that examines how emotional and moral bonds with animals influence people's sense of place and environmental responsibility. By investigating the psychological and cultural mechanisms that link empathy for animals to pro-environmental attitudes and behaviors, her work seeks to illuminate how fostering connection can motivate care for the natural world. Ultimately, her goal is to help reshape how people relate to the environment by demonstrating that care for the natural world is not merely a duty but a source of meaning, connection, and shared belonging.For a full transcript of this episode, please email career.communications@nyu.edu.

Learn how to JournalSpeak⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.yourbreakawake.com/journalspeak This interview is one for the history books. Not only is Rachel's story CRAZY inspirational, the magic that accompanies our knowing one another and the synergy of how it unfolded is uncommon and moving. I can't wait to share this one with you! Note: we had some unforeseen technical issues in the last 5 minutes of our talk, so please forgive the audio glitch. It doesn't take away 1% from the power of this tale of recovery. Special thanks to Oliver Sachs for coming through with a genius audio edit. Gotta love having a son at NYU studying music technology.  Through postpartum depression, panic attacks, back and hip pain, Rachel fought her way through and out as only our sweet "Fight Song" warrior could, and her description of the lowest lows and the revelation of recovery will motivate you to carry forth through your own. So much love from both of us to all of you. xoxo n. ⁠1:1 COACHING WITH TRAINED COACHES SUPERVISED DIRECTLY BY NICOLE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PLEASE RATE AND REVIEW THE PODCAST HERE TO HELP OTHERS FIND IT!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Producer: Lisa Eisenpresser ~~~~~ SUPPORT:

-Rob cheers Elon Musk's renewed political efforts, argues the Democratic Party is embracing democratic socialism at full speed, and concludes that communists never outgrow the toddler phase because they just like breaking things. -Mary Walter joins Rob to celebrate Dr. Anthony Fauci's Senate testimony, discuss media coverage of COVID, laugh about California's struggling wine industry, debate whether men or women multitask better, swap stories about modern car technology, and react with disbelief to an NYU student arguing that prison isn't the answer for rapists. Today's podcast is sponsored by : PARAMOUNT PLUS - Don't Miss “Lioness” - all episodes streaming August 2nd on Paramount Plus RELIEF FACTOR - You don't need to live with aches & pains! Reduce muscle & joint inflammation and live a pain-free life by visiting http://ReliefFactor.com  GHOSTBED - I used to think a mattress was just furniture, until I got my GhostBed! GhostBed is offering my audience their lowest prices of the season, plus an extra 10% off. Go to http://GhostBed.com/CARSON and use promo code CARSON To call in and speak with Rob Carson live on the show, dial 1-800-922-6680 between the hours of 12 Noon and 3:00 pm Eastern Time Monday through Friday… Musical parodies provided by Jim Gossett (http://patreon.com/JimGossettComedy) You can now WATCH and chat with The Rob Carson Show LIVE on Newsmax's social media channels (Facebook, X/Twitter, YouTube, Rumble) Listen to Newsmax LIVE and see our entire podcast lineup at http://Newsmax.com/Listen Make the switch to NEWSMAX today! Get your 15 day free trial of NEWSMAX+ at http://NewsmaxPlus.com Looking for NEWSMAX caps, tees, mugs & more? Check out the Newsmax merchandise shop at : http://nws.mx/shop Follow NEWSMAX on Social Media:  -Facebook: http://nws.mx/FB  -X/Twitter: http://nws.mx/twitter -Instagram: http://nws.mx/IG -YouTube: https://youtube.com/NewsmaxTV -Rumble: https://rumble.com/c/NewsmaxTV -TRUTH Social: https://truthsocial.com/@NEWSMAX -GETTR: https://gettr.com/user/newsmax -Threads: http://threads.net/@NEWSMAX  -Telegram: http://t.me/newsmax  -BlueSky: https://bsky.app/profile/newsmax.com -Parler: http://app.parler.com/newsmax Learn more about your ad choices. Visit megaphone.fm/adchoices

Natalie Plana is a New York facial plastic and craniofacial surgeon who treats a newborn's cleft lip and a grandmother's facelift with the same eye for 1mmr of difference. Trained in classical ballet and modern dance, Dr. Plana spent three years at the Ailey School while earning her degree at Fordham.A single email as a medical student changed her direction. She reached out to Dr. Eduardo Rodriguez, NYU's newly recruited chairman of plastic surgery and a pioneer of facial transplantation, and spent two years as a research fellow on his team, witnessing one of the most extensive face transplants performed to date. That work, she says, is where she truly learned what plastic surgery is and how to meet a patient's needs.Her craniofacial philosophy runs through the whole conversation: function and aesthetics are not competing priorities. Whether she's aligning the red border of an infant's cleft lip or rejuvenating an older face, the standard is the same, and a one-millimeter step-off is noticeable to the eye. She also makes a distinction worth hearing, that necessity should be defined by the patient's goals, not by the surgeon.Dr. Plana treats the face as a whole, integrating the bony skeleton with the soft tissue rather than working only on the surface, and why rhinoplasty sits at the center of it all. She also walks through how much jaw surgery has changed: patients can now go through orthognathic surgery with Invisalign instead of braces, and with elastics for a couple of weeks instead of having their jaw wired shut.If you're weighing facial surgery, or you just want to understand how a surgeon thinks about the face, this is a warm, unusually candid place to start.Dr. Natalie PlanaFacial Plastic & Craniofacial Surgeon, New York CityDr. Natalie Plana is a fellowship-trained facial plastic and craniofacial surgeon in New York City whose work blends reconstruction and aesthetics across the face. She earned her medical degree at NYU, where she was recognized for excellence in plastic surgery, completed her plastic surgery residency at the University of Pennsylvania and the Children's Hospital of Philadelphia, and returned to NYU for advanced fellowship training in craniofacial surgery. Her practice spans cleft and craniofacial reconstruction, rhinoplasty, orthognathic (jaw) surgery, and facial rejuvenation, and she still performs cleft surgery alongside her aesthetic work. A former Alvin Ailey and Fordham dancer, she credits that background for the discipline and precision she brings to the operating room.Follow Dr. Plana on Instagram @dr.natalieplanaLearn more at planaplasticsurgery.comAbout Meet the DoctorThe purpose of this podcast is simple. We want you to get to know your doctor before meeting them in person, because you're making a life-changing decision and time is scarce. The more you can learn about who your doctor is before you meet them, the better that first meeting will be. Your host is Eva Sheie.There's no substitute for an in-person appointment, but we hope this comes close. If you're considering making an appointment or are on your way to meet this doctor, be sure to let them know you heard them on the Meet the Doctor podcast.Are you a doctor, or do you know a doctor who'd like to be on the Meet the Doctor podcast? Book a free recording session at meetthedoctorpodcast.comMeet the Doctor is made with love in Austin, Texas, and is a production of The Axis: theaxis.io

Go inside the origin stories of three of the most influential sketch comedy shows ever: The Kids in the Hall, SCTV, and The State. Kids in the Hall co-founder Kevin McDonald, SCTV writer Chris Cluess, and The State with filmmaker Matthew Perniciaro (director of Long Live The State!) share how these legendary comedy groups got their start — from Second City and SCTV's Emmy-winning run, to Kevin McDonald meeting Dave Foley and catching the attention of Lorne Michaels, to David Wain helping take The State from NYU to MTV. Comedy History 101 digs into the archives for the stories behind three shows that helped shape modern sketch comedy. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hey Streetwalkers. This is a throwback episode with third generation actor Jason Ritter. Jason has been on the show twice, but first appeared on the show on 4.27.20It was such a compelling & fun episode, l decided it needed to be re-visited!Enjoy this throwback episode, tell a friend, and thanks for listening!Jason Ritter - Actor - Part 1Take a walk with me down Fascination Street as I get to know actor Jason Ritter. This is part 1. Make sure to come back next week for part 2. In this episode; Jason and I chat about: his growing up a third generation Hollywood actor, how much we miss the social media platform VINE, what he was voted 'most likely' to do in high school, and how difficult it was managing his fledgling acting career in the midst of his father's unexpected passing. This episode does have some somber moments, but also a ton of laughs.Jason Ritter - Actor - Part 2Take a walk with me down Fascination Street as I continue my conversation with actor Jason Ritter. This is part 2. If you haven't listened to part 1; go back now and check that one out. In this episode we talk about; his very unique relationship with the WARNING family and two tv shows that he is currently on (A Million Little Things on ABC, and Raising Dion on Netflix). We also talk a little about a documentary he was part of that focuses on Huntington's Disease; before finally talking about what it's like to be a brand new father!Follow Jason on social media:Twit: @JasonRitterInsta: @Jason_RitterFB: Jason Ritter

Just Shawn and Chris today. We had every intention of talking music but got sidetracked and spend the first half of the show talking about seafood and 'tinned fish'. Later we talk some Serge as Shawn spent the past week at NYU making Serge dub and getting the most out of two (!) Wilson Analog Delays. JOIN THE PATREON patreon.com/basecampbeta

Newly Erupted host Dr. Joel Berg is joined by Dr. Emily Imes, co-chair of the American Academy of Pediatric Dentistry Dental Resident Committee, for a conversation focused on ways new pediatric dentists can gain exposure to impactful ways they can impact patient advocacy and access to care. She shares her experience at the AAPD's Pediatric Oral Health Advocacy Conference (POHAC) and how it reinforced her decision to pursue a Masters in Public Health. Dr. Imes also delves into how her mentors – including her childhood pediatric dentist – helped define her path and interest, leading to a diverse and rewarding journey into the profession. She shares how these experiences have inspired her engagement in organized dentistry and shaped the way she would like to support future pediatric dentists. Guest Bio: Emily Imes works in private practice and is a part-time Adjunct Clinical Instructor in the Department of Pediatric Dentistry at NYU. She is also a student at the Mailman School of Public Health, where she is currently completing her Masters in Public Health in the Department of Health Policy and Management. Originally from Asheville, North Carolina, she attended the University of North Carolina at Chapel Hill for her undergraduate degree, majoring in Chemistry and Hispanic Literatures and Cultures. She went on to receive her Doctor of Dental Surgery degree from the UNC Adams School of Dentistry and completed her pediatric dentistry residency training at Columbia University/ New York-Presbyterian. Her professional interests include teaching and mentoring dental students and conducting research rooted in the intersection of pediatric dentistry and public health. She is passionate about advancing oral health through teaching, scholarship, advocacy, and meaningful patient care. She is also engaged with the American Academy of Pediatric Dentistry, serving as the current co-chair of the Resident Committee.  See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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

In this episode, David and Chris speak with two of the world's leading experts on corporate sustainability, Aron Cramer, President and CEO of BSR, and Tensie Whelan, Distinguished Professor of Practice Emerita, the Center for Sustainable Business at NYU's Stern School. The conversation explores the origins of so much focus on the business case for sustainability, how this could be optimally framed, the way businesses can realize value from sustainability and why we need to be bold in advocating for it.

Send us Fan MailIs your digital pathology rollout moving so slowly that it's creating a fragmented workflow instead of transforming the department?In this episode of the Digital Pathology Podcast, I speak with Dr. Syed Hoda, Director of Digital Pathology at NYU, about why gradual implementation may no longer be the best approach to digital pathology adoption.Dr. Hoda explains how NYU used an intensive nine-month planning period to prepare for a department-wide transition. The process involved pathology, IT, project managers, vendors, hospital leadership, and approximately 40–50 people participating in regular planning calls.This wasn't simply a scanner installation.The team mapped workflows, configured Epic Beaker, redesigned laboratory spaces, tested integrations, planned training, and addressed the practical concerns of nearly 100 pathologists.We also discuss why scanner specifications may matter less than integration, vendor support, training, and system performance. For Dr. Hoda, digital pathology had to work as smoothly as glass microscopy. Speed was non-negotiable.Change management played an equally important role. Through open discussions, town halls, and the ADKAR framework, the team addressed concerns ranging from ergonomics to the loss of collaborative microscope sessions.The result? Every pathologist adopted the digital workflow, no one left the department because of the transition, and approximately 60–65 pathologists now work remotely using equipment that matches their office setup.Finally, we examine the next step: artificial intelligence in pathology. Dr. Hoda explains why NYU focused on building a reliable digital foundation before introducing AI. He also raises important questions about validation, transparency, responsibility, regulatory clearance, and the need for greater pathologist involvement in AI development.Episode Highlights00:00 — Are we repeating the same mistakes with pathology AI?Dr. Hoda compares the current excitement around AI with the early promises made about digital pathology 15 years ago.01:04 — Meet Dr. Syed HodaHis clinical pathology background and path to becoming NYU's Director of Digital Pathology.03:16 — Why going slowly can hold departments backHow partial adoption creates fragmented workflows, inconsistent training, and prolonged implementation.06:25 — Leadership support for rapid adoptionWhy institutional commitment, resources, and an ambitious timeline made the project possible.10:13 — Nine months of detailed planningWorkflow mapping, laboratory changes, system configuration, vendor selection, testing, and validation.11:48 — The role of professional project managementWhy pathologists shouldn't be expected to coordinate every part of a complex digital transformation.14:29 — Why the scanner isn't the most important decisionImage quality matters, but integration, service, training, and workflow fit may matter more.17:42 — People matter more than machinesHow vendor relationships and departmental engagement supported adoption.19:19 — Setting clear expectations across the departmentNYU communicated that every pathologist would move to digital sign-out within a defined period.20:49 — Change management is a structured processHow the ADKAR framework guided communication, education, adoption, and reinforcement.25:07 — Addressing practical and personal concernsFrom mouse ergonomics to preserving collaborative case review between pathologists.27:19 — Why NYU didn't introduce AI firstDr. Hoda explains why pathologists needed to become comfortable with the digital platform before adding new AI tools.29:26 — Digital pathology and remote sign-outApproximately 60–65 pathologists now work remotely with equipment matching their office setup.30:28 — Why speed is non-negotiableEven a small delay or repeated pixelation can quickly undermine confidence in a digital workflow.33:25 — A cautious approach to pathology AIConcerns about premature adoption, self-validation, limited regulatory clearance, and lack of pathologist involvement.37:27 — Scientific validation, transparency, and responsibilityWhat happens when the AI result and the pathologist's interpretation don't agree?40:41 — Where AI could meaningfully augment pathologyQuantifying microenvironments, feature combinations, ratios, and findings that are difficult to assess visually.Resources MentionedADKAR change management frameworkDigital Pathology AssociationExecutive War CollegeFDA list of AI-powered medical devicesA radiology mock-trial paper examining responsibility when clinicians use AI: Examining perceptions of liability about AI in radiology (MedRxiv)Why AI cannot do good science without humans (Nature Editorial)A previous Digital Pathology Podcast discussion about AI-supported colorectal cancer feature analysis (How to use deep learning image analysis for colon cancer with Rish Pai)Listen to the full conversation for a practical look at digital pathology planning, change management, remote sign-out, scanner integration, and responsible AI adoption.Support the showGet the "Digital Pathology 101" FREE E-book and join us!

What outcome are you actually after? It's one of the most important questions a leader can ask — and one most organizations get wrong. Jessi Szurek, Associate Partner at Synthesis, joins Toni for a conversation about outcome-focused leadership, AI adoption done right, and the career-defining skill of speaking up when you're being overlooked. Jessi's path took her from an architecture degree at Cornell to an MBA at NYU, through 17 years at Ernst & Young working across process automation and AI with global financial institutions, to a smaller consulting firm reinventing what client value really means. This episode is full of practical wisdom for anyone leading change, adopting AI, or trying to get clear on what actually matters — plus one of the best examples of calling out being ignored that we've had on the show. What we covered: The non-linear journey: architecture, an MBA in economics, and 17 years at a global consulting firm Why Jessi left a role she was good at when her objectives and her employer's diverged Outcome-focused thinking: the difference between the actions and the actual outcome Why most companies think they know their outcomes but don't — and how to find real clarity Why sometimes the right move is to stop and reprioritize instead of just doing what you're told Transparency as a leadership tool — and why short-term discomfort creates long-term value AI adoption is change management, not magic: why AI is just the next tool in the toolbox The AI skepticism problem: what to do when people are being forced to adopt tools they resist Why user buy-in matters more than the perfect solution — the paper Rolodex principle The golf story: how Jessi challenged being overlooked and what it taught everyone in the room What's the worst that can happen? Reframing the fear of speaking up Setting boundaries and choosing your environment over putting your head down Why the most important decision you'll ever make is who you choose as your partner Finding success in discomfort — and being your own biggest cheerleader Useful Links Connect with today's guest, Jessi, on LinkedIn https://www.linkedin.com/in/jessi-petrosino/ and find out more about Synthesis at https://synthesis.inc. This episode was sponsored by our guest,Jessi Szurek. Thank you Jessi & Synthesis for helping to bring Leading Women in Tech to this community!  

Michelle Knudsen is Chief Investment Officer of NYU, where she oversees the university's $8 billion endowment. Michelle joined NYU two years ago, after fourteen years as an allocator at Partners Capital and the Mellon Foundation, with a mandate to build a best-in-class endowment from a clean sheet of paper. Our conversation traces Michelle's lessons learned working at Goldman Sachs, a growing OCIO, and a foundation that shaped her investment philosophy and views on portfolio construction, risk management, and manager selection. We then turn to the transformation of NYU's investment office from the ground up across governance, portfolio strategy, investment process, and the team. Along the way, we discuss manager selection, emerging managers, venture capital, hedge funds, AI, stress tests, and what it takes to build an enduring investment organization. Any leader should see for themselves the benefits of elite coaching. Try ALEX: tryalex.admiredleadership.com. Learn more about our Strategic Investments: OWL. Learn More Follow Ted on Twitter at @tseides or LinkedIn Subscribe to the mailing list Access Transcript with Premium Membership   Editing and post-production work for this episode was provided by The Podcast Consultant (⁠https://thepodcastconsultant.com⁠)  

I personally subscribe to The Economist. TOE listeners get 35% off the annual subscription. No other podcast has this! https://economist.com/TOE This is a careful lecture that can be followed with zero background knowledge. Einstein thought he'd caught quantum mechanics in an act of spookiness — this podcast asks whether he was even worried about the right thing. Tim Maudlin, professor of philosophy at NYU and a leading philosopher of physics, delivers a rare full lecture tracing Einstein, EPR, and the road to Bell's theorem. The central claim: Einstein's real objection was never determinism — "God does not play dice" is a red herring — but non-locality, which he inferred rather than assumed. Maudlin traces the argument from Einstein's overlooked 1927 Solvay objection through the EPR paper's criterion of reality, showing why Bohr's famous reply never actually answered it. FOLLOW: - Spotify: https://open.spotify.com/show/4gL14b92xAErofYQA7bU4e - Substack: https://curtjaimungal.substack.com/subscribe - Twitter: https://twitter.com/TOEwithCurt - Discord Invite: https://discord.com/invite/kBcnfNVwqs - Crypto: https://nowpayments.io/donation/TOE - PayPal: https://www.paypal.com/donate?hosted_button_id=XUBHNMFXUX5S4 TIMESTAMPS: - 00:00:00 - Einstein's Quantization Hypothesis - 00:07:20 - Photoelectric Effect Implications - 00:12:30 - Wave-Particle Duality Myths - 00:20:40 - De Broglie's Matter Waves - 00:26:40 - Copenhagen's Completeness Doctrine - 00:34:10 - Solvay 1927: Two Conceptions - 00:41:20 - Pinhole Diffraction Problem - 00:48:00 - Collapse and Relativity Violations - 00:56:00 - Epistemic vs. Ontic Collapse - 01:05:00 - Ontological vs. Dynamical Locality - 01:14:00 - Configuration Space Objections - 01:25:00 - EPR's Criterion of Reality - 01:32:40 - Analyzing the Reality Criterion - 01:40:50 - Causal Isolation and Locality - 01:48:45 - Entangled Momentum Eigenstates - 01:56:45 - Logical Core of EPR - 02:04:40 - Position-Momentum Simultaneous Reality - 02:14:00 - Inferring Determinism from Locality - 02:26:30 - Conservation Laws and Information - 02:37:40 - Counterfactual Definiteness Debunked - 02:44:00 - Bohr's Incoherent Response - 02:52:00 - Schrödinger's Entanglement Confession LINKS MENTIONED: - Quantum Non-Locality and Relativity [Book]: https://amazon.com/dp/1444331272?tag=toe08-20 - On a Heuristic Point of View About the Creation and Conversion of Light [Paper]: https://sites.pitt.edu/~jdnorton/lectures/Rotman_Summer_School_2013/Einstein_1905_docs/Einstein_Light_Quantum_WikiSource.pdf - The Ghost in the Atom [Paper]: https://vdoc.pub/download/the-ghost-in-the-atom-a-discussion-of-the-mysteries-of-quantum-physics-1guq071e2ukg - Collected Papers on Wave Mechanics [Paper]: https://mwolf.pracownicy.uksw.edu.pl/MK/Schrodinger_Collected_Papers_on_Wave_Mechanics.pdf - Quantum Theory at the Crossroads [Book]: https://amazon.com/dp/0521814219?tag=toe08-20 - Can Quantum-Mechanical Description of Physical Reality Be Considered Complete? [Paper]: https://journals.aps.org/pr/pdf/10.1103/PhysRev.47.777 - Bohr's EPR Critique [Paper]: https://journals.aps.org/pr/pdf/10.1103/PhysRev.48.696 - The Present Situation in Quantum Mechanics [Paper]: https://personal.lse.ac.uk/robert49/teaching/partiii/pdf/SchroedingerPresentSituation1935(1980trans).pdf - Bertlmann's Socks and the Nature of Reality [Paper]: https://cds.cern.ch/record/142461/files/198009299.pdf - On the Einstein Podolsky Rosen Paradox [Paper]: https://journals.aps.org/ppf/pdf/10.1103/PhysicsPhysiqueFizika.1.195 - Quantum Theory and Measurement [Book]: https://amazon.com/dp/0691613168?tag=toe08-20 - Tim Maudlin [TOE]: https://youtu.be/fU1bs5o3nss - Sean Carroll [TOE]: https://youtu.be/9AoRxtYZrZo - Robert Sapolsky [TOE]: https://youtu.be/z0IqA1hYKY8 - Jenann Ismael [TOE]: https://youtu.be/7kvXihDAOi0 - John Norton [TOE]: https://youtu.be/Tghl6aS5A3M Guests do not pay to appear. #science Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us Fan MailVasant Dhar teaches data science at NYU's Stern School of Business and has spent more than 45 years at the frontier of artificial intelligence. He brought machine learning to Wall Street in the 1990s and founded SCT Capital Management, one of the first machine learning based hedge funds.He hosts the Brave New World podcast, downloaded more than a million times, where he has interviewed Nobel laureates, technologists, and global thinkers on the implications of AI. His work has appeared in The New York Times, The Wall Street Journal, Financial Times, Wired, and MIT Technology Review. His latest book, Thinking with Machines, traces AI from its origins to the present.For more than forty years, Vasant has built systems that sat right on the edge of human trust. People had to decide whether to rely on them or walk away.In this episode, he makes a stark claim: AI will not just change how we work; it will sort us into two groups. One uses it to extend their judgment. The other slowly hands that judgment over. The gap comes down to habits you are forming today, not some distant future.In this conversation, we discuss:Why trusting AI comes down to just two variables, and the simple test Vasant has applied since his Harvard Business Review piece a decade agoThe bifurcation Vasant believes AI is about to create, splitting humanity into two groups, and which side you do not want to be onWhat tennis great Roger Federer's win rate reveals about succeeding with algorithms, and the counterintuitive math behind every winning edge Why the edge returns to humans the moment everyone runs the same algorithms, and what only people can do in situations no system has seen The one word in the title Thinking with Machines that Vasant says matters most, and what it asks of how we work alongside AIThe areas of life where Vasant argues we may need to restrict AI entirely, and the legal framework we already have to govern itExplore the Conversation 00:00 Intro & AI Fun Fact: Trustworthy AI from Principles to Practice04:13 Meet Vasant Dhar: From the Internist System to Machine Learning on Wall Street07:10 The Origins of Thinking with Machines: The Biggest Surprise in 45 Years of AI09:33 Written for Everyone: AI's Accelerating Pace and the Call to Get Engaged11:23 When to Trust an Algorithm: The Green Zone and the Human Edge20:24 The Bifurcation of Humanity: Superhuman Amplification or Cognitive Decline24:52 The Four Eras of Machine Intelligence: From Specification to General Intelligence29:22 The Ethics of AI Agency: Where Machines Need Limits and Obligations34:14 Who Governs AI: Tort Law, Liability, and Emerging Legal Precedent37:44 AI in 2036: Multisensory Machines and the Integration of the Senses40:33 Teaching Machines to Smell: AI, Olfaction, and Disease Detection43:35 Where to Find Thinking with Machines and Connect with Vasant Dhar Resources:Subscribe to the AI & The Future of Work NewsletterConnect with Vasant on LinkedInAI fun fact articleOn the decision sprint process with Atif Rafiq, CEO & Bestselling Author

800,000 college students are paying full tuition — to earn LESS than a high school grad. Not a typo. The government just cut off federal loans for degree programs that don't pay off. Dr. Phil names the schools cashing the check anyway — USC, Juilliard, NYU, Reed — and breaks down why $260,000 can buy you a $40K salary. Before your kid signs that loan, listen to this. Thank you to our sponsors:Don't wait! If you're on Medicare or will be soon, reach out to Chapter: Call: (352)-845-0659 or go to https://askchapter.org to learn about your Medicare options and get help finding ways to save money.Struggling w Poor Sleep? RELAXIUM® Sleep is backed by a 90-day guarantee, so you've got nothing to lose. Enjoy restful and refreshing sleep with drug-free, non-habit forming RELAXIUM® Sleep. Get your risk-free bottle now. Go to https://TryRelaxium.com or call 800-952-7770.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

What is the "energy" in energy healing? Healers channel it. Patients reach for it. Ancient healing traditions built entire systems around it, and modern researchers are working to study it. But what is energy—biologically, physically, measurably…but also spiritually, and how does it move through the body to influence health and healing?In this special feed takeover, we're bringing you the season finale of Phenomena: The Science and Stories of Energy Healing, in which host Ivy Ross brings together three renowned scientists whose visions, taken together, begin to answer that question:Martin Picard, PhD, of Columbia University, has spent his career studying mitochondria, the body's cellular power sources, and has found them far more connected to our inner experience and consciousness than biomedicine ever assumed, and likely far more central to how we heal.Richard Hammerschlag, PhD, co-authored the paper that helped define the modern science of the biofield: the organizing fields of energy and information that operate within the body and extend outward from it, echoing the nested qi fields of older healing traditions.Neil Theise, MD, of NYU, helped identify the interstitium, a major recent discovery of a fluid-filled network running throughout the body that may explain how signals fundamental to health and healing actually travel.Together, these three voices offer a compelling, deeply human vision of the body and mind not as a machine, but as a dynamic energetic ecosystem.To close out the season, Ivy and researcher Meredith Sprengel also welcome special guest Jonathan Cohen, co-creator and executive producer of Mayim Bialik's Breakdown, to help land these big ideas about energy, healing, and life.This episode marks the finale of Phenomena's first season. To continue the journey, and explore the full docuseries, visit phenomenahealing.com. →See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, returning guest Allison Beck, a psychotherapist and parent coach specializing in reproductive psychology and anxiety, joins us to discuss the powerful concept of how "doing less is more". In an era dominated by an abundance of conflicting social media advice, the parenting pendulum has swung toward an exhausting state of over-parenting. Allison explains how this constant pressure to manage, fix, and perfectly execute every interaction can actually block the essential experiences and manageable doses of discomfort that children need for healthy development.The conversation dives deep into the psychology of childhood anxiety and a phenomenon Allison calls "yellow lighting". She explains how well-intentioned parents often inadvertently speed up or escalate a child's emotional distress by either over-demanding or over-accommodating their feelings. Instead of swooping in to fix the problem, the most effective strategy, recognized as a gold standard for treating childhood anxiety and OCD, is to offer a brief supportive statement and then literally do less. Allison also emphasizes the crucial difference between parental agency and control, reminding listeners that parenting behaviors cannot completely override a child's genetics or natural development.Finally, Allison unpacks the practical steps parents can take to sit with their own discomfort and regulate their nervous systems. She highly recommends meditation as a tool to build the neurological skill of observing without reacting, which directly translates to calmer, more flexible parenting. By redefining what it means to be a "good parent", and accepting that calmly and accurately responding to your child's needs just 20 to 30 percent of the time is a massive success, parents can finally let go of perfectionism. Tune in to learn how to parent more intuitively and find out more about Allison's one-on-one coaching and therapy offerings.Allison has served as an advisor and written contributor on perinatal mental health, child development and parenting for various professional service providers and organizations. She received a BS in Human Development with a dual concentration in Early Childhood and Adolescence from Cornell University and an MSW from NYU. Allison has been supporting individuals and families as a Psychotherapist and Parent Coach in NYC agencies, hospitals, and in private practice for over a decade.Connect with Allison: allisonbeck.com@_allisonbeckCheck out her past episode here: “Tackling Anxiety & Depression: One Thought At A Time”Click here and use your exclusive 20% listener discount (Code: Fit20) to enroll in Master Your Pelvic Floor, our signature self-paced course that will change the way you understand and care for your body.

Air Date - 22 July 2026Join Host Marc Lainhart – The Intuitive Prospector™ this Wisdom Wednesday as Marc welcomes pioneering Psychotherapist and Cancer Survivor, Ms. Heather A. Lee, who will help fill a critical gap in the national conversation on Psychedelic healing. At a moment when psychedelic medicine is moving from the margins to the mainstream, debated in Congress, studied at Johns Hopkins University and NYU, and embraced by a growing number of clinicians, one important voice emerges from the national conversation: women's. In her new book, Heather shares powerful stories of women's transformation through psychedelic healing. These real-life testimonials are from women who navigated some of the hardest transitions of their lives, including cancer diagnoses, sexual trauma and abuse, loss of a spouse, estrangement from children, confronting mortality, and post-sixty identity. The book arrives amid increasing public and scientific interest in the therapeutic potential of psychedelic substances. Rather than focusing solely on research, “The Psilocybin Sessions” centers on the lived experiences of women, offering readers a deeply personal and human perspective on a rapidly evolving field.Please join us for another inspiring, encouraging, educational, healing, motivational, and transformational show! “Prospecting to discover the diamond within and the many hidden gems all around us!”#HeatherALee #MarcLainhart #InspiredLivingAbout the GuestHeather Lee is one of the first leading psychedelic-assisted psychotherapists with 25+ years of clinical experience in integrative mental health. She has mind-body training from Harvard University and specializes in helping women build emotional resilience through transformational psilocybin experiences. She is a keynote speaker and leads international retreats that blend science, soul, and plant medicine to support healing, growth, and lasting inner peace. She is the author of “The Psilocybin Sessions: Real-Life Stories of Women's Awakening with Psychedelic Medicine” (Modern Wisdom Press). With 25+ years of clinical experience in integrative mental health and mind-body training from Harvard University, Heather Lee is one of the first leading psychedelic-assisted psychotherapists in the U.S.WEBSITE: https://heatheralee.com/Visit the Inspired Living show page https://omtimes.com/iom/shows/inspired-living-radio/Connect with Marc Lainhart at http://www.marclainhart.com/Subscribe to our Newsletter https://omtimes.com/subscribe-omtimes-magazineConnect with OMTimes on Facebook https://www.facebook.com/Omtimes.Magazine/ and OMTimes Radio https://www.facebook.com/ConsciousRadiowebtv.OMTimes/X/Twitter: https://twitter.com/OmTimes/Instagram: https://www.instagram.com/omtimes/LinkedIn: https://www.linkedin.com/company/2798417/Pinterest: https://www.pinterest.com/omtimes/

In an increasingly polarized nation with a divided Congress, the rulings of the Supreme Court's latest term were as closely watched as ever. The justices took on decisions about birthright citizenship, voting rights, transgender athletes and many other hot button issues, with sometimes surprising results. Immediately after the term wrapped, three experts on the court met onstage at the 2026 Aspen Ideas Festival to discuss what these rulings say about the future of the court and American law. And they touch on the big question hovering over all recent decisions – has the court become too politicized? Colleen Sinzdak is a Supreme Court and Appellate partner at Milbank, Melissa Murray is an NYU law professor, and Sarah Isgur is the editor of SCOTUSblog. The panelists don't hold back as moderator Jonathan Capehart of MS NOW keeps the conversation on track. 

We talked to New York City-based stand-up and musical comedian, Kimberly Dinaro! Jason has a delightful chat with Kimberly about how comedy entered her life through acting school, working at Lush, attending NYU, and her appearance on the Tonight Show starring Jimmy Fallon in the Instant Songwriters Challenge. Kimberly also discusses the confidence gap between famous people and working artists, how pay-to-play marketing and algorithms make creative careers harder, her commitment to authenticity in her work, what she learns from social media engagement, and she explains why musical comedy works for story and repetition, citing her influences like Tim Minchin and Bo Burnham. They also talk about her goals like making her EP, her band with her sister, and more. It's a super fun chat! www.kimberlydinaro.com Instagram: @KimberlyDinaro, @WomenInBusinessMusical, @ThereItIsPod, @JasonFarrPics  TikTok: @KimberlyDinaro, @JasonFarrToks Threads: @ThereItIsPod, @JasonFarrPics Facebook: @ThereItIsPod  Subscribe to our comedy newsletter: https://mailchi.mp/e22defd4dee2/thereitis

Red Apple Group founder John Catsimatidis on turning $5 million of Manhattan real estate into $100 million, financing an empire on vendor credit, and the one major business decision he hasn't made yet. Episode OverviewJohn Catsimatidis arrived in New York from a tiny Greek island at six months old, the son of a lighthouse keeper who worked as a busboy to feed his family. He left NYU eight credits short of an engineering degree for the chance to own a piece of the supermarket where he'd been working—and by his twenty-fifth birthday, he owned ten of them. Today his Red Apple Group spans supermarkets, an oil refinery, more than four hundred gas stations, a real-estate portfolio stretching from Manhattan to Florida, and WABC Radio, where he is still on the air nearly every day. Forbes puts his fortune north of $4 billion.In this episode, Jonathan Boyar sits down with John for a conversation about how the empire actually got built: the vendor credit that stood in for capital before he had any, why he started opening his stores on Sundays (it wasn't the sales—it was making sure the checks he'd written on Friday would clear on Monday), and the Manhattan buildings he began buying in 1977—when, in his words, "the world was coming to an end in New York"—because he needed somewhere to put his stores. Within a few years, $5 million had become $100 million. One of his suppliers saw it coming before he did, telling him over lunch: "You're going to wake up one day and you're going to be worth a lot of money."Catsimatidis also speaks candidly about succession—his children, he says, "want nothing to do with retail," and a decision about the future of Gristedes is coming in the next few years—and about what he'd do if the new mayor asked him to run New York City's grocery stores himself. At its heart, this is a story that anyone who follows the Boyar Value Group's investment philosophy will recognize: a collection of hard assets compounding quietly for half a century, worth far more than the world realized. Except John Catsimatidis never had to convince the market of anything. He owned the whole thing.Key Topics CoveredHow a clerk at a friend's supermarket ended up owning ten stores by age 25Why he opened on Sundays—a survival story about clearing checks, not chasing salesBuilding Red Apple on vendor creditThe 1977–78 Manhattan real estate purchases that became his first $100 millionBuying United Refining out of bankruptcy—and what "leadership" means in a turnaroundThe charter jet fleet he built and sold to the man who created NetJetsThe succession question: his children, Gristedes, and what happens nextWhat he'd do if the mayor asked him to run New York City's grocery storesHis plans for WABC—and why, at 77, he still broadcasts nearly every day The Boyar Value Group: Uncovering Investment Opportunities Since 1975Founded in 1975, The Boyar Value Group has spent more than five decades seeking to uncover undervalued opportunities in the stock market.Through Boyar Research, we provide in-depth, independent research focused on businesses we believe are misunderstood, underfollowed, or trading at a meaningful discount to intrinsic value.Our investment management business applies that same research-driven discipline to manage portfolios for both institutions and individuals, utilizing our private equity approach to stock market investing.To learn more about The Boyar Value Group, please visit www.boyarvaluegroup.com.Never miss another Boyar podcast, market insight, or other valuable content — subscribe to our Substack at boyarresearch.substack.com.

“Theory said, it doesn't matter what you've read. It's how you read.” — Emily Eakin on the seduction of the FrenchmenWhen I was a graduate student at Berkeley in the Eighties, there was a bewildering rage for Frenchmen. Foucault in history, Derrida in literature, Althusser in political philosophy, Lacan in psychology. Not that anybody could quite explain what any of them meant — which only made their ideas even more compelling. It was the seduction of the American mind, especially its elite campus version. Innocent times with forty years of hindsight.Emily Eakin caught this Eighties fever for French theory at Harvard. Now an editor at the New York Times Book Review, Eakin has written The Frenchmen, or My Life in Theory, which is both a confessional of her own seduction and a serious piece of intellectual history.A self-described farm girl from Indiana — albeit one whose Francophile parents once left her waiting at a Paris nursery school because a Lévi-Strauss lecture went overtime — she fell for theory as the intellectual equivalent of a little black dress. It looked expensive, even off the rack, she confesses. For a middle-class Midwesterner, it seemed like a passport to Left-Bank sophistication. All you needed was the jargon, the black clothes and, in Eakin's case, the opera gloves.But her Frenchmen, Eakin warns, turned out to be a slippery bunch. Lacan was so difficult that professors cancelled their own classes rather than teach him. Althusser murdered his wife. Foucault's histories were as much fiction as fact. Not even Derrida took Derrida seriously. These were the men undoing the “master narratives” while an enthralled generation of cross-legged young feminists in their little black dresses took notes.And yet Eakin's Frenchmen may have the last laugh. Their theory of language — an impersonal system requiring no human at its center — presciently describes today's AI revolution. Foucault predicted that “man” would be erased like a face drawn in sand on the beach. Forty years on, that tide may be engulfing us all.Five Takeaways•       The Little Black Dress of the Mind. Eakin grew up in a family of Francophiles — one of her earliest memories is her mother arriving late to the Paris maternelle because Claude Lévi-Strauss's lecture had run over — and arrived at Harvard as a middle-class kid from a middling Midwestern high school, painfully aware of the gaps in her education. Theory offered the shortcut: it didn't matter what you'd read, only how you read. The cliché about the little black dress is that it looks expensive even bought on sale off the rack at Macy's, and theory, Eakin says, was its intellectual equivalent. It was also, frankly, sexy — young professors in jeans lecturing on the masturbation of the comma in Henry James, as Lorrie Moore's barely-parodic parody had it, and students dressed in black. Eakin went as far as the opera gloves.•       System Replaces the Self. After the war, Sartre's existentialism made every accurate thought an authentic act of resistance — a heroic message for a France humiliated by four years of Nazi occupation. But the postwar world was not being changed by individual actors, and Lévi-Strauss dismissed the whole business in Tristes Tropiques as “shop girl metaphysics.” Around the time the Berlin Wall went up, Althusser routed Sartre at the École Normale, and a new philosophy took hold, obsessed with vast impersonal forces: not humans controlling events but a structure — with language at its center. The moment that fascinated Eakin is that sixties moment when system replaced the self.•       Difficult by Design — and Easy to Distort. A colleague of Eakin's at the Times was once assigned Lacan's lecture on The Purloined Letter; a few minutes into class, the professor cancelled it, admitting he didn't understand the text he had assigned. That is the level of difficulty in question. Underedited and self-indulgent, Eakin the editor concedes — but each Frenchman left behind one bold idea worth the struggle, like Lacan's mirror stage, in which identity is formed outside ourselves in an act of misrecognition. The difficulty carried a price: it made the work easy to parody, and conservative pundits handed the public a distorted picture. The Frenchmen never said truth doesn't exist, Eakin insists. Their message was to beware political claims masquerading as eternal truths.•       Slippery Politics, Awkward Pasts. Foucault, insecure about his thinning hair, shaved his head, ditched the suits, and by 1970 was in the streets with a megaphone defending prisoners, immigrants, and workers — and he was in San Francisco at the start of the AIDS catastrophe, which is reason to take his politics seriously. Derrida was temperamentally otherwise: nothing follows from deconstruction, as Stanley Fish put it, and the moment of silence his classmates held for Stalin at the École Normale was a bit much for him. The posthumous exposure of de Man's collaborationist journalism hastened theory's American demise. And there was the paradox Eakin only saw while writing the book: men undoing the master narratives, and a generation of feminists — herself included — enthralled to them. De Beauvoir was the indomitable exception, awarded second place in the agrégation by jurors who could barely decide between her and Sartre.•       The Frenchmen's Revenge: AI. When the chatbots got good, American linguistics went into a tailspin: Chomsky's account of language as a uniquely human, embodied endowment cannot explain a machine producing sophisticated sentences. The structuralists' theory — language as an impersonal system in which meaning derives from how words differ from one another — describes generative AI rather well, and scholars such as NYU's Leif Weatherby are now calling for a structuralist revival to understand it. De Man called language a machine; Foucault wrote of the proliferation of authorless discourse; Eakin's recent New York Times essay argues Foucault foresaw everything from AI to the deep state. The Frenchmen, she thinks, would be fascinated rather than appalled — and would remind us to be just as wary of AI's language as of anyone else's.About the GuestEmily Eakin is an editor at The New York Times Book Review. She has worked as a senior editor at The New Yorker, an ideas reporter for The New York Times, a fashion features writer at Vogue, and a deputy editor of Lingua Franca. Her features, essays, and reviews have appeared in The New Yorker, The New York Times Magazine, The New Republic, and The New York Review of Books. A Harvard graduate with graduate degrees from Columbia and the École Normale Supérieure in Paris, she lives in New York City. Her first book is The Frenchmen, or My Life in Theory (Penguin Press, July 2026).References:•       The Frenchmen, or My Life in Theory by Emily Eakin (Penguin Press, July 2...

Kian Tajbaksh, a visiting Professor of International Relations at NYU. He is a former political prisoner released as part of the 2015 Iran nuclear deal, and he is the author of The Iran Crisis Notebook on Substack. He joins Dave to talk about the Iran government and what it will take for the US to end the conflict with the country.

The old joke about nuclear fusion power is that commercial deployment is 30 years in the future: it always has been and it always will be. It may be time to retire that joke. Private fusion companies have now raised billions in capital, and pilot plants are moving from slide decks and plans into steel and concrete. The questions now are not so much around whether fusion power can ever work, and more about how soon it can reach the grid, and at what costHost Ed Crooks and regular contributor Amy Myers Jaffe, director of the Global Energy, Climate, & Sustainability Lab at NYU are joined by two fusion industry leaders to discuss the rapid progress they are making. Andrew Holland is founder and chief executive of the Fusion Industry Association, and Bob Mumgaard is chief executive of Commonwealth Fusion Systems, one of the companies vying to have the first commercial fusion power plant in operation.Andrew lays out the state of the sector. There are 56 private fusion companies globally, which between them have raised more than $14 billion in private capital. And there is a growing conviction inside the industry that commercial fusion could arrive in the early 2030s. Bob explains why Commonwealth believes SPARC, its demonstration project in Massachusetts, and ARC, its planned power plant in Virginia, can help make that timetable real.Fusion has moved beyond the era when government science programs defined the pace of progress. Research backed by governments and universities has played a vital role in moving the technology forward, but Andrew argues that competition, venture capital and milestone-based development have changed the industry's tempo. Crucially, the industry has not put all its eggs in one basket. Multiple companies are pursuing different technical paths, including both laser-based approaches and magnetic confinement systems, in a race to commerciality. Bob offers the clearest lay explanation of what fusion power means in practice. Commonwealth Fusion Systems uses a tokamak, which is essentially a magnetic bottle that holds a star inside it. Fusion creates heat, which can be used to run a steam turbine. Unlike wind and solar, fusion does not depend on weather or geography. Unlike fossil fuels, it does not rely on continual fuel deliveries.The episode also explores why fusion developers believe the technology could avoid some of the political and regulatory burdens that have constrained nuclear fission power. Because fusion reactions are hard to start and easy to stop, the risks are fundamentally different from those of a conventional fission reactor. Bob and Andrew argue that this changes everything from plant safety to siting to licensing, and could make fusion much faster to deploy if the technical hurdles are cleared.They also discuss what it will take to build an industry, not just a few prototypes. Amy pushes on fuel cycles, lithium, superconducting tape and supply-chain readiness. Bob argues that these challenges are real but manageable, and Andrew points to the growing ecosystem of manufacturers now positioning themselves for a future fusion market. The wider point is that fusion is increasingly starting to look like a manufacturing and industrial-policy story, not just a laboratory science story.That leads to the biggest question of all: if fusion works, how much could it matter? Bob sketches outcomes ranging from a valuable but still niche source of clean baseload power to a genuinely transformative technology. Andrew goes even further, arguing that fusion could decouple energy from geography and geopolitics in a way no fuel-based system ever has. If the industry's ambitions are realized, within the next ten years fusion could emerge as a commercial energy source with real consequences for grids, markets and global power. This episode of Energy Gang is brought to you by ENGIE, the smarter energy supplier. ENGIE doesn't just provide the power to run your business — they supply the energy to move it forward, with reliable, flexible solutions built for what's next. Learn more at engieresources.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

How WWII historical mystery novels and 1970s NYC thriller writing connect past and present through emotional truth and creative intention with author, filmmaker, and NYU professor, Rosanne Limoncelli What if the way you write, or create anything, could actually change how you see people? In this episode, author, filmmaker, and NYU Tisch professor, Rosanne Limoncelli shares how historical fiction writing becomes a practice of attention, empathy, and creative awareness. From WWII mysteries to 1970s NYC thrillers, her work shows you how story can shape the way you understand life itself. You'll hear how a consistent creative writing practice builds emotional clarity, strengthens imagination, and helps you stay connected to your voice and your inner storyteller, even on the busiest days. If you're a creative entrepreneur, performer, or someone rebuilding your creative rhythm, this conversation will meet you where you are. Listen and notice what shifts in how you approach your next creative moment. Connect with Rosanne Instagram https://www.instagram.com/rclbrooklyn/  Facebook https://www.facebook.com/rosanne.limoncelli/  LinkedIn https://www.linkedin.com/in/rosanne-limoncelli-phd-80a6255/  Substack https://substack.com/@rclimoncelli    Rosanne C Limoncelli (Jun 28, 2026, 11:25 AM) https://www.mysteriousbookshop.com/events/56439  Connect with Izolda Website: https://IzoldaT.com Book Your Discovery Call: https://calendly.com/izoldat/discovery-call New Play Exchange: https://newplayexchange.org/users/90481/izolda-trakhtenberg What you need to know today. Choose your Functional Tarot card here. This episode is brought to you by Brain.fm.* I love and use brain.fm! It combines music and neuroscience to help me focus, meditate, and even sleep! Because you listen to this show, you can get a free trial and 20% off with this exclusive coupon code: innovativemindset. (affiliate link) URL: https://brain.fm/innovativemindset Listen on These Channels Apple Podcasts | Spotify | Stitcher | Podbean | MyTuner | iHeart Radio | TuneIn | Deezer | Overcast | PodChaser | Listen Notes | Player FM | Podcast Addict | Podcast Republic | *Affiliate Link  

This week, Ivy Slater, host of Her Success Story, chats with her guest, Diane Coburn Bruning. The two talk about the origins of Diane Coburn Bruning's passion for dance, the founding and mission of the Chamber Dance Project, which pairs dancers with live musicians, and the unique challenges of sustaining a performing arts company. In this episode, we discuss: How a passion for both dance and live music inspired the founding of Chamber Dance Project, and its unique approach to performances with live musicians. What it was like to build a dance company in New York and later in Washington, D.C., including the challenges of financial sustainability and artist support. Diane Coburn Bruning recognized the need to create opportunities for dancers and choreographers during traditional company layoffs, leading to the company's founding in 2000. Why live music is essential to an authentic dance experience, and the importance of smaller, more intimate venues for both audiences and performers. What goes into commissioning new works and supporting emerging and established choreographers through the Chamber Dance Project. Why building a company is a marathon, not a sprint, and why patience and persistence are critical for growth in the arts. Diane Coburn Bruning, founder of Chamber Dance Project In 2000, choreographer Diane Coburn Bruning founded Chamber Dance Project, dancers & musicians in New York City guided by a conviction that dance should be performed with live music, that smaller venues afford a more intense experience for viewers and performers alike, and that sharing the creative process engages audiences on a deeper level. In 2013 she moved the company to Washington, D.C. Diane is an award-winning choreographer who has worked with dance, theatre, and opera companies throughout the U.S. and abroad. She has received a Guggenheim Fellowship, two fellowships from the National Endowment for the Arts, two fellowships from the New York Foundation for the Arts, the McKnight National Fellowship, a Dewar's Young Artist Award, fellowships from Sundance Film Institute, Yale University School of Drama, Leopold Schepp Foundation and Virginia Commission on the Arts, and a Strauss Fellowship. She has also received support from Meet the Composer, the Harkness Foundation, New York State Council for the Arts, Heathcote Foundation, David Howard Foundation and The Carlisle Project. Diane has worked with Atlanta Ballet, Pacific Northwest Ballet, Pennsylvania Ballet, Boston Ballet, Juilliard Dance Ensemble, American Repertory Ballet, Milwaukee Ballet, Joffrey II, Nashville Ballet, Aspen Ballet, Ballet Chicago, Ballet Memphis, Daghdha Dance (Ireland), Minnesota Ballet, Chautauqua Ballet, Woolly Mammoth Theatre, and Studio Theatre, among others. Her popular Ramblin' Suite, her collaboration with the Red Clay Ramblers, was commissioned by Atlanta Ballet and performed by Milwaukee Ballet. She has worked on productions with Pittsburgh Opera, Glimmerglass Festival, and four with Washington National Opera at the Kennedy Center. Vogue Television did a feature on her, and Dance magazine named her as one of "25 to Watch." Diane's works appeared in the International Ballet Festival in Colombia, South America, and her major work Boots was premiered near Berlin with Ballett Magdeburg. She has done commercial work for top brands and clients including Nickelodeon, People magazine, Lord and Taylor, and Lladro. She has done theatrical work for Studio Theatre, Woolly Mammoth Theatre, and Shakespeare Theatre Company. At Shakespeare Theatre Company, she worked alongside director Michael Kahn, receiving a Helen Hayes Award nomination for her choreography of the musical Improbable Frequencies. She has been a guest artist at more than 25 conservatory and university dance departments, including several times for Juilliard and Tisch/NYU. She has been a teaching artist for Lincoln Center Institute and New York City Ballet and has served on many grant panels. Diane directed the Craft of Choreography Conference, helped found Pacifica Choreography Project, and has led choreographic workshops throughout the country Graduating with honors from Butler University's Jordan College of Arts, she later received their Alumni Achievement Award. She holds a master's in choreography from NYU and studied composition privately with Bessie Schoenberg and music with Juli Nunlist. Diane studied for a year with renowned designers Jennifer Tipton and Ming Cho Lee on a post-graduate fellowship from Yale University School of Drama.     Website: https://chamberdance.org/   Social Media Links: https://www.facebook.com/ChamberDanceProject/   https://www.instagram.com/chamberdanceproject/      

Rising singer-songwriter ALANI delves into the making of her debut EP, Somewhere Between Saying It. The London-born singer-songwriter, whose French, Lebanese, and Brazilian roots inform her perspective, discusses overcoming writer's block, what she learned by appearing on  The Voice Kids UK, moving to New York to study at NYU's Gallatin School, and why the new EP unfolds like a diary.

The Game Changers podcast celebrates true pioneers who inspire us to take the big step forward and up in education and beyond. In episode 215 (Part 3) of Game Changers, Professor Phil Cummins joins in conversation with Amanda J. Pooley. Amanda Pooley is a child and adolescent psychologist, educator, and respected leader in educational innovation. With over 20 years' experience across clinical, academic, and leadership roles, she brings rare insight into how students learn - and how educators can be empowered to help them thrive. Her career includes founding Australia's first educational research institute within a private school and building a Board of global leaders from Cambridge, Oxford, and NYU. Amanda has led globally recognised research and evidence-based initiatives that have improved both academic performance and wellbeing. She holds degrees in Psychology, Education Leadership, and an MBA from AGSM UNSW, along with credentials from Cambridge and Wharton. Amanda founded Excelar to address a clear gap: scalable, evidence-based personalisation tools that empower - not replace – teachers. Excelar is the culmination of her research, practice, and leadership. She is also a sought-after speaker and advisor on AI in education and is widely recognised for her ability to translate cutting-edge research into practical, scalable change. “Personalised learning is no longer a distant vision. With Excelar, it is here today — practical, scalable, and evidence-based.” The Game Changers podcast is produced by Evan Phillips supported by a School for tomorrow (aschoolfortomorrow.com), and powered by CIRCLE. The podcast is hosted on SoundCloud and distributed through Spotify, Google Podcasts, and Apple Podcasts. Please subscribe and tell your friends you like what you are hearing. You can contact us at gamechangers@circle.education, on Twitter and Instagram via @GameChangersPC, and you can also connect with Phil and Adriano via LinkedIn and Twitter. Let's go!

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Raymond Mason.   About Raymond: At 35, Raymond James Mason has rapidly carved out a place as a sought-after studio musician and one of the leading trombonists in the high-demand world of pop music horn section work. From Taylor Swift to Ed Sheeran, Alicia Keys to Bruno Mars, Erykah Badu to Kelly Clarkson, Ray has performed alongside an eclectic roster of superstars across generations. His expansive career bridges genres, with notable collaborations including Don Henley, The Roots, Randy Newman, David Byrne, Jessie J, and many more. Ray's presence on Live TV is equally impressive. He was a key player in the 2020 Super Bowl LIV Halftime Show with Jennifer Lopez and Shakira, and performed with Eminem at the Academy Awards that same year. Other notable TV appearances include Saturday Night Live with Bruno Mars, The GRAMMY Awards with Nas, and the CMA Awards with Earth, Wind & Fire and Lady A. A seasoned touring artist, Ray has lent his trombone and multi-instrumental skills to acclaimed acts such as Bon Iver, Mumford & Sons, Blood, Sweat & Tears, Mark Ronson, FELA! The Musical, Lukas Graham, GRiZ, Valerie June, Bright Eyes, and Broken Social Scene, among others. As a studio trombonist, Ray's horn section work is featured on global hits like "Uptown Funk" by Mark Ronson feat. Bruno Mars. His credits also include records by Mac Miller, Lizzo, The Roots, Macklemore, Norah Jones, Little Big Town, and more. He's contributed to projects on renowned labels like Daptone, Truth & Soul, and Big Crown, including Charles Bradley's "Change For The World," Sharon Jones & The Dap-Kings' "Soul of a Woman," and Lee Fields & The Expressions' "It Rains Love." Ray's arranging skills have found their place with top producers including Dan Auerbach, Mark Ronson, Adam Blackstone, Diplo, El Michels Affair, and Danger Mouse. He's written for artists like Ed Sheeran, Lee Fields, Beck, Kelis, and Yola. In the world of soundtracks, Ray's work appears in major releases like the Amazon Prime Sports Theme, The Boys Season 3, The Get Down on Netflix, and upcoming projects for Disney+, Hulu, HBO Max, and AppleTV+. His music also resonates in ads for global brands such as Nike, Facebook, Taco Bell, and Garnier, alongside shows like Marvel's Captain America on Disney+, Suits on USA, Made For Love on HBO Max, and the theme for Barry on HBO. As a member of the Brooklyn afrobeat collective Antibalas, Ray earned a GRAMMY nomination for Best Global Music Album in 2020. His work with Antibalas has taken him to festivals around the world, where he's shared the stage with artists like My Morning Jacket, Brittany Howard, The Roots, Dr. John, Angelique Kidjo, and even Bill Withers in his final Carnegie Hall performance. Ray's musical foundation was built at NYU, where he studied under some of the most respected trombonists of our time: Tom Hutchinson, Mark Patterson, Robin Eubanks, Alan Ferber, and Elliot Mason. His mentorships with SNL Bandleader Lenny Pickett, GRAMMY-winning composer Brian Lynch, and Director of NYU Jazz Dave Pietro deepened his approach to the wide-ranging musical landscape of the 21st century. A native New Yorker, Ray spent over a decade honing his craft in NYC, followed by five years in Nashville, and now lives in Los Angeles with his wife.

Wendy Oliver-Pyatt, MD, is a world-leading expert in mental health and eating disorder treatment, and the founder of Galen Hope in South Florida and Within Health. A board-certified psychiatrist with over 25 years of experience, she is known for her innovative, humane, and dignity-enhancing approach to care.Dr. Oliver-Pyatt's treatment model addresses the underlying factors contributing to mental health conditions, empowering individuals with the skills, tools, and support to heal physically, mentally, and emotionally. She completed her specialty training at NYU–Bellevue Hospital, where she served as Chief Resident, and has held faculty positions at NYU, Albert Einstein College of Medicine, and the University of Nevada School of Medicine.A Fellow of the Academy for Eating Disorders and the American Psychiatric Association, she has received senatorial recognition for her leadership in advancing mental health care.Dr. Oliver-Pyatt is the author of Questions and Answers on Binge Eating Disorder: A Guide for Clinicians and was named by USA Today as a Top Healthcare Entrepreneur 2024 and Beyond.Links: Dr. Wendy Oliver-Pyattwww.withinhealth.comwww.galenhope.comhttps://www.instagram.com/wendyoliverpyatt.md/Recorded at ROC Vox Recording & Production Studios, Rochester, NY  rocvox.com

Choosing whether or not to become a parent can be a profoundly difficult decision, but it only becomes more difficult when you're queer. Joe Osmundson is a professor of biology at NYU, and the author of Spawning Season: An Experiment in Queer Parenthood. This week, Joe talks with Adam about the life-defining grief that followed his experience of losing a chance to become a father, and what it taught him about society, biology, and salmon. Yes, salmon. Find Joe's book at factuallypod.com/books--SUPPORT THE SHOW ON PATREON: https://www.patreon.com/adamconoverSEE ADAM ON TOUR: https://www.adamconover.net/tourdates/SUBSCRIBE to and RATE Factually! on:» Apple Podcasts: https://podcasts.apple.com/us/podcast/factually-with-adam-conover/id1463460577» Spotify: https://open.spotify.com/show/0fK8WJw4ffMc2NWydBlDyJAbout Headgum: Headgum is an LA & NY-based podcast network creating premium podcasts with the funniest, most engaging voices in comedy to achieve one goal: Making our audience and ourselves laugh. Listen to our shows at https://www.headgum.com.» SUBSCRIBE to Headgum: https://www.youtube.com/c/HeadGum?sub_confirmation=1» FOLLOW us on Twitter: http://twitter.com/headgum» FOLLOW us on Instagram: https://instagram.com/headgum/» FOLLOW us on TikTok: https://www.tiktok.com/@headgum» Advertise on Factually! via Gumball.fmSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

SEASON 2 - EPISODE 202 Christina Alexandra Voros - Director / Cinematographer In this episode of the Team Deakins Podcast, we speak with director and cinematographer Christina Alexandra Voros (DUTTON RANCH, THE MADISON, YELLOWSTONE). A graduate of the NYU film program (Season 1, Episode 104), Christina discovered cinematography and directing while at school, and she walks us through her formative years there. After working her way through documentaries and features, Christina found steady work directing and shooting shows within the Taylor Sheridan universe, and we discuss the unique working conditions of those series and how she approaches doing two jobs at once. She reflects on what she brings to narrative films and series from her time in documentaries, and we discuss the flexibility one has when you're both the director and the cinematographer. We later learn up to five cameras can be rolling at once on a show like THE MADISON and DUTTON RANCH, and Christina helps us understand how you can direct a scene with so much simultaneous coverage.

Notes and Links to Julie Buntin's Work     Julie Buntin's new novel, Famous Men, is out as of July 14. Her debut, Marlena, was a finalist for the National Book Critics Circle's John Leonard Prize and longlisted for the Center for Fiction's First Novel Prize. It was a Barnes & Noble Discover Great New Writers Pick and was released in ten territories worldwide and named a best book of the year by over a dozen outlets, including The Washington Post, NPR, and Kirkus Reviews. In September, Norton will publish her collaborative nonfiction project, Notes to New Mothers, co-edited with Rebecca Dinerstein Knight.    Previously, Buntin was an editor and director of writing programs at Catapult. She has taught creative writing at NYU, Columbia University, Marymount Manhattan College, the Yale Writers' Workshop, Lighthouse Writers Workshop's Lit Fest, and elsewhere. Now, she writes and teaches in Ann Arbor, where she is an assistant professor at the University of Michigan.   Buy Famous Men   Julie Buntin's Website   Elle Magazine: “An Exclusive First Look at Julie Buntin's Famous Men, One of the Most Anticipated Novels of 2026"   New York Times Review of Famous Men       At about 3:00, Julie shares feedback she has received about Famous Men  At about 4:20, Julie gives publishing and purchasing information for her novel At about 5:30, Julie highlights book tour events At about 6:10, Julie talks about her upbringing in Michigan At about 7:40, Julie traces her childhood connections to reading and literary culture At about 10:40, Julie shouts out Mr. Young, her “formative” 10th grade English teacher and talks about her early reading and burgeoning literary interests  At about 12:20, Pete fanboys over Tobias Wolff in asking Julie's thoughts on the “public intellectual” and connections to her novel, Famous Men At about 15:40, Julie highlights Lorrie Moore, Toni Morrison, Elizabeth Bishop, Elena Ferrante, and Stephen King, among others, as formational for her own writing  At about 19:10, Julie compliments current writers whose work she enjoys, including Raven Leilani, Emma Cline, and Claire Messoud At about 20:40, Julie responds to Pete's question about the texts that resonate with her students, including Tinkers by Paul Harding At about 23:25, Pete unloads his traumatic writing workshop experience, and Julie gives background on the evolution of the writing workshop  At about 27:30, Pete shares the novel's epigraphs and asks Julie about seeds for the book At about 32:30, The two discuss the book's opening and reflect on where to open a/the book At about 34:00, The two discuss an inciting incident and flashforward and the main male character's writing and many relationships with women At about 35:00, The two discuss sexism experienced by Will as a girl  At about 36:05, Julie reflects on the “secret summers” Will had as a teenager At about 38:55, The two discuss the “shame” Will feels and the connection to her writing and need to express herself At about 41:20, The two discuss the power of truth (or the lack of power), especially for young women, as seen in the way that young Will is often disbelieved   At about 42:25, Pete highlights a winning craft point, and Julie highlights how Nathaniel would have started the book-she muses on how to write this part  At about 43:30, The two discuss a huge breach of trust in Will's household, as Julie muses on Will's mindset before and after the gross behavior from a family member  At about 46:40, Pete and Julie discuss Will's leaving to New York City and her first experience with a reading and meeting Nathaniel  At about 50:05, Julie responds to Pete's questions about her treatment of a “ghost character”  At about 52:40, Pete highlights a “fraught” scene  At about 53:40, The two discuss the writing slump of Nathaniel and connections to impotence in the book and in the writing world and who gets to carry one's legacy despite a dr At about 55:00, Julie discusses Nathaniel as a composite character  At about 56:00, Julie talks about an important photo and how it affects the relationship between Will and Nathaniel At about 58:30, Julie expands on the idea of Nathaniel's fame, as seen by his inner world and the outer world At about 1:01:40, Famous men and “missing” fathers are discussed, as well   At about 1:02:45, Julie reflects on the heart condition that Will has and somatic/anxiety links At about 1:03:50, Julie responds to Pete's musings about Will being stunted or fed in her growth as a writer and person through being with Nathaniel At about 1:08:30, Julie ponders Pete's question regarding what to do with the creation of flawed creators        You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode.       Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. His conversation with Jeff Pearlman, a recent guest, is up now at Chicago Review.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, DIY podcast and extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    This month's Patreon bonus episode is the trailer episode for my limited podcast series, Rage is a Gift: Evil Empire at 30. I reflect on the Importance (and the power of this capital "I") of Rage Against the Machine and their seminal Evil Empire album, which is celebrating 30 years of resistance. The limited podcast series will do a deep exploration of, and reflection on, the lyrics and context of each of the 12 powerful songs on the album.     Pete has added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.     This is a passion project of Pete's, a DIY operation, and he'd love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form.     The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode is “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 347 with a guest to be announced.    Please go to ceasefiretoday.org, and/or https://act.uscpr.org/a/letaidin to call your congresspeople and demand an end to the forced famine and destruction of Gaza and the Gazan people.    You can also donate at chuffed.org, World Central Kitchen, and so many more, and/or you can contact writer friend Ursula Villarreal-Moura directly or through Pete, as she has direct links with friends in Gaza.

Welcome to Awakening Aphrodite — the podcast that helps you reconnect with your feminine energy, reclaim your vitality, and live in harmony with your body, mind, and spirit.In each episode, holistic health expert Amy Fournier shares inspiring conversations with expert guests, blending ancient wisdom and modern science to offer practical tools that help you thrive in today's fast-paced world.Featured Guest: Mary HollandMary Holland is the President and CEO of Children's Health Defense, and has been a leading voice in the vaccine choice and health freedom movement for over two decades. A former NYU and Columbia Law professor, she has co-authored two landmark books on vaccines and has devoted her career to fighting for informed consent, bodily sovereignty, and the protection of children's health. In this episode, Amy and Mary pull back the curtain on the vaccine industry — from the liability shields protecting pharma, to how the CDC, NIH, and doctors are financially incentivized, to what COVID truly revealed about our institutions. They also cover the WHO's pandemic treaty, the massive epidemic of vaccine injury, how unvaccinated children compare in health outcomes, and what we can all do right now to protect our sovereignty and our children.Products Mentioned in This Episode:Shop all of Amy's curated favorite products (with discounts!): https://amyfournier.com/recommended-products/Guest Resources:Children's Health Defense: childrenshealthdefense.orgX: @childrenshdBooks: Vaccine Epidemic, HPV Vaccine on Trial, and Turtles All the Way Down: Vaccine Science and MythFilm: Vax 3 — Authorized to Kill (free)Upcoming Film: Duty to DisobeyIf you enjoyed this episode be sure to check out:246. Money, Medicine, and Media: The Hidden Forces Shaping Our World with Dr. Madhava Setty65. Medical and Health Freedom, Bodily Sovereignty & How to Lie with Statistics with Sarah Gustafson52. The Fight for Individual Medical and Religious Freedom with Kat CorriganAudio Timestamps:00:00 Intro08:30 Meet Mary Holland10:15 Anti-Vaxxer Label18:45 PREP Act & Liability28:00 COVID & Constitution38:00 Captured Agencies52:00 Doctor Kickbacks01:02:00 Vaccinated vs Unvaccinated01:12:00 WHO & Pandemic Treaty01:22:00 ClosingStay Connected & Support the ShowIf this episode inspired or helped you, it would mean the world to us if you would leave a 5-star rating and review — it really helps us and thank you!Join Amy's Email List for holistic health tips, updates & exclusive content: https://amyfournier.com/contact/Be the first to hear when Amy's upcoming online course & community, Goddess Rising: Thriving In The 4 Stages of Womanhood is open for applications: https://amyfournier.com/contact/Connect With AmyWebsite: https://amyfournier.comYouTube: Awakening Aphrodite Podcast / FitAmyTVInstagram: @fitamytvFacebook: Amy FournierEmail: amy@amyfournier.com

Is the government really wrong to go after reporters who revealed weaknesses in the defensive mechanisms on the new Air Force One? Host Rosemary Armao and guest Mark Wittman disagree about the Trump administration's latest attacks on news-gathering by the New York Times. Do you think the independent press in the US has too many privileges even considering the First Amendment?Mark Wittman is an Investment banker and capital markets specialist with 20-plus years advising executives and boards on global financing, capital structure, and M&A. His career spans Lehman Brothers, Bank of America Merrill Lynch, and SunTrust. Coverage focused on consumer products companies. He holds an MBA from NYU's Stern School of Business and an undergraduate degree from Trinity University.

Today's Guest Vanessa Rossetto is a registered dietitian and the CEO and co-founder of Culina Health, a revolutionary clinical nutrition care company founded in 2020. Prior to starting this venture, Vanessa served as a director of dietetic internships at New York University where she led the clinical nutrition treatment for a diverse patient population and mentored early career dietitians. Before changing careers and becoming a registered dietitian, Vanessa earned her bachelor's degree in history from Fordham University and a master's degree in marketing from NYU. Today, she seamlessly integrates her passions for business, entrepreneurship, and nutrition as the CEO of Culina Health. Vanessa founded Culina Health to make high quality nutrition counseling accessible to all Americans, regardless of race, ethnicity or income. Five years later, Culina Health's mission to democratize access to nutrition care lives on. Vanessa has raised over $20 million and partnered with major hospitals and insurances across the country, all while staying grounded in her mission to improve representation and equity in nutrition care. Links  Culina Health Website Vanessa's Website Culina Health on Instagram About Dr. Raj Dr. Raj Dasgupta is an ABIM Quadruple board-certified physician specializing in internal medicine, pulmonology, critical care, and sleep medicine. He is currently the Associate Program Director of Internal Medicine Residency at Huntington Health in Pasadena, California and an Associate Professor of Clinical Medicine for the University of California, Riverside School of Medicine (UCR). He previously practiced at the University of Southern California, where he is an associate professor of clinical medicine, assistant program director of the Internal Medicine Residency Program, and the associate program director of the Sleep Medicine Fellowship. Dr. Dasgupta is an active clinical researcher and has been teaching around the world for more than 20 years. More from Dr. Raj The Dr. Raj Podcast Dr. Raj on Twitter Dr. Raj on Instagram Want more board review content? USMLE Step 1 Ad-Free Bundle Crush Step 1 Step 2 Secrets Beyond the Pearls The Dr. Raj Podcast Beyond the Pearls Premium USMLE Step 3 Review MedPrepTGo Step 1 Questions MedPrepTGo Step 2 Questions Follow MedPrepToGo https://medpreptogo.com https://www.instagram.com/medpreptogo/ https://www.linkedin.com/company/medpreptogo/ https://www.facebook.com/MedPrepToGo/ https://www.youtube.com/@MedPrepToGo Learn more about your ad choices. Visit megaphone.fm/adchoices

Back in the spotlight: MY DATE WITH LAINEY LEE. What starts as a run-in with a queer teen star quickly becomes an unforgettable date—and a romance that might not survive going public. A perfect Pride Month listen full of heart, humor, and big-city magic. Meet Cute Presents: My Date With Lainey Lee. When hardworking NYU freshman Brooke and her aspiring-influencer bestie Evan sign up to be extras on the set of queer teen heartthrob Lainey Lee's first movie, they don't expect to get fired by Lainey Lee herself. But when Brooke confronts her celebrity crush, Lainey vows to make it up to them. What starts as a bite to eat leads to a romantic romp about New York City, a first kiss that accidentally goes viral, and a decision that just might end the blooming romance before it begins.  Follow @MeetCute on Instagram and @MeetCuteRomComs on TikTok. Check out our other rom-coms, including KERRI with Pauline Chalamet, IMPERFECT MATCH with Arden Cho, and DUMP HIM! with Minnie Mills. Check out our other dramas, including FIRE & ICE with Chiara Aurelia and Jack Martin, and POWER TEN.  Check out our other fantasies, including A PROPHECY OF INCENSE AND SNOW and I'VE BECOME A TRUE VILLAINESS.  Have a crush on us? Follow Meet Cute, rate us 5 stars, and leave a review! Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode, Greg Bronson of Ashland Capital shares his extensive experience in real estate investment, navigating market cycles, and strategies for success in multifamily, student housing, and credit funds. Discover insights on market opportunities, operational challenges, and the future of real estate education.   Professional Real Estate Investors - How we can help you: Investor Fuel Mastermind:  Learn more about the Investor Fuel Mastermind, including 100% deal financing, massive discounts from vendors and sponsors you're already using, our world class community of over 150 members, and SO much more here: http://www.investorfuel.com/apply   Investor Machine Marketing Partnership:  Are you looking for consistent, high quality lead generation? Investor Machine is America's #1 lead generation service professional investors. Investor Machine provides true 'white glove' support to help you build the perfect marketing plan, then we'll execute it for you…talking and working together on an ongoing basis to help you hit YOUR goals! Learn more here: http://www.investormachine.com   Coaching with Mike Hambright:  Interested in 1 on 1 coaching with Mike Hambright? Mike coaches entrepreneurs looking to level up, build coaching or service based businesses (Mike runs multiple 7 and 8 figure a year businesses), building a coaching program and more. Learn more here: https://investorfuel.com/coachingwithmike   Attend a Vacation/Mastermind Retreat with Mike Hambright: Interested in joining a "mini-mastermind" with Mike and his private clients on an upcoming "Retreat", either at locations like Cabo San Lucas, Napa, Park City ski trip, Yellowstone, or even at Mike's East Texas "Big H Ranch"? Learn more here: http://www.investorfuel.com/retreat   Property Insurance: Join the largest and most investor friendly property insurance provider in 2 minutes. Free to join, and insure all your flips and rentals within minutes! There is NO easier insurance provider on the planet (turn insurance on or off in 1 minute without talking to anyone!), and there's no 15-30% agent mark up through this platform!  Register here: https://myinvestorinsurance.com/   New Real Estate Investors - How we can work together: Investor Fuel Club (Coaching and Deal Partner Community): Looking to kickstart your real estate investing career? Join our one of a kind Coaching Community, Investor Fuel Club, where you'll get trained by some of the best real estate investors in America, and partner with them on deals! You don't need $ for deals…we'll partner with you and hold your hand along the way! Learn More here: http://www.investorfuel.com/club   —--------------------

When your teen is struggling, the natural instinct is to rush in and fix it. But constantly bailing them out can actually push them further away. True support isn't about steering the car for them, it's about having the courage to let them safely scrape their knees so they can learn how to heal and grow. In this episode, host Peter Fenger sits down with Sophia Vale Galano, a California-based psychotherapist with over a decade of experience supporting teenagers and families. Sophia holds a Master's degree in Social Work from NYU and brings a deeply holistic lens to mental health, integrating advanced training in sex therapy, animal-assisted therapy, yoga, and Reiki into her thriving practice. Together, Peter and Sophia dive into the practical roadmap laid out in her new book, “Calming Teenage Anxiety: A Parent's Guide to Helping Your Teenager Cope with Worry”. They explore how parents can move past fear and confusion to build a home rooted in confidence, connection, and emotional resilience.   To learn more about “Calming Teenage Anxiety: A Parent's Guide to Helping Your Teenager Cope with Worry” by Sophia Galano, LCSW, please visit: https://sophiagalano.com/book/ For more information about the audio book version of “Calming Teenage Anxiety”, please visit: https://www.audible.com/pd/Calming-Teenage-Anxiety-Audiobook/B0G21TFB9H For more information about Sophia Galano, please visit: https://sophiagalano.com Connect with Sophia on Instagram at: https://www.instagram.com/sophiavale_galano/ Connect with Sophia on Linkedin at: https://www.linkedin.com/in/sophiavalegalano/

En este episodio de Café en Mano Podcast me siento con Omar O'Farrill, actor puertorriqueño, para hablar de lo que realmente cuesta construir una carrera actoral en Puerto Rico.Hablamos de sus comienzos desde niño, su paso por el canal 6, la UPR, Broche de Oro, su experiencia viviendo en Los Ángeles, las audiciones en Estados Unidos, el deseo de entrar a escuelas como Juilliard y NYU, y cómo fue descubriendo el tipo de actor que realmente quiere ser.También entramos en algo que casi no se habla con honestidad: lo difícil que es vivir de la actuación en Puerto Rico, por qué muchos actores tienen que diversificarse, crear negocios o usar otras herramientas para quedarse en la isla sin soltar su pasión.Además, hablamos de redes sociales, wellness, salud mental, aburrimiento, comunidad, creatividad, alcohol, ejercicio, propósito, y cómo Omar está usando su plataforma para algo más profundo que simplemente postear por postear.Una conversación sobre arte, identidad, disciplina, bienestar y lo que significa seguir apostando por tu camino aunque sea cuesta arriba.Gracias por apoyar el podcast y por apoyar Café Dos Caminos. Consigue el café en cafedoscaminos.com y usa el código cafeenmano para un 10% de descuento.00:00 Intro + Café Dos Caminos + bienvenida a Omar O'Farrill03:41 Cómo empezó a actuar y sus primeros pasos en canal 605:30 Broche de Oro, dejar la universidad y lanzarse a trabajar07:20 Regresar a la universidad, graduarse y apuntar a escuelas top09:20 Audiciones para Juilliard, NYU y el proceso en Estados Unidos11:20 Qué tipo de actor quiere ser realmente12:40 Heath Ledger, actor método y técnicas de actuación14:30 Vivir en LA, el choque cultural y actuar en inglés18:00 Qué tipo de papeles y carrera quiere construir22:27 Redes sociales, propósito y dejar de postear por postear27:56 El ruido mental, el celular y aprender a aburrirse31:00 The Walk: comunidad, soledad y conectar con desconocidos35:56 Lo difícil que es ser actor en Puerto Rico38:00 Nadie vive full de la actuación aquí y por qué hay que diversificarse40:30 Cine puertorriqueño, distribución y cómo llevar gente al cine43:19 Nuevos proyectos, dirección y Una Bella Crisis46:30 Fitness, wellness y lo difícil que es mantenerse saludable en Puerto Rico49:30 Alcohol, hábitos y cómo quiere llegar a los 4052:00 Cierre

Scott Galloway doesn't do soft-pedal advice. In this Greatest Hits conversation, the NYU professor, entrepreneur, investor, and author of The Algebra of Wealth joins Joe to talk about why building wealth is less about chasing passion, picking the perfect stock, or waiting for retirement -- and more about focus, discipline, diversification, time, and relationships. Before that, Joe and OG dig into a 401(k) lawsuit involving AllianceBernstein and why comparing your portfolio to the wrong benchmark can send your plan sideways. Later, Alex calls in with a big early-retirement question: how do you access retirement money before age 59 and a half without triggering penalties?What You'll Walk Away WithWhy Scott Galloway says money is not the story -- it's the ink in the pen that can help you build deeper relationships with less anxietyThe "follow your passion" problem: why Scott believes young people should look first for talent, certification, and industries where they can become excellentWhy boring careers can create extraordinary lives -- especially when they offer income, stability, and room to build optionsScott's wealth equation: focus, stoicism, diversification, and time -- and why each piece matters more than trying to look brilliant for one lucky momentThe savings muscle: why measuring spending, gamifying saving, and surrounding yourself with the right people can change behavior faster than good intentions aloneWhy diversification is financial Kevlar -- it may not make you look like a hero, but it can keep one bad investment from becoming a fatal woundThe retirement myth Scott wants to burn down: why the goal isn't necessarily to stop working, but to make work a choice instead of a trapThe 401(k) benchmarking lesson: why Joe and OG say your benchmark should be your goal, not whichever index happened to win over the last decadeWhy chasing the S&P 500 because it recently crushed everything else can become dangerous when you forget that market leadership rotatesWhat the AllianceBernstein lawsuit teaches participants: ERISA protects against imprudence, not against every disappointing stretch of market performanceAlex's early-retirement question: the difference between accessing 401(k) money after separation from service at age 55 and using SEPP rules before thenWhy substantially equal periodic payments can work -- but also why OG says you want experienced help before touching those rulesWhy splitting IRA assets into separate buckets may create more flexibility for early-retirement income planningWhy This Matters NowA lot of people want the shortcut: the best stock, the best index, the perfect retirement number, the magic career move. Scott Galloway's message is more durable than that. Build skills. Save consistently. Avoid lifestyle traps. Diversify. Give time room to work. Keep the people around you strong. That's not flashy, but it is the kind of advice that still works when the market, the economy, and your life refuse to cooperate.From the BasementJoe and OG start with a retirement-plan lawsuit that turns into a bigger conversation about how Stackers should judge their own portfolios. Then Scott Galloway pulls up a chair at the card table to talk about wealth, work, saving, relationships, his mom, Sizzler, bourbon, Tom Petty, and why you don't need to be a hero to build real financial security. Doug brings trivia about the first camera phone, plus a few modeling notes of his own. Later, Alex asks how early retirees can tap retirement accounts before 59 and a half, and the basement joke-off marches toward its dramatic, deeply mathematical conclusion.Resources MentionedScott Galloway -- The Algebra of WealthStacking Benjamins Newsletter, The 201 -- stackingbenjamins.com/201OG financial planning calendar -- stackingbenjamins.com/ogStacking Benjamins voicemail line -- stackingbenjamins.com/voicemailStacking Benjamins Community, The Basement -- stackingbenjamins.com/basementStacking Benjamins YouTube channel -- youtube.com/stackingbenjaminsInvestmentNews article by Emil Halasz on the AllianceBernstein 401(k) lawsuitJL Collins -- The Simple Path to WealthPaul Merriman and Peter Mallouk -- referenced during the benchmarking and diversification discussionIRS Rule 72(t) / SEPP rules -- referenced for early retirement account withdrawalsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Germania Rodriguez Poleo — journalist, writer, and Venezuelan exile — escaped her country at age 11 after the Chavez regime accused her mother of terrorism, tortured their bodyguard to death, shot at their car, and raided their home. She arrived in Miami as a refugee. Then she went to NYU and voted for Bernie Sanders in the primary. Her Reason magazine article "My Family Fled Socialism. Then I Voted for Bernie Sanders." tells the story of how that happened — and how she found her way back out. She's also the narrator of the documentary Escaping Venezuela. We covered: her mother's escape on a boat to Curacao and what Interpol red notices actually do to dissidents; the Pinochet whataboutism that follows every conversation about left-wing atrocities; what NYU taught (and didn't teach) about communism, socialism, and US foreign policy; why the pipeline from wealth and privilege to socialism is real and why it matters who makes the culture; the DSA's old platform calling for nationalization of media — and what that looks like in practice in Venezuela; the 32 Cuban soldiers killed protecting Maduro when the US captured him; the 2024 Venezuelan election that was stolen in plain sight; the recent earthquake with 40,000 missing while the dictatorship reports 3,000 dead; why she believes the US should be the policeman of the world; and the tragedy of exile — what it means to have your entire family legacy erased. Follow Germania on social media → @iamGermania TIMESTAMPS: 0:00 — Intro — who is Germania Rodriguez Poleo? 0:31 — The Reason article: "My Family Fled Socialism. Then I Voted for Bernie Sanders" 1:43 — Her mom: the #1 journalist exposing Chavez — accused of terrorism 3:30 — House raids, shot at their car, bodyguard tortured to death 4:59 — How democracy is lost — and why people allow it 6:07 — Her mom escapes on a boat to Curacao, then flies to Miami 7:07 — Born in Miami — how that gave her some protection 7:26 — Interpol red notices — how dictators use them against dissidents 8:47 — Her grandfather arrested in Rome on Interpol orders 9:13 — The UN Security Council problem 10:06 — The Pinochet whataboutism — and why the left always pivots there 12:05 — NYU, Karl Marx, and an incomplete education 13:26 — No readings on the Soviet Union, Mao, or Cuba — only US horrors 15:03 — The 2002 Venezuela coup — US engineered or not? Her mom was in the room. 16:41 — "Whatever the US does is bad, everyone opposed to it is good" 17:21 — NYU's Karl Marx birthday dance party 18:39 — Why aren't we winning the argument against communism? 19:04 — The pipeline from privilege to socialism — and who makes the culture 20:08 — The documentary Escaping Venezuela — and why it matters 21:06 — DSA, Bernie Sanders, and the Norway vs. Cuba confusion 22:08 — Che Guevara shirts — racism, homophobia, concentration camps 24:08 — DSA's platform: nationalizing media — the Venezuela playbook 26:21 — How authoritarianism starts: shutting down speech in the name of morality 29:04 — Race, identity, and the boxes put on Latinos at NYU 31:06 — NYC Mayor Mamdani — victimhood politics and who's actually brown 32:22 — If the US is so racist, why do people lie about being minorities? 33:56 — Paid propagandists for left-wing dictatorships 36:13 — The US captures Maduro — and the 32 Cuban soldiers protecting him 37:39 — Should the US be the policeman of the world? Her answer: yes. 39:23 — Venezuela is not Libya — why intervention wouldn't cause a civil war 40:09 — The 2024 election Maduro stole 41:14 — The recent earthquake — 40,000 missing, dictatorship says 3,000 42:30 — That's socialism in practice — from richest country to this 42:54 — Cuba: communists vs. thugs — and the cancer it spread 46:04 — "I want to go to Cuba before Starbucks gets there" 48:23 — Her mom: still fighting, now critical of Trump, 200K YouTube views 50:16 — Does she want to go back? The tragedy of exile. 52:20 — Exile is different from immigration — what was taken from her family 54:39 — Trying to revive her grandfather's newspaper 56:05 — Outro Watch full episodes on YouTube → https://www.youtube.com/watch?v=J4Vb53s4I0A&list=PLb5trMQQvT077-L1roE0iZyAgT4dD4EtJ Listen on Apple Podcasts → https://podcasts.apple.com/us/podcast/the-lou-perez-podcast/id1535032081 Listen on Spotify → https://open.spotify.com/show/2KAtC7eFS3NHWMZp2UgMVU  Co-host of Happy Hour Econ → https://podcasts.apple.com/us/podcast/happy-hour-econ/id1863476697  Lou's book — That Joke Isn't Funny Anymore: https://amzn.to/3VhFa1r  TheLouPerez.com |  info@thelouperez.com  Newsletter: https://substack.com/@louperez Learn more about your ad choices. Visit megaphone.fm/adchoices

Emira D'Spain joins Casual Chaos to spill on the Georgia tension bubbling up this season, why she always gives Charlie the benefit of the doubt, and the wild shooting-star moment she says manifested her acceptance to NYU. Plus, she teases a secret beauty-meets-tech project and her dreams of becoming the next big beauty mogul. Tune in to Next Gen NYC every Wednesday on Bravo and Peacock.See omnystudio.com/listener for privacy information.

I'll be honest with you - this episode hit differently for me as a mom. My son is six and learning Spanish in school, and my parents speak our native language with him, but listening back to this conversation with Alicia made me wish we had been more intentional from the start. No guilt though... just real talk about what the research actually says. Alicia Gandhi is a bilingual speech language pathologist and clinical assistant professor at NYU, and she is the person you want in your corner when it comes to separating fact from fiction on raising kids with multiple languages. There are so many myths floating around out there, from pediatricians, from teachers, from well-meaning family members, and we break them all down. In this episode we cover: The real cognitive benefits of raising bilingual and multilingual kids (hint: it goes way beyond language) Why code switching and mixing languages is not confusion - it is actually a sign your child is doing exactly what they should be The milestone myth: bilingual kids are not on a different developmental timeline Why you should speak your strongest language at home, even if it is not English The harmful practice of "forced monolingualism" and who it hurts most Whether kids with language delays or disabilities can still be raised multilingual (spoiler: yes) What happens when kids enter a new language environment like daycare or school Want more? Listen to the full, original episode. Our podcasts are also now on YouTube. If you prefer a video podcast with closed captioning, check us out there and ⁠subscribe to PedsDocTalk⁠. Get trusted pediatric advice, relatable parenting insights, and evidence-based tips delivered straight to your inbox—join thousands of parents who rely on the PDT newsletter to stay informed, supported, and confident. ⁠⁠⁠⁠Join the newsletter⁠⁠⁠⁠! Shop Dr. Mona's favorite products: ⁠https://shopmy.us/shop/pedsdoctalk⁠ (paid link) And don't forget to follow ⁠⁠⁠⁠@pedsdoctalkpodcast⁠⁠⁠⁠ on Instagram—our new space just for parents looking for real talk and real support. We love the sponsors that make this show possible! You can always find all the special deals and codes for all our current sponsors on the ⁠PedsDocTalk Podcast Sponsorships⁠ page of the website.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Emmaia Gelman joins This Is Hell! to talk about her new book “The Anti-Defamation League And The Racial State”, published by University of California Press. (https://www.ucpress.edu/books/the-anti-defamation-league-and-the-racial-state/hardcover) Emmaia Gelman is the founding Director of the Institute for the Critical Study of Zionism. She has taught social and cultural analysis at NYU and social sciences at Sarah Lawrence College. She is co-editor of, "The Anti-Defamation League: A Critical Reader". Emmaia also co-hosts the podcast "Unpacking Zionism." Emmaia is also co-chair of the American Studies Association Caucus on Academic and Community Activism, and a longtime activist in New York City. Her writing appears in Jewish Currents, Boston Review, The Forward, and elsewhere. We will have new installments of Rotten History and Hangover Cure. We will also be sharing your answers to this week's Question from Hell! from Patreon. Help keep This Is Hell! completely listener supported and access bonus episodes by subscribing to our Patreon: www.patreon.com/thisishell