Podcasts about blacklist

HIER

China has voiced strong opposition after the US Defense Department added certain Chinese entities to its military companies list. The Chinese commerce ministry says the US move overstretches the concept of national security.

All about Writer/Producer Daniel Knauf part 2 as he was also on WIP 114. WIP 162 Videocast https://youtube.com/live/nEH72sNA69E www.knauf.tv www.paypal.me/waynerobertsvo  www.patreon.com/wayninginterest www.x.com/wayneroberts811

Sharon Fulton was looking into divorcing her husband months before her disappearance. He stood to lose everything. Was this a motive for murder?In this episode, Perth reporter David Weber describes what Sharon wanted out of a divorce. David also explains the defence argument she may have been a victim of Perth serial killers 'The Birnies', and her son's attempt to find the truth.If you have any questions you'd like David and Stocky to answer in future episodes, please email thecaseof@abc.net.au.The Case Of is the follow-up to the hit podcast Mushroom Case Daily, and all episodes of that show will remain available in the back catalogue of The Case Of.

On today's episode, we're so excited to bring you our interview with the fabulous Lotte Verbeek. Known to Outlander fans as the unforgettable Geillis Duncan, Lotte has also appeared in The Borgias, Agent Carter and The Blacklist.In this conversation, we chat about her career, motherhood, fandom and her journey from a small town in the Netherlands to screens around the world. We also discuss her time on Outlander, playing one of the show's most iconic characters and perhaps most importantly, how to live your best life as a ginger. Oh, and there may be a little witchcraft thrown in as well.We hope you enjoy this conversation with Lotte as much as we did!Follow Lotte on Instagram

Today we're diving into the incredible journey of Johnny Coyne, an actor who traveled from the rugged mountains of Cyprus to the legendary sets of the Star Wars universe. Known for his "great face" and iconic turns as authoritarian villains in The Blacklist, Preacher, and Alcatraz, Johnny pulls back the curtain on the "panic" and imposter syndrome that still fuel his craft today. We explore how a RADA-trained talent who once packed shelves at Toys "R" Us transitioned from "unconsciously unskilled" to landing direct offers from Jon Favreau and sharing the screen with legends like Denzel Washington and Viola Davis. Whether he's a mysterious warden or finding the vulnerable lost boy inside a master villain, Johnny's story is a raw, hilarious, and inspiring masterclass in resilience and the power of simply keeping the motor going. These are the unforgettable stories that landed Jonny Coyne right here. Credits: Star Wars: The Mandalorian & Grogu Ma Rainey's Black Bottom Alcatraz The Blacklist For All Mankind The Hangover Part III Gangster Squad Nightcrawler The Family Plan MOM Preacher The Toxic Avenger Guest Links: IMDB: Jonny Coyne, Actor THAT ONE AUDITION'S LINKS: For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me: @alyshiaochse & @thatoneaudition SELF TAPE SORTED WORKSHOP: LONDON - June 20th (in person) SELF-TAPE MAY CLASS: STM REPLAY THE BRIDGE FOR ACTORS: Become a WORKING ACTOR (50% off special) THE PRACTICE TRACK: Membership to Practice Weekly PATREON: @thatoneaudition CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher EPISODE CREDITS: HOST/PRODUCER: Alyshia Ochse WRITER: Maddie McCormick WEBSITE & GRAPHICS: Chase Jennings SOCIAL: Alara Cerikcioglu

Sharon Fulton dropped her three-year-old son at daycare in Perth's north and never returned to pick him up. Forty years later, her husband Robert Fulton is charged with murder.In this series, Perth court reporter, David Weber, retells the trial of Raymond Reddington — formerly Robert Fulton.If you have any questions you'd like David and Stocky to answer in future episodes, please email thecaseof@abc.net.au.The Case Of is the follow-up to the hit podcast Mushroom Case Daily, and all episodes of that show will remain available in the back catalogue of The Case Of.

On this week’s Wrap Party, Zeth is talking about the Hollywood Blacklist, the Hollywood Ten, Dalton Trumbo, and Lucille Ball. Later, inspired by the recent success of the films ‘Backrooms’ and ‘Obsession,’ he’s joined by Jake Brennan to give recommendations for albums and movies made by younger creators. Plus your voicemails, texts, emails, and more. Become an All Access member today by visiting disgracelandpod.com.See omnystudio.com/listener for privacy information.

The UK government is considering a national airline blacklist that would ban passengers involved in serious incidents, such as drunkenness, abuse of crew, or violence, from flying with any airline, not just one carrier. Anton discusses this idea further with Kevin Byrne, Retired Lieutenant Colonel and Airport and Safety Auditor.

The UK government is considering a national airline blacklist that would ban passengers involved in serious incidents, such as drunkenness, abuse of crew, or violence, from flying with any airline, not just one carrier. Anton discusses this idea further with Kevin Byrne, Retired Lieutenant Colonel and Airport and Safety Auditor.

How to get discovered in Hollywood has been a decades-old struggle. For screenwriters, that game started to change when Franklin Leonard launched the Black List, an annual ranking of the “most liked” but not-yet-produced screenplays. Since 2005, more than 500 of those scripts have become feature films, including several Best Picture Oscar-winners. Ryan Knutson interviewed Leonard about how to fix some of Hollywood's other challenges at our live show in Los Angeles.   Further Listening:  - Hollywood Jobs Are Disappearing   - Inside the Nasty Fight to Take Over Hollywood - The Journal. - For Riz Ahmed, Life is a Spy Thriller  Sign up for WSJ's free What's News newsletter. Learn more about your ad choices. Visit megaphone.fm/adchoices

Israel added to blacklist for sexual violence“Israeli soldiers and prison guards have faced allegations of a wide range of abuses against Palestinian detainees since October 2023, including rape, torture, starvation and degrading treatment.At least 100 prisoners have reportedly died in custody under these conditions, with nearly half dying in military detention and the remainder in facilities run by the IPS.Dozens of testimonies from released detainees have detailed alleged mistreatment in Israeli custody.”What does being blacklisted do? First off: A Bar on Peacekeeping Operations: National military, police, or state security forces that are repeatedly listed are prohibited from participating in United Nations peacekeeping operations.Secondly it is more of a shaming tactic. While the listing itself is a public censure, it establishes a formal UN monitoring framework that increases the likelihood of targeted UN Security Council sanctions, arms embargos, or investigations by the International Criminal Court. Thus this aids the ICC investigation that is already ongoing. Above is a clip from TOOL. This has nothing to do with the story of Israel finally being blacklist for their grotesque ongoing acts of rape and sexual torture. But I feel like all of these dark stories can start to eat at people. Music can be therapeutic. It can unlock and release emotions that are already there. TOOL may or may not be you jam. But take a moment today maybe to pull up something you used to like. Use real headphones and take a few minutes to really just tune in.It is important for the mind to get a release. Let me know what your jamming to This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.ryandawson.org/subscribe

Subscribe on LiSTNR: https://play.listnr.com/podcast/fifi-fev-and-nickSee omnystudio.com/listener for privacy information.

Kate Hagen is a film writer, screenwriter, producer, and the senior vice president of The Black List. Kate is a cinephile with great taste, and I don't just say that because a lot of what she likes - I like. This episode, we get into many of Kate's interests: the importance of video stores, the representation of fat women on screen, sex scenes in cinema, and more!Show Notes:Kate's websiteKate's LetterboxdThe Black ListThe Last Great Video Store Spreadsheet Fat Girls On Film Letterboxd EssayKate Hagen's Playboy Article „On Sex, Cinema and the Female Gaze“The Wizard of Oz (1939)Addams Family Values (1993)The Breakfast Club (1985)Pretty in Pink (1986)Showgirls (1995)Angelica Jade BastiénFresh Horses (1988)VidiotsBabycakes (1989)Zuckerbaby (1985)Euphoria (2019-2026)The Whale (2022)Joan Didion Crash (1996)Secretary (2002)Cocaine: One Man's Seduction (1983)Lincoln (2012)Spotlight (2015)Leonard MaltinJane CampionAnora (2024)Sinners (2025)One Battle After Another (2025)Babygirl (2024)Industry (2020-2027)We Kill For Love (2023)Take This Waltz (2011)Sex, Lies, and Videotape (1989)In the Cut (2003)In the Realm of the Senses (1976)Damage (1992)Dead Ringers (1988)Lovely & Amazing (2001)Nicole HolofcenerBound (1996)Border (2018)Y Tu Mama Tambien (2001)Crimes of Passion (1984)Wild Things (1998)Candyman (1992)Shortbus (2006)Body Heat (1981)9 Songs (2004)A Walk on the Moon (1999)After Dark, My Sweet (1990)Don't Look Now (1973)The Last Seduction (1994)Desert Hearts (1985)The Sheltering Sky (1990)The Hunger (1983)Bug (2006)Lust, Caution (2007)The Handmaiden (2016)Breaking the Waves (1996)Romance (1999)Faces of Death (2026)CinematographeTerms of Endearment (1983)Follow Somebody's Watching here:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: @somebodyswatchingpod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Email: somebodywatchingpod@gmail.com

Tesla's Ghost, The ISA Blacklist, & The Deep State's Eternal War on Free Power! Today, we go nuclear. We're talking the Invention Secrecy Act of 1951 – the legal black box that's buried over 6,543 patents RIGHT NOW as of FY2025. We're talking water cars, ionosphere harvesting via your neighborhood 5G towers, HAARP weaponizing Tesla's own tech against us, smart meters as the surveillance leash, and a rogue's gallery of inventors – John Searl, Viktor Schauberger, Thomas Townsend Brown, Salvatore Pais – whose breakthroughs got funded, patented, then the knowledge holders conveniently “disappeared.” Web Site: www.DontTreadonMerica.com https://linktr.ee/DontTreadonMerica Email the show: Donq@donttreadonmerica.com DTOM Store (Promo code DTOM for 10% off) Sponsors: www.makersmark.com www.NordVPN.com  Promo Code: DTOM www.alppouch.com/DTOM www.dubby.gg Promo code: DTOM Social Media:   Don't Tread on Merica TV   DTOM on Facebook   DTOM on X    DTOM on TikTok    DontTreadonMericaTV   DTOM on Instagram    DTOM on YouTube

Today's episode features NYC Costume Shopper, Costume Designer, and author Sara Hinkley! We get deep into the details of what it's like working as an Costume Shopper in New York City, her previous work as a Costume Department Coordinator and her upcoming novel The Red Sacrament which you should all pre-order at the link below! --- If you want to support me and this podcast, please subscribe to the Patreon - we have tiers starting at just $3 and you will get access to extended cuts of every episode with more even more stories. Sara's Patreon episode is 30 minutes longer! --- Assistant Costume Designer/NYC Shopper, Costume Designer, Author Sara Hinkley Credits include: The Off-Weeks, Law and Order: SVU, Law and Order: Organized Crime, The Blacklist, Monsterland, Crashing, Awkwafina Is Nora From Queens. --- Sara Hinkley is an author and costume designer living in Brooklyn, NY.  Her debut novel, historical vampire horror The Red Sacrament is out July 2026 from Titan Books. Her costume design work has included film, television, theatre, dance, and opera, and she currently working as Assistant Costume Designer/Shopper on The Off Weeks, a forthcoming project for Apple TV. She is a proud union member of USA 829 IATSE. Her literary representation is Isabel Kaufman at Fox Literary.     Sara Hinkley Links: Website: sarahinkley.com Instagram: @sarahinkley.jpg Twitter: @boneysoups Bluesky: @boneysoups IMDb: Sara Hinkley Preorder The Red Sacrament! --- TFACD Links: Patreon: Tales From A Costume Designer Instagram: @talesfromacostumedesigner Twitter: @talesfromaCD TikTok: @talesfromaCD --- Whitney Anne Adams Links: Website: whitneyadams.com IMDb: Whitney Anne Adams Instagram: @WAACostumeDesign Twitter: @WhitneyAAdams TikTok: @waacostumedesign --- Union Links: Costume Designers Guild IG: @cdglocal892 United Scenic Artists Local 829 IG: @unitedscenicartists IATSE IG: @iatse ---

Behind the Brand bei JACKS: Miriam holt zwei Frauen aus ihrem Team ins Glowcast Studio, die sonst nie zu hören sind. Annalena Remy leitet die Produktentwicklung seit über drei Jahren und erzählt, wie ein Produkt vom Briefing bis ins Regal kommt, warum bei JACKS jeder Inhaltsstoff über eine Blacklist läuft und was Wellaging in der Praxis bedeutet. Danach setzt sich Barbara Lindert dazu, Head of Growth & Commerce, früher selbst Make-up-Artistin. Sie nimmt dich mit hinter den Webshop, erklärt was eine Customer Journey ist und warum JACKS bewusst auf Dringlichkeitstricks verzichtet. Dazwischen erzählt Miriam, wie die Love Your Glow Kampagne entstanden ist und worum es ihr dabei wirklich geht. Die Aktion läuft vom 17. bis 24. Mai. Über Annalena Remy: Annalena ist seit über drei Jahren Head of Product bei JACKS beauty line. Sie verantwortet die Formulierungen, arbeitet eng mit den Laboren und Lieferanten und hat die gesamte Skincare-Linie mitentwickelt. Ihre Handschrift findet sich in fast jedem aktuellen JACKS-Produkt. Über Barbara Lindert: Barbara ist seit 2022 bei JACKS und hat sich von der eCommerce-Managerin zur Head of Growth & Commerce entwickelt. Sie hat den Webshop maßgeblich aufgebaut, A/B-Testing eingeführt und arbeitet an Themen wie Customer Journey, SEO und Newsletter. Das nimmst du mit: Wie ein Beauty-Produkt von der ersten Idee bis ins Regal entsteht, manchmal über drei Jahre Warum JACKS bewusst gegen Markttrends entscheidet und was Bauchgefühl im Brand Building bedeutet Was eine Customer Journey im Webshop ist und wie viel Detailarbeit hinter einem "einfachen" Button steckt Wie JACKS Authentizität und Community-Bindung im JACKS Club lebt, mit über 42.000 Mitgliedern Zur Love Your Glow Kampagne: Am 17. Mai ab 8 Uhr startet der Presale exklusiv für JACKS-Club-Mitglieder und Newsletter-Abonnentinnen, 24 Stunden lang mit 20 Prozent Rabatt. Vom 18. bis 24. Mai gibt es 15 Prozent für alle. Ab 75 Euro Bestellwert legen wir die Mini Day Cream SPF 30 als Geschenk dazu. Ausgenommen sind Pinsel der Artist Collection, der #20 Kabuki Pinsel, digitale Gutscheine und Sets. Am 20. Mai um 20:30 Uhr gibt es zusätzlich eine kostenfreie Live-Masterclass mit Miriam. Anmeldung über den Newsletter oder den JACKS Club.

Abschiedsmelodien zum Start: Wir forschen nach, was es mit Fred Strittmatter und Quirin Amper jr. auf sich hat und lösen nach Jahrzehnten auf, welcher Titel ursprünglich hinter dem Song „Liebe Freunde von Otto“ steckt. Da passt mindestens namentlich der Podcast „Reflektor“, den Jürgen für sich entdeckt hat. Außerdem findet im Hause Hüsam am Aufnahmetag ein großer „Roblox“-Event statt – die Gelegenheit für Yuki, alle Hörer zu verbellen. Roland kann dank neuer Kontaktlinsen berichten, dass „Ghost Recon Wildlands“ bis auf zwei Trophäen abgehakt ist, und dass die „Splinter Cell“-Teile „Double Agent“, „Conviction“ und „Blacklist“ bereitstehen. Jürgen bringt gemischte Kunde: „Assassin’s Creed Shadows“ ist durch, in „Astro Bot“ fehlt immer noch eine Trophäe. Wir trösten uns mit einem Abstecher bei Amazon, Epic und Creative Assembly. Aus rein beruflichen Gründen ist Roland außerdem in „Star Trek: Starfleet Academy“ – dem Spiel, nicht der Serie! – sowie in „Final Fantasy 14: A Realm Reborn“ unterwegs. Einige wenige Bittbriefe gilt es zu öffnen, dann berichtet Jürgen von seinen Flohmarkt-Abenteuern. Hat er über sich gebracht, eine Blu-ray zu erwerben? Oder investiert er weiter in tote Medien? So oder so ist ein „Winnetou“-Sammelalbum ein großartiger Fund. Im Fernsehen ist das Ende nahe: Die siebte Staffel von „Don Matteo“ serviert zum Ende etliche Mythology-Episoden, die siebte Staffel von „Buffy: Im Bann der Dämonen“ erreicht im Hause Hüsam ebenfalls ihren Höhepunkt. Betrübt müssen wir feststellen, dass wir tatsächlich verpasst haben, dass „Das Traumschiff“ Ostern erneut in See gestochen ist. Doch dafür waren wir mit John McClane in Washington, D.C. unterwegs. (Aufgenommen am 11. April 2026)

Geraldine Hughes currently stars opposite Matthew Broderick and Max Baker in David Ireland's play Ulster American at Irish Repertory Theatre. Her theater credits include Harry Potter and the Cursed Child, Jerusalem, Cyrano de Bergerac, Molly Sweeney, and Translations. Geraldine also received multiple awards for writing and performing her solo play Belfast Blues. On screen, her work includes Tokyo Vice, Your Honor, The Blacklist, and Gran Torino. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bourbon, Barrels, BMWs and Blacklists. It's a busy Friday. Listen for more on Two Minutes in Trade. 

Maria-Christina Oliveras is currently starring on Broadway in Manhattan Theatre Club's The Balusters at the Samuel J. Friedman Theatre. A versatile performer and Drama Desk nominee, her theater credits include Between Riverside and Crazy, Amélie, Machinal, Bloody Bloody Andrew Jackson, Hadestown, Cymbeline, Here Lies Love, and more. On screen, she has appeared in Blue Bloods, The Blacklist, and Law & Order: SVU, and she will soon be seen in the upcoming film Vivien & the Florist and Mindy Kaling's next television series, Not Suitable for Work. This episode was recorded on April 28, 2026. Learn more about your ad choices. Visit megaphone.fm/adchoices

Janet is an Associate Arts Professor and Head of Acting of the Graduate Acting Program at NYU's Tisch School of the Arts. She received her B.F.A. at The Juilliard School under John Houseman. You know her from Mystic Pizza, One Life to Live, Blue Bloods, and The Blacklist. Do us a solid, support the Podcast Our guests are Seinfeld writers, Seinfeld actors and actresses and Seinfeld crew. We also welcome well-known Seinfeld fans from all walks of life including authors, entertainers, and TV & Radio personalities. We analyze Seinfeld and breakdown the show with an honest insight. We rank every Seinfeld episode and compare Seinfeld seasons. If you are a fan of Seinfeld, television history, sitcoms, acting, comedy or entertainment, this is the place for you. Do us a solid, support the Podcast  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.paypal.com/donate/?hosted_button_id=B939KP43626H4Official⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Use code THIRSTY for 10% off awesome Golf Apparel at ⁠⁠⁠⁠flopshotgolfer.com/THIRSTY⁠⁠⁠⁠ Website:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.seinfeldpodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ iTunes:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apple.co/2RGC89m⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Spotify:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://spoti.fi/3tqDVh6⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Social:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/ThisThirsty⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ThisThirsty⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/thisthirsty/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠"This Podcast Is Making Me Thirsty" is The #1 Destination For "Seinfeld" fans. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Amy Duggar King is the only member of the Duggar family publicly mapping how the system of secrecy operates from the inside. She grew up as Jim Bob's niece, watched information get managed and narratives get controlled, and described in her memoir Holy Disruptor a family structure where loyalty meant silence and speaking out meant retaliation.Retired FBI Behavioral Analysis Chief Robin Dreeke sits down with Amy to apply behavioral analysis to the family's pattern. Josh Duggar's abuse of his sisters was handled internally for years. Joseph Duggar allegedly admitted to his accuser's father, and according to the arrest affidavit, no one contacted law enforcement until six years later. Locks were reportedly found on the outside of the children's bedroom doors. A family spokesperson called the criminal charges "totally unrelated." Dreeke examines how information control functions inside a closed system — how it moves, how it's stopped, and who decides what reaches the outside world.But the secrecy operates inside a larger architecture of isolation. The Duggar family raised their children inside Bill Gothard's IBLP, where the catalogue of prohibited life reads like a quarantine protocol. Cabbage Patch dolls declared demonic and burned. Disney movies on backyard bonfires. Christian rock taught as spiritual corruption. The "Nike" code word — confirmed by the daughters — yelled in public so the men could look away from women deemed immodest. Therapy declared evil. Mental health medication forbidden. Birth control banned even when pregnancy carried medical risk. A published system linking illnesses to specific sins. And blanket training of infants described as encouragement.Dreeke identifies the behavioral throughline: every prohibition removes one more connection to the outside world. Isolation is not a byproduct of the belief system — it is the function. Gothard, the architect, was accused of harassing thirty-four women who worked for him. Dreeke and Amy examine how the isolation system and the secrecy system reinforce each other — and why the pattern keeps producing the same outcomes across generations.Join Our SubStack For AD-FREE ADVANCE EPISODES & EXTRAS!: https://hiddenkillers.substack.com/Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/channel/UC8-vxmbhTxxG10sO1izODJg?sub_confirmation=1Instagram https://www.instagram.com/hiddenkillerspod/Facebook https://www.facebook.com/hiddenkillerspod/Tik-Tok https://www.tiktok.com/@hiddenkillerspodX Twitter https://x.com/TrueCrimePodThis publication contains commentary and opinion based on publicly available information. All individuals are presumed innocent until proven guilty in a court of law. Nothing published here should be taken as a statement of fact, health or legal advice.#DuggarFamily #AmyDuggarKing #RobinDreeke #IBLP #BillGothard #HiddenKillersLive #BehavioralAnalysis #DuggarSecrets #JosephDuggar #CultSurvivors

You think you know the Duggars' rules. The matching outfits. The courtship rituals. The no-kissing-before-marriage thing. But there's a list behind the list — and it starts with Santa Claus. In the IBLP, Santa's name was treated as an anagram of Satan. The Duggars erased him from Christmas entirely. And that was just the beginning of a blacklist that went far beyond holiday traditions.Tony Brueski lays it all out. Cabbage Patch dolls, declared demonic — families were told to burn them, not throw them away. Disney, torched in a backyard bonfire. Rock music, even worship music with a beat, taught to give Satan a piece of your child's soul. Harry Potter, Pokémon cards, Monster Energy drinks, Barbies — all gone. The Duggar daughters published the family's “Nike” code word in their own book — yelled in public so every male in the family stared at his shoes when an attractive woman walked by.Then the list moves past toys and into territory that matters. Therapy, called satanic. Psychiatrists, called evil. Mental health medication, called a trap. IBLP published materials linking illnesses to sins — migraines to guilt, osteoporosis to envy. Birth control forbidden even when pregnancy threatened a mother's life. Former members described having tampons confiscated. Infants struck for crawling off a blanket in a practice the family called “encouragement.”Tony connects the dots: every banned item removes one more window to the outside world. And the man who sealed those windows shut was himself accused of harassing 34 women who worked for him. The blacklist isn't about faith. It's about control. Robin Dreeke, Ret. FBI Behavioral Unit Chief, joins Tony for this episode.Join Our SubStack For AD-FREE ADVANCE EPISODES & EXTRAS! https://hiddenkillers.substack.com/Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/channel/UC8-vxmbhTxxG10sO1izODJg?sub_confirmation=1Instagram https://www.instagram.com/hiddenkillerspod/Facebook https://www.facebook.com/hiddenkillerspod/Tik-Tok https://www.tiktok.com/@hiddenkillerspodX Twitter https://x.com/TrueCrimePodThis publication contains commentary and opinion based on publicly available information. All individuals are presumed innocent until proven guilty in a court of law. Nothing published here should be taken as a statement of fact, health or legal advice.#Duggar #SatanClaus #IBLP #BillGothard #JosephDuggar #JimBobDuggar #TrueCrime #HiddenKillers #DuggarBlacklist #CultSurvivors

It's not just 555 Folgen Doppelgänger — it's 555 Folgen unterhaltsame Bromance. Tim Cook tritt als Apple-CEO zurück, Hardware-Chef John Turnus übernimmt. Siri soll bei der WWDC im Juni als Standalone-App mit Screen-Zugriff vorgestellt werden. Google bildet ein Coding-Strike-Team bei DeepMind – intern nutzt man heimlich bereits Claude. Amazon investiert weitere $25 Mrd. in Anthropic, gebunden an $100 Mrd. AWS-Ausgaben. Das chinesische Open-Source-Modell Kimi K2.6 von Moonshot kommt leistungsmäßig nah an Claude heran – zum Zehntel der Kosten. Barron's entlarvt, wie Konzerne von Coca-Cola bis Starbucks KI-generierte Floskeln in ihrer Kommunikation nutzen. Cursor verhandelt $2 Mrd. bei $50 Mrd. Bewertung. Polymarket strebt $15 Mrd. an. Musk verspricht AGI mit Grok 5. Zoom kooperiert mit Worldcoin für Meeting-Verifizierung. OpenAIs GPT-Image-2 wird geleakt. LinkedIn kopiert das Side-by-Side-Modellvergleich-Tool YAP.ai. Die NSA nutzt trotz Pentagon-Blacklist Anthropics Mythos. Palantir veröffentlicht ein 22-Punkte-Manifest gegen Inklusivität. ICE-Agenten tragen Meta-Brillen mit Gesichtserkennung. WhatsApp startet ein Plus-Abo für $2,49/Monat. Merkel äh Merz fordert lockerere KI-Regulierung. China geht gegen Fake-Influencer vor. Unterstütze unseren Podcast und entdecke die Angebote unserer Werbepartner auf ⁠⁠⁠⁠⁠⁠⁠doppelgaenger.io/werbung⁠⁠⁠⁠⁠⁠⁠. Vielen Dank!  Philipp Glöckler und Philipp Klöckner sprechen heute über: (00:00:00) Apple: Tim Cook tritt ab, Turnus übernimmt (00:05:26) Google bildet Coding-Strike-Team bei DeepMind (00:13:50) Anthropic: Outages, Profitabilität und $25 Mrd. von Amazon (00:19:02) Claude Design bedroht Figma und Adobe (00:25:41) Kimi K2.6: China-Modell zum Zehntel der Kosten (00:33:32) Corporate AI-Sprache: Barron's entlarvt Floskeln (00:39:07) Cursor $50 Mrd., Polymarket $15 Mrd. (0:44:59) Polymarket-Wetten (00:51:55) Zoom + Worldcoin, OpenAI GPT-Image-2 geleakt (01:01:10) LinkedIn kopiert YAP.ai Modellvergleich (01:04:10) NSA nutzt Mythos trotz Blacklist (01:05:40) Palantir-Manifest und ICE-Brillen (01:15:14) WhatsApp Plus-Abo (01:21:28) Merz lockert KI-Regulierung, China vs. Dumm-fluencer Shownotes ChatGPT Images 2 veröffentlicht Pips LinkedIn - ⁠linkedin.com⁠ Apple: Neue Siri-Oberfläche in iOS 27 geleakt - ⁠bloomberg.com⁠ Tim Cook tritt als Apple-CEO zurück - ⁠marketwatch.com⁠ Google bildet Strike-Team für Coding-Modelle - ⁠theinformation.com⁠ Anthropic: Beispiellose Nachfrage, Amazon unterstützt - ⁠marketwatch.com⁠ Harvard Case Study in Wartestellung - ⁠xcancel.com⁠ Kimi K2.6: Open-Source-Coding-Fortschritt - ⁠xcancel.com⁠ KI verändert Unternehmenskommunikation mit Aktionären - ⁠barrons.com⁠ Cursor verhandelt $2 Mrd. Runde bei $50 Mrd. - ⁠cnbc.com⁠ Polymarket: $15 Mrd. Bewertung angestrebt - ⁠theinformation.com⁠ Musk skizziert AGI-Pläne - ⁠xcancel.com⁠ Zoom verifiziert mit Worldcoin Menschen in Meetings - ⁠techcrunch.com⁠ OpenAI GPT-Image-2 geleakt - ⁠xcancel.com⁠ LinkedIn Crosscheck: KI-Modellvergleich für Premium - ⁠engadget.com⁠ NSA nutzt Mythos trotz Pentagon-Blacklist - ⁠axios.com⁠ Palantir: "Die Technologische Republik" - ⁠xcancel.com⁠ Palantir-Manifest klingt wie Comic-Bösewicht - ⁠engadget.com⁠ Palantir-Manifest gegen Inklusivität - ⁠techcrunch.com⁠ ICE nutzt smarte Brillen zur Überwachung - ⁠kenklippenstein.com⁠ GOP prüft KI-Abfragen als Warnsignale - ⁠washingtonpost.com⁠ WhatsApp startet Plus-Abo - ⁠focus.de⁠ a16z: Monitoring the Situation - ⁠a16z.news⁠ Merz fordert lockerere KI-Regulierung in der EU - ⁠reuters.com⁠ China geht gegen Fake-Influencer vor - ⁠fortune.com⁠

Amaury Séchet is the developer who forked Bitcoin in August 2017 to create Bitcoin Cash. Three years later, in the aftermath of an internal conflict about developer funding mechanisms, he also forked Bitcoin Cash to create Ecash (XEC): the evolution of the Bitcoin ABC client which adds the Avalanche protocol for a combination between the battle-tested Proof of Work security and the instant Proof of Stake finality. In this episode, we talk about the evolution of the Bitcoin protocol and why hard forks matter. Time stamps: 00:01:19 Introducing Amaury Séchet 00:03:06 Bitcoin Cash vs. eCash Price & Market Dynamics 00:05:05 Nihilism & Casino Culture in Crypto 00:06:55 Bitcoin Technical Debates: Covenants, Spam, Quantum Resistance 00:09:36 Quantum Computing Threats to Bitcoin 00:13:09 Satoshi's Coins & Quantum Attacks 00:17:52 Changing Bitcoin's Core Tenets & Confiscation Proposals 00:22:19 Consensus, Politics, and Forking 00:25:00 Quantum Resistance in eCash & BCH 00:27:16 Hard Forking vs. Scaling for Quantum Threats 00:30:06 Satoshi's Wealth Across Forks (BTC, BCH, BSV, XEC) 00:32:13 AI, Protein Folding, and Future Tech 00:33:22 Cake Wallet, SideShift, and wallet integration for BCH + XEC 00:36:11 Banks, Bitcoin Standard, and Economic Liquidity 00:37:45 Scaling, Fractional Reserve, and Economic History 00:41:24 Thoughts on Drivechain & Blockchain Extensibility 00:46:49 eCash Technical Differences: Avalanche Consensus 00:52:06 eCash Mining, 51% Attacks, and Security 00:54:17 Bitcoin Scaling Wars: XT, Unlimited, Classic 01:00:10 Fiat, Proof of Work, and Labor Theory of Value 01:02:36 Giveaway Segment & Sponsors 01:09:20 Satoshi's Block Size Views & Moore's Law 01:21:14 Small Blockers, Radio Waves, and Node Requirements 01:27:02 Electrum, Fulcrum, and Wallet Infrastructure 01:33:14 Bitcoin Forks Timeline & Technical Upgrades 01:41:06 BCH vs. BTC: SegWit, Schnorr, and Malleability 01:46:08 BCH Forks: SV, Block Size, and Governance 02:04:35 Blacklist, Confiscation, and BSV's Direction 02:09:15 Gigabyte Blocks & Scaling Challenges 02:42:13 Avalanche Consensus & eCash Upgrades 02:47:57 Cash Tokens, EVM, and Layer 2s 02:54:12 Cash Fusion & Privacy Compared to Monero & Zcash 03:02:32 Future Privacy Improvements & Payment Protocols 03:07:46 Monero, Zcash, and Privacy Scalability 03:25:55 Proof of Stake, Mining Rewards, and eCash Economics 03:27:59 Amaury's Role, Leadership, and Project Direction 03:39:53 Big Blocker Movement: Sabotage & Self-Sabotage 04:18:07 Bitcoin's Future, BCH, and eCash Predictions 04:21:56 Which Altcoins Will Survive? 04:24:28 New Scaling Projects & Instant Payments (Quai, Kaspa) 04:31:17 Closing Remarks & How to Follow Amaury and eCash

This Week in Oklahoma Politics, KOSU's Michael Cross talks with Civic Leader Andy Moore and former state Representative Chairman Mark McBride about Governor Stitt signing a $12.8B budget for Fiscal Year 2027, the State Supreme Court limits a law blacklisting banks for discriminating against the oil and gas industry and a state lawmaker suspending his campaign after an artificial intelligence image.The trio also discusses the state Ethics Commission reprimanding a candidate for Lieutenant Governor and thousands of independent voters switching their party affiliation ahead of the partisan primaries in June.

Drawing from a wide-ranging pool of influences—from punk and hardcore to authors like evolutionary biologist Richard Dawkins and ethicist Peter Singer – José González has forged a unique place for himself in the music scene. He has released records by his band Junip, but his multiple solo albums feature a stripped down "mid-fi" sound consisting mostly of a nylon string guitar, his voice, and the occasional tapping of his foot. His 2003 album, Veneer, gained significant popularity in Sweden, the UK, and the United States. His songs have been featured in films and television shows such as The Secret Life of Walter Mitty, One Tree Hill, The Blacklist, Friday Night Lights, and many others. His new release, Against the Dying of the Light, is in González's own words, "a collection of songs I hope will age badly, in the sense that humanity finds a way to unite and steer clear of its most self-destructive tendencies." Geoff Stanfield caught up with José from his home in Gothenburg, Sweden, to discuss this new album, his approach to recording, and more. Enjoy.

The Pentagon just tried to blacklist an AI company from all government work. Not because its technology failed — because the company refused to let its AI run autonomous weapons or surveil Americans at scale.That's not a contract dispute, it's a new kind of power struggle. And it's reshaping the entire AI industry.Maria Curi is the AI+Government reporter at Axios and the author of the newsletter that drives tech policy conversations across Washington. She breaks down how the Defense Department is using procurement as policy — and why the stakes extend far beyond one company's government contract.We get into who actually controls AI governance in this administration, what the Pentagon-Anthropic standoff means for every AI lab now doing business with the federal government, and the question Maria says nobody is asking yet — but should be.It's Week Two of the April Axios takeover of The Friday Reporter. Get full access to Authentically Speaking at thefridayreporter.substack.com/subscribe

Brendan Schaub and Bryan Callen are back with another episode of The Fighter and The Kid, covering everything from Hollywood politics to fight talk and current events.The guys break down how Hollywood blacklisting really works, referencing actors like Mel Gibson and how the industry can quietly shut people out behind the scenes. They also get into a deeper conversation about cancel culture, media narratives, and how public perception is shaped.Outside of Hollywood, Schaub and Callen dive into a wide range of topics including cultural shifts, controversial discussions around rising autism diagnoses, and their unfiltered thoughts on what's really going on today.As always, they mix in fight talk, UFC insights, and stories from the road, keeping the conversation loose, funny, and unpredictable.If you're into MMA, comedy podcasts, and real conversations that go off script, this episode delivers.Get this episode and all future episodes AD FREE + 2 extended episodes, Fan Questions, exclusive behind the scenes content and more each month at https://www.patreon.com/tfatkShopify - Sign up for your one-dollar-per-month trial today at https://www.shopify.com/fighterZocdoc - Stop putting off those doctors appointments and go to http://zocdoc.com/fighter to find and instantly book a doctor you love today.Truewerk - Get 15% off your first order at https://truewerk.com/ with code fighter. That's https://truewerk.com/O'Reilly - https://oreillyauto.com/FIGHTERSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to Active Reload! This week James, Grant, and Steven, break down the accusations from Build a Rocket Boy CEO Mark Gerhard of alleged sabotage of their game Mindseye. He also plans to put a mission in the game called Blacklist that will outline some of the alleged sabotage. Is it legit? The guys discuss.After that, former director, Vinit Agarwal, who was in charge of the ill-fated Last of Us Online, stated in a podcast appearance that the game was about 80% done when cancelled, saying Sony had to choose between that game and the new Neil Druckmann single player adventure, Intergalactic. The guys debate whether Sony made the right decision and if we'll ever see a mock-up version of the Last of Us Online.Remember to rate, follow, like, and subscribe!

We were joined by writer, climate activist, and creative director, Casey Rand! Casey has done a ton and she talks about it all with Jason in this expansive chat! Casey discusses growing up in Montreal, doing odd jobs (including trying to get a musician on iTunes), then discovering advertising creativity and moving to New York. She also talks about finding improv and sketch at Magnet and how she started writing for Reductress, McSweeney's, and The New Yorker. She shares her side of the story on how she encouraged Howard Finkelstein (friend of the podcast) to pursue comedy via an email prank that reached comedy Jon Glaser. She also talks about co-writing "People Who Deserve It" and how it came to be from a blog, cofounding the climate nonprofit Potential Energy Coalition, writing a pilot that won a Black List fellowship, freelancing with Gooder (which she founded), and making entertaining messaging to counter disinformation. It's a great discussion! www.caseyrand.com Instagram: @CaseyRand @ThereItIsPod, @JasonFarrPics  Threads: @ThereItIsPod, @JasonFarrPics Facebook: @ThereItIsPod  Subscribe to our comedy newsletter: https://mailchi.mp/e22defd4dee2/thereitis

This Day in Legal History: Missouri v. HollandOn March 18, 1922, the U.S. Supreme Court issued a landmark decision in Missouri v. Holland, clarifying the scope of federal treaty power. The case arose when the state of Missouri challenged a federal statute that implemented a treaty between the United States and Great Britain to protect migratory birds. Missouri argued that the regulation of wildlife fell within the state's reserved powers under the Tenth Amendment. The state maintained that the federal government could not use a treaty to expand its authority into areas traditionally controlled by the states.The Supreme Court rejected this argument and upheld the federal law. Writing for the Court, Oliver Wendell Holmes Jr.emphasized that the Constitution grants the federal government the power to make treaties, and that these treaties can address matters of national and international concern. He reasoned that migratory birds, by their nature, cross state and national boundaries, making them an appropriate subject for international agreement. The Court concluded that when a treaty is validly made, Congress may pass laws necessary to implement it, even if those laws regulate areas otherwise left to the states.This decision reinforced the supremacy of federal treaties over conflicting state laws under the Supremacy Clause. It also signaled a broader understanding of federal power in foreign affairs, particularly when international cooperation is required. The ruling has had lasting implications for the balance between state and federal authority, especially in cases involving environmental regulation and international commitments.A California federal jury is weighing whether Elon Musk committed securities fraud through his public statements about Twitter during his 2022 acquisition attempt. Investors claim Musk deliberately made misleading statements about the level of spam and fake accounts to drive down Twitter's stock price after agreeing to buy the company. According to their lawyers, these statements were part of a calculated plan to gain leverage to renegotiate or exit the $44 billion deal. They argue Musk had no evidence for his claims and point to internal communications suggesting he was already considering a lower price. The investors also emphasize that Musk had waived due diligence rights, making his public claim that the deal was “on hold” misleading.Musk's legal team counters that there is no proof of fraud and that expressing concerns about bots does not amount to illegal conduct. They argue Musk genuinely believed Twitter's spam numbers were inaccurate and was frustrated by the company's refusal to provide data to verify them. His lawyer also stressed that motive alone is not enough to establish fraudulent intent. Additionally, Musk ultimately declined an opportunity to renegotiate the deal at a lower price, which his attorneys say undermines the claim of a scheme. They also note that Musk reaffirmed his commitment to the deal shortly after his controversial tweet, which they argue is inconsistent with an effort to manipulate the market.The case centers on whether Musk's statements were intentionally deceptive or simply careless. Investors allege they suffered losses after Twitter's stock dropped following Musk's tweets. The jury must now decide whether his conduct meets the legal standard for securities fraud.Were Musk's Tweets ‘Deliberate' Or ‘Stupid'? Jury To Decide - Law360The Trump administration is defending the Pentagon's decision to blacklist Anthropic in a federal court dispute, arguing the move was lawful and tied to national security concerns. The designation, made by Defense Secretary Pete Hegseth, labeled the company a supply chain risk after it refused to remove safeguards limiting the use of its AI for autonomous weapons or domestic surveillance.Government lawyers claim Anthropic is unlikely to succeed in its lawsuit, rejecting the company's argument that the action violated its First Amendment rights. They argue the dispute is about conduct—specifically contract and policy disagreements—not protected speech. According to the administration, no restrictions were placed on Anthropic's ability to express its views, only on its eligibility for government contracts.Anthropic has challenged the designation in court, calling it unlawful and harmful to its business, and is seeking to block the decision while the case proceeds. The company maintains that its safety restrictions reflect responsible AI practices and do not threaten national security. It also argues that the government failed to follow proper procedures and violated its due process rights.The blacklisting, supported by Donald Trump, could limit Anthropic's access to defense contracts and potentially lead to significant financial losses. The dispute follows failed negotiations between the company and the Pentagon over acceptable uses of its technology. Anthropic is pursuing a separate legal challenge in another court to contest a broader designation that could expand the ban across the federal government.Trump administration defends Anthropic blacklisting in US court | ReutersThe Lycra Company has filed for Chapter 11 bankruptcy in Texas as part of a plan to reduce about $1.2 billion in debt and transfer ownership to its senior lenders. A bankruptcy judge granted interim approval for the company to access $50 million in debtor-in-possession (DIP) financing, rejecting objections from a lower-level creditor who argued the lenders had too much control over the restructuring.The company entered bankruptcy with roughly $1.5 billion in total debt and a prearranged plan supported by most major lenders, who have agreed to vote in favor of the restructuring. The plan gives Lycra 45 days to confirm its reorganization and would convert different layers of debt into equity or warrants in the reorganized company.One creditor, Castleknight Master Fund, objected, claiming the same lenders were playing multiple roles—DIP financiers, major creditors, and future owners—giving them an unfair advantage. The court, however, found this overlap common in large restructurings and allowed the financing to proceed, noting objections can be raised again later.Lycra's financial struggles stem from declining earnings, increased competition, inflation, and prior debt tied to earlier ownership changes. The company has also faced legal risks related to past transactions. Despite these issues, Lycra continues to operate globally, selling its products in more than 80 countries.Spandex Maker Lycra Files Ch. 11 To Slash $1.2B Debt - Law360 This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Writer-director Amy Wang joins the No Film School podcast to discuss her debut feature, Slanted, and the long road from film school to theatrical release. In conversation with GG Hawkins, Wang reflects on leaving Australia for AFI, building a creative community in Los Angeles, learning to write as a practical path to survival in the industry, and what happened after Slanted premiered at SXSW 2025, won the Grand Jury Prize, and eventually landed distribution ahead of its 2026 theatrical release. In this episode, No Film School's GG Hawkins and guest Amy Wang discuss... How Fight Club inspired Wang to pursue filmmaking as a teenager in Sydney Why she left Australia for AFI and what it was like arriving in Los Angeles as an international student The real value of film school, especially for community-building and dedicated creative time Why learning to write became the key to sustaining a filmmaking career after graduation How a Black List script helped open doors in Hollywood The emotional and personal origins of Slanted Why body horror and comedy became the right form for exploring race, identity, and belonging How Slanted went from a logline to a financed feature What production and post looked like on a tight timeline before SXSW What it felt like to premiere at SXSW, hear audience reactions, and unexpectedly win the Grand Jury Prize The reality of selling an indie film in today's market, even after major festival recognition What Wang learned from working with Bleecker Street on the theatrical release Details about her next feature, Crescendo, set in the world of competitive piano Memorable Quotes: “If you don't come from money, if you don't have a famous uncle and you don't want to work at Starbucks for the next three to four years after you graduate, you need to learn how to write.” (12:48) “You can't let the highs be too high and you can't let the lows be too low.” (16:31) “It doesn't matter what I do, it doesn't matter who I am, how I speak, my personality is like, what my thoughts or how intelligent I am, people will always see my face first.” (19:08) “As long as you keep going, as long as you keep learning and changing and growing, I think you don't need to be the best throughout your life to be able to have a career in this industry.” (40:56) Guests: Amy Wang Resources: Slanted official film page Applying for Your O-1 Visa to Work in Film and TV Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram

  Christina Hello, everyone, I'm Christina Darnell, the managing editor of MinistryWatch. Welcome to the MinistryWatch podcast. In today's extra episode, I talk with Warren Smith about some news items that are slightly (even significantly) outside of our normal charity and philanthropy “beat.” So, Warren, what's up first? Warren This week, I've been thinking a bit about Lonnie Frisbee, one of the more interesting and tragic figures of American Evangelicalism was Lonnie Frisbee. Christina He was a key figure in the so-called “Jesus Revolution” of the 1970s, and he helped found two church movements still around today: Calvary Chapel and Vineyard Churches. Warren That's right. He influenced John Wimber, Greg Laurie, and many others. He died this week (March 12) in 1993 of AIDS. But before he died, he had an outsized impact on the Jesus Revolution, both for good and for ill. I won't go into his biography here, but if you check out my “Signs and Wonders” column this week, I have a link to a longer story I did about him a few years ago. It will be in the show notes for today's program. To read more about Frisbee and the mark he left on American Evangelicalism, click here. Christina You've also been thinking about Kazakhstan this week. Warren Yes, it might sound strange, but I am paying attention to Kazakhstan this week. Christina That seems kind of random. Is there a reason? Warren They vote on Friday on a new constitution, the third constitution since 1993. Kazakhstan is one of the largest countries in the world by land mass. And within Kazakhstan is the largest lake in the world, the Caspian Sea, which is not a sea at all, but a massive lake the size of the state of Montana. Christina But for all its size, it has only about 20 million people. Warren A long-time Soviet satellite, it is an independent nation with a sizable Christian population – about 20 percent. However, it is a country that has a history of human rights, free speech, and civil liberties violations. Critics say the new constitution will further consolidate power with the country's chief executive. Christian ministries operating in Kazakhstan include the Kazakhstan Baptist Union, Youth for Christ, Salvation Army, Operation Mobilization, and International Fellowship of Evangelical Students. Christina Another event happening this week is a bit outside of MinistryWatch's normal coverage, but is a huge cultural event. That's the South by Southwest festival in Austin, Texas. Warren South by Southwest, commonly called “South by,” is one of the largest tech, movie, music, and culture events in the country. It regularly draws 120,000 to Austin, Texas. I covered SXSW for WORLD and was always able to find some explicitly Christian events going on. Last year, there was a significant faith component to the proceedings. Silicon Valley Christian hosted SVC at SXSW. It was the largest explicitly Christian gathering at South by this year. Last year's event included a “keynote conversation” with actor Zachary Levi, cultural conversations about Christianity in tech spaces, and music, including musicians Matt Maher and For King and Country. The details on this year's event are vague, though its Sunday worship service appears still to be on. Christian artists appearing at South by this week include Mission and Sam Llanes. Christina South by Southwest has a significant technology component. In fact, it was at South by that Twitter was first rolled out, in the early 2000s. From those beginnings, social media has gone on to take over the world in many ways. Warren That's right, but now new laws are attempting to limit social media, especially in the lives of young people. One of those new laws was recently passed in Virginia. Christina But WORLD Magazine reports that a federal judge on Feb. 27 temporarily paused enforcement of the Virginia law. Warren The law would limit minors under 16 to one hour of screen time per social media platform per day.”  The law was supported by Virginia Gov. Glenn Youngkin, the state's attorney general, and an overwhelming bipartisan majority of the Virginia legislature. Christina Nonetheless, U.S. District Judge Patricia Tolliver Giles sided with NetChoice, an industry trade group representing YouTube, Google, X, Netflix, and other platforms. Warren The judge said the law violated First Amendment free speech protections. Giles said the 2025 law “burdens more speech than necessary as it requires all persons to verify their age before accessing speech that is protected for everyone.” The state has appealed the ruling. Christina And there's more trouble in the Anglican Church in North America. Warren ACNA appointed Bishop Julian Dobbs to be its acting archbishop back in November, when Archbishop Steve Wood was credibly charged with sexual harassment of one of his employees. Now, old accusations that Dobbs misappropriated $47,862 have been raised by one of his rivals, Bishop Derek Jones. Christina Jones left ACNA a few months ago following a controversy over his leadership of the military chaplains. He has formed a new denomination called the Anglican Reformed Catholic Church. Warren Dobbs is now suing Jones for defamation. Dobbs says the disputed sum is $3,750, and the money was not misappropriated, but temporarily put into the wrong back account. The mistake was caught and quickly corrected. Former Archbishop Foley Beach backs up Dobbs' version of the story. Dobbs asked a federal court in Alabama to order Bishop Derek Jones to pay compensatory and punitive damages. Christina That brings us to the end of this week's conversation. Any final notes before we go? Warren A few. Did you know I also write fiction? I published a novel back in 2017, and I'm working on a new novel now. The Blacklist, an influential community of screenwriters and novelists, is featuring my novel-in-progress Up The American on its site this week. If you want to read the excerpt they are publishing, I'll link to it in today's show notes. I have some travel coming up in the next couple of months, and I would love to see you. I will be in Los Angeles in April and Dallas in May. I will be doing reader lunches in both cities. Let me know if you would like to join us. My email is wsmith@ministrywatch.com. Christina The producer for today's program is Jeff McIntosh. I'm Christina Darnell, with my co-host Warren Smith. Until next time, may God bless you.

Today on Too Opinionated, we're joined by actor Gary Hilborn, who appears as Trent Patterson, the Head of the Secret Service, in the hit Netflix political thriller The Night Agent. Gary discusses stepping into the high-stakes world of the White House and filming his very first scene—a challenging walk-and-talk sequence directed by Emmy-winning actor/director Adam Arkin. Despite first-day nerves, the moment became one of the most rewarding experiences of the shoot. An especially meaningful moment came when Gary stepped onto Trent's office set and noticed a National War College degree on the wall, a touching coincidence given that his late father was a U.S. Army colonel who studied at the sister institution, the Army War College. Beyond The Night Agent, Gary has appeared in several major television series including:

This week's French Connection podcast episode covers one of the most thrilling and morally complicated films of 1971. Ryan, Mike, and Greg revisit The French Connection on Movie of the Year. William Friedkin's Best Picture winner changed what American cinema thought a hero could look like. In addition, this episode features a special Gene Hackman career retrospective.Released in 1971, the film follows New York City detective Jimmy "Popeye" Doyle — based on real NYPD detective Eddie Egan, with partner Sonny Grosso inspiring the character of Russo. Doyle pursues a massive heroin operation with little regard for the law or the people around him. As a result, the film won five Academy Awards, including Best Picture, Best Director, and Best Actor. It remains one of the defining films of the New Hollywood era.This Movie of the Year podcast episode is one of the most anticipated of the 1971 season. Before diving in, check out our recent episodes on The Last Picture Show and A Clockwork Orange.Joining the Taste Buds for this episode is special guest C. Craig Patterson A screenwriter, director, and filmmaker based in Los Angeles. An alum of Columbia University, NYU's Tisch School of the Arts, and USC's School of Cinematic Arts, Patterson brings serious cinematic credentials to the table. His short film Fathead won the Cannes Film Festival Best Student Short Award and earned an NAACP Image Award nomination. His scripts have been recognized by the Sundance Screenwriters Lab, The Black List, and the Academy's Nicholl Fellowship. Patterson also directed the critically acclaimed Roy Wood Jr. comedy special Imperfect Messenger for Paramount+. With projects currently in development at Paramount and Epic Games, he is one of the most exciting emerging filmmakers working today — and exactly the kind of guest who makes a film like The French Connection worth revisiting.The French Connection 1971 Podcast: Popeye Doyle — Hero, Antihero, or Something Worse?The central tension of this French Connection 1971 podcast discussion is what to make of Popeye Doyle. Gene Hackman plays him as a force of nature — relentless, racist, reckless, and completely compelling. He is not a good man, and he is barely a good cop. Nevertheless, the film frames his obsession as heroic, his instincts as genius, and his victory as worth celebrating.Ryan, Mike, and Greg dig into what Friedkin and screenwriter Ernest Tidyman were doing with Doyle. Is the film a critique of the kind of law enforcement he represents? Or is it simply in love with him? The answer is probably both. Ultimately, that ambiguity is what makes the character so difficult and so fascinating fifty years later.The Real Detectives Behind the StoryThe real detectives, Eddie Egan and Sonny Grosso, consulted on the film and even appear in small roles. Consequently, knowing the story is grounded in a real investigation makes Doyle's behavior harder to dismiss. These were not fictional excesses invented for dramatic effect, and the panel takes that seriously.Gene Hackman won the Academy Award for Best Actor for this role, beating out Peter Finch, Walter Matthau, George C. Scott, and Topol. Furthermore, it remains one of the most celebrated performances of the 1970s. The panel uses this episode to look back at Hackman's broader career and make the case for where he stands in the pantheon.For more on Gene Hackman's career, visit the Internet Movie Database.William Friedkin and the New Hollywood Crime FilmDirector William Friedkin approached The French Connection as a documentary-style thriller. He shot on location in New York City with handheld cameras and natural light, refusing to glamorize either the city or its characters. As a result, the film feels unlike almost anything else from 1971 — raw, kinetic, and deeply uncomfortable.The Taste Buds explore how Friedkin's direction shaped the film's identity. Most notably, the legendary car chase under the elevated train tracks in Brooklyn is widely considered one of the greatest action sequences ever filmed. Friedkin shot it on live New York City streets without fully stopping traffic, with a camera mounted to the front of the car. For critical analysis of the chase, the Criterion Collection offers essential reading.Friedkin After The French ConnectionJust two years later, Friedkin directed The Exorcist, cementing his place as one of the defining filmmakers of the decade. The panel discusses what the two films share and what The French Connection reveals about Friedkin's sensibility. In both cases, his camera feels like it is barely keeping up with reality — and that is entirely by design.For more on Friedkin's influence on American cinema, visit the American Film Institute.The French Connection Podcast Discussion: Justice and Its LimitsAt its core, The French Connection is about the gap between justice and the law. Popeye Doyle operates outside the rules, endangers civilians, shoots an unarmed man in the back, and ultimately fails to bring the main target to justice. Despite all of this, the film presents his pursuit not as tragedy but as the cost of doing business.Ryan, Mike, and Greg examine what the film says about the American justice system in 1971 — a moment of profound national disillusionment. Vietnam, the civil rights movement, and the early signs of Watergate were all in the air. Meanwhile, the "good guys" in this film are not good, the "bad guys" are not caught, and the audience is asked to root for the pursuit anyway.Race and Policing in The French ConnectionMoreover, the film's racial politics are impossible to ignore. Doyle's racism is presented as character texture rather than moral failing, and the film never fully grapples with the implications of the policing it depicts. That discomfort is an important part of the conversation this week.For historical context on the real case, visit the DEA's history of the French Connection.Gene Hackman Best Performances: A Career RetrospectiveThis episode includes a special segment on Gene Hackman's best performances. The Taste Buds make their case for the defining Hackman roles and debate his greatest work. In particular, they discuss what made him such an unusual screen presence: his everyman quality, his capacity for rage, and his refusal to tell the audience how to feel about his characters.His breakthrough came in Bonnie and Clyde in 1967, and his Oscar followed here in The French Connection. Subsequently, classics like The Conversation, Mississippi Burning, Unforgiven, and The Royal Tenenbaums cemented one of the most extraordinary bodies of work in American cinema. This segment celebrates an actor who never got quite enough credit for how good he really was.Why The French Connection 1971 Still MattersMore than fifty years later, The French Connection remains essential viewing. Beyond its technical achievements, it functions as a moral document — capturing a specific American mood: exhausted, suspicious, and uncertain about its own institutions.Ultimately, this French Connection podcast episode revisits the film as a living argument about power, obsession, and the stories we tell about law enforcement. It asks hard questions, and this episode doesn't let them off the hook.Related Episodes from Movie of the Year: 1971If you enjoyed this episode, check out the rest of the Movie of the Year 1971 series:The Last Picture Show — Bogdanovich, nostalgia, and a dying Texas townA Clockwork Orange — Kubrick, free will, and the limits of the stateBrowse all Movie of the Year episodesFAQ: The French Connection Podcast and FilmWhat is The French Connection podcast episode about?Ryan, Mike, and Greg discuss William Friedkin's 1971 Best Picture winner. Topics include Popeye Doyle, Friedkin's direction, justice, and a Gene Hackman career retrospective.What is The French Connection about?It follows NYPD detective Popeye Doyle, based on real detective Eddie Egan, as he pursues a massive heroin smuggling operation using methods that are often illegal and always reckless.Who directed The French Connection?William Friedkin directed the 1971...

What happens when you step away from the path everyone expects you to follow? Actress Laura Sohn returns to Reppin for a powerful conversation about redefining success, owning your identity, and finding belonging on your own terms. Laura broke out globally on the hit NBC drama The Blacklist, and has appeared across television in NCIS and God Friended Me. Her work spans network television and the New York stage—always bringing depth, nuance, and authenticity to the stories she tells. But this conversation goes beyond the highlight reel. Laura opens up about the pressure so many of us feel—from family, culture, and society—to chase a very specific definition of success. In her twenties, she made the bold decision to step back from a hit show and ask a bigger question: What actually matters? What followed was a period of reflection, humility, and growth. It's an honest conversation about curiosity, culture, family, and the courage it takes to stop proving yourself—and start owning who you are. Laura is also currently starring in the New York play JESA at The Public Theater. JESA follows four Korean American sisters who reunite to perform their father's ancestral ritual honoring the dead. What begins as a ceremony quickly erupts into sibling clashes, humor, and the messy truth about what holds people together. If you've ever: questioned your path felt caught between cultures or wondered where you truly belong this conversation will resonate.

Ce lundi 9 mars, François Sorel a reçu Damien Douani, responsable de l'innovation de l'école Narratiiv et fondateur de Topos, Bruno Guglielminetti, journaliste et animateur de "Mon Carnet de l'actualité numérique", et Jérôme Colombain, journaliste et créateur du podcast « Monde Numérique ». Ils se sont penchés sur le classement d'Anthropic comme entreprise "à risque" par la Maison Blanche, la première démission chez OpenAI après la signature d'un accord avec l'armée américaine, ainsi que le rôle de l'IA dans la défense et dans la guerre, dans l'émission Tech & Co, la quotidienne, sur BFM Business. Retrouvez l'émission du lundi au jeudi et réécoutez la en podcast.

Writer Chris Hill, the host of the podcast Blacklisted, talks about his personal screenwriting journey and what he's learned talking to writers who've made the coveted "Blacklist." 

President Donald Trump says he will direct every federal agency to immediately stop using technology from AI developer Anthropic. The company behind the AI assistant Claude is mired in a row with the White House after refusing demands to give the US military unfettered access to its AI tools. Anthropic says “no amount of intimidation or punishment” will shift its opposition to its technology being used for mass domestic surveillance or fully autonomous weapons, and says it will challenge the White House decision in court.Also: the former US President, Bill Clinton, tells a Congressional committee he did nothing wrong during his acquaintance with Jeffrey Epstein. President Trump says he's "not happy" with the outcome of the third round of nuclear negotiations with Iran, but the Omani mediator says "peace is within reach" and calls for more time to be given to diplomatic efforts. We look back at the career of the American singer-songwriter Neil Sedaka, who has died aged 86. Argentina's president Javier Milei tries to scrap laws protecting glaciers from the mining industry, promising the changes will lead to one million new jobs. And why the English Premier League is to launch its first direct-to-customer streaming platform next season.The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight.Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment.Get in touch: globalpodcast@bbc.co.ukPhoto: YURI GRIPAS/POOL/EPA/Shutterstock

AI music startup Suno claims 2M paid subscribers, Ultrahuman launches third-gen Ring Pro, HoloLens headsets get repurposed for military cargo inspections. MP3 Please SUBSCRIBE HERE for free or get DTNS Live ad-free. A special thanks to all our supporters–without you, none of this would be possible. If you enjoy what you see you can supportContinue reading "Pentagon Blacklists Anthropic As “Supply Chain Risk” – DTH"

Your daily news in under three minutes. At Al Jazeera Podcasts, we want to hear from you, our listeners. So, please head to https://www.aljazeera.com/survey and tell us your thoughts about this show and other Al Jazeera podcasts. It only takes a few minutes! Connect with us: @AJEPodcasts on Twitter, Instagram, Facebook, and YouTube

I am Rolf Claessen and together with my co-host Ken Suzan I welcome you to Episode 172 of our podcast IP Fridays. Today's interview guests are Co-Founder & CEO of Inception Point AI, Jeanine Whright, and Mark Stignani, who is Partner & Chair of Analytics Practice at Barnes & Thornburg LLP. https://www.linkedin.com/in/jeaninepercivalwright https://www.linkedin.com/in/markstignani Inception Point AI But before the interview I have news for you: The Unified Patent Court (UPC) ruled on Feb 19, 2026, that specialized insurance can cover security for legal costs. This is vital for firms, as it eases litigation financing and lowers financial hurdles for patent lawsuits by removing the need for high liquid assets to enforce rights at the UPC. On Feb 12, 2026, the WIPO Coordination Committee nominated Daren Tang for a second six-year term as Director General. Tang continues modernizing the global IP system, focusing on SMEs, women, and digital transformation. His confirmation in April is considered certain. An AAFA study from Feb 4 reveals 41% of tested fakes (clothing/shoes) failed safety standards. Many contained toxic chemicals like phthalates, BPA, or lead. The study highlights that counterfeiters increasingly use Meta platforms to sell unsafe imitations directly to consumers. China's CNIPA 2026 report announced a crackdown on bad-faith patent and trademark filings. Beyond better examination quality, the agency will sanction shady IP firms and stop strategies violating “good faith” to make China’s IP system more ethical and innovation-friendly. Now, let's hear the interview with Jeanine Whright and Mark Stignani! How AI Is Rewiring Media & Entertainment: Key Takeaways from Ken Suzan's Conversation with Jeanine Wright and Mark Stignani In this IP Fridays interview, Ken Suzan speaks with two repeat guests who look at the same phenomenon from two angles: Jeanine Wright, Co-Founder & CEO of Inception Point AI, as a builder of AI-native entertainment, and Mark Stignani, Partner and Chair of the Analytics Practice at Barnes & Thornburg LLP, as a lawyer advising clients who are trying to use AI without stepping into a legal (or ethical) crater. What emerges is a clear picture: generative AI is not just “another tool.” It is rapidly becoming the default infrastructure for creative work—while the rules around ownership, consent, and accountability lag behind. 1) What “AI-generated personalities” really are (and why that matters) Jeanine's company is not primarily “cloning” real people. Instead, Inception Point AI creates original, fictional personalities—characters with backstories, ambitions, and evolving arcs—then deploys them into the world as podcast hosts and content creators (and eventually actors and musicians). Her key point: the creative work still starts with humans. Writers and creators define the concept, tone, audience, and story engine. What AI changes is speed, cost, and iteration—and therefore what is economically feasible to produce. 2) The “generative content pipeline” isn't a magic button A recurring misconception Ken raises is the idea that someone “pushes a button” and content pops out. Jeanine explains that real production looks more like a hybrid studio: A creative team defines character, voice, format, and storyline. A technical team builds what she calls an “AI orchestration layer” that combines multiple models and tools. The “stack” differs by format: the workflow for a long-form audio drama is different from a short-form beauty clip. This matters because it reframes AI content not as a single output, but as a pipeline decision: which tools, which data sources, which QA, and which governance steps are used—and where human review happens. 3) The biggest legal questions: origin, liability, ownership, and contracts Mark doesn't name a single “top issue.” He describes a cluster of problems that repeatedly show up in client conversations: Training data and “origin story” Clients keep asking: Can I legally use AI output if the tool was trained on copyrighted works? Even if the output looks new, the unease is about whether the tool's capabilities are built on unlicensed inputs. Liability for unintended harm Mark flags risk from AI content that inadvertently infringes, defames, or carries bias. The legal exposure may not match the creator's intent. Ownership and protectability He points to a big gap: many jurisdictions are still reluctant to grant classic IP rights (copyright or patent-style protection) to purely AI-generated material. That creates uncertainty around whether businesses can truly “own” what they produce. Old contracts weren't written for AI A final, practical point: many agreements—talent contracts, author clauses, data licenses—predate generative AI and simply don't address it. That leads to disputes about scope, permissions, and—crucially—indemnities. 4) Are we at a tipping point? The “gold rush” vs. “next creative era” views Jeanine frames AI as “the world's most powerful creative tool”—comparable to previous step-changes like animation, special effects, and CGI. For her, the strategic implication is simple: creators who learn to use AI well will expand what they can build and test, faster than ever. Mark's metaphor is more cautionary: he calls the moment a “gold rush” where technology is sprinting ahead of law. Courts are getting flooded with foundational disputes, while legislation is fragmented—he notes that states may move faster than federal frameworks, and that labor agreements (e.g., union protections) will be a key pressure point. 5) Democratization: more creators, more niche content, more experimentation One of the most concrete themes is access. Jeanine argues AI will: Lower production barriers for independent filmmakers and storytellers. Reduce the need for “hit-making only” economics that dominate Hollywood. Make micro-audience content commercially viable. Her example is intentionally niche: highly localized, specialized content (like a “pollen report” for many markets) that would never have made financial sense before can now exist—and thrive—because the production cost drops and personalization scales. 6) Likeness, consent, and “digital performers”: what happens when AI resembles a real actor? Ken pushes into a sensitive area: what if someone generates a performance that closely resembles a living actor without consent? Mark outlines the current (imperfect) toolbox—because, as he emphasizes, most laws weren't built for this scenario. He points to practical claims that may come into play in the U.S., such as rights of publicity and false endorsement-type theories, and notes that whether something is parody or “too close” can become a major fault line. Jeanine explains her company's operational approach: They focus on original personalities, designed “from scratch.” They build internal checks to avoid misappropriating known names, likenesses, or recognizable identities. If they ever work with real people, the model would be licensing their likeness/voice. A subtle but important business point also appears here: Jeanine expects AI-native characters themselves to become licensable assets—meaning the entertainment economy may expand to include “celebrity rights” for fully synthetic personalities. 7) Ethics: the real line is “deception,” not “AI vs. human” The ethical core of the conversation is not “AI is bad” or “AI is good.” It's how AI is used—especially whether audiences are misled. Mark highlights several ethical risks: Misuse of tools to manipulate faces and content (“AI slop” and political misuse). Displacement of creative workers without adequate transition support. A concern that AI often optimizes toward “statistical averages,” potentially flattening originality. Jeanine agrees ethics must be designed into the system. She describes regular discussions with an ethicist and emphasizes a principle: transparency. Her company discloses when content or personalities are AI-generated. She argues that if people understand what they're engaging with and choose it knowingly, the ethical problem shifts from “AI exists” to “Are we tricking people?” Mark adds a real-world warning: deepfakes are now credible enough to enable serious fraud—he references a case-like scenario where a synthetic video meeting deceived an employee into authorizing a payment. The point is clear: authenticity and verification are no longer optional. 8) The “dead actor” hypothetical: legal permission vs. moral intent Ken raises a provocative scenario: an actor's estate authorizes an AI-generated new performance, but the actor opposed such technology while alive. Neither guest offers a simplistic answer. Jeanine suggests that even if the estate holds legal rights, a company might choose to avoid such content out of respect and because the ethical “overhang” could damage the storytelling outcome. She also notes the harder question: people who died before today's capabilities may never have been able to meaningfully consent to what AI can now do—raising questions about how we interpret legacy intent. Mark underscores the practical contract problem: many rights are drafted “in perpetuity,” but that doesn't automatically settle the ethical question. 9) Five-year forecast: “AI everywhere,” but audiences may stratify Ken closes with a prediction question: in five years, how much entertainment content will significantly involve AI—and will audiences care? Jeanine predicts AI becomes the default creative layer for most content creation. Mark is slightly more conservative on the percentage, but adds an important nuance: the market will likely stratify. Low-cost, high-volume content may become saturated with AI, while premium segments may emphasize “human-made” as a differentiator—especially if disclosure norms become standard. Bottom line for business leaders and creators This interview lands on a pragmatic conclusion: AI will change how content is made at scale, and the competitive edge will go to teams that combine creative taste, operational discipline, and legal/ethical governance. If you're building, commissioning, or distributing content, the questions you can't dodge anymore are: What's the provenance of the tools and data you rely on? Who is responsible when output harms, infringes, or misleads? What rights can you actually claim in AI-assisted work? Do your contracts and disclosures match the new reality? Ken Suzan: Thank you, Rolf. We have two returning guests to the IP Friday’s podcast. Joining me today is Janine Wright and Mark Stignani. Our topic for discussion, how is AI transforming the media and entertainment industries today? We look at the issues from differing perspectives. A bit about our guests, Janine Wright is a seasoned board member, CEO, global COO and CFO. She’s led organizations from startup to a $475 million plus revenue subsidiary of a public company. She excels in growth strategy, adopting innovative technologies, scaling operations and financial management. Janine is a media and entertainment attorney and trial litigator turned technologist and qualified financial expert. She is the co-founder and CEO of Inception Point AI, a growing company that is paving new ground with AI-generated personalities and content through developing technology and story. Mark Stignani is a partner with Barnes & Thornburg LLP and is based in Minneapolis, Minnesota. He is the chair of the data analytics department with a particular emphasis on artificial intelligence, machine learning, cryptocurrency and ESG. Mark combines the power of artificial intelligence and machine learning with his skills as a corporate and IP counsel to deliver unparalleled insights and strategies to his clients. Welcome, Janine and Mark to the IP Friday’s podcast. Jeanine Whright: Thank you. Thank you. Thank you so much for having me and fun to be back. It feels nostalgic to be here. Ken Suzan: That’s right. And you both were on the program. So it’s fantastic that you’re both back again. So our format, I’m going to ask a question to Janine and or Mark and sometimes to both of you. So that’s going to be how we proceed. Let’s jump right in. Janine, your company creates AI-generated actors. For listeners who may not be familiar, can you briefly explain what that means and what’s now possible that wasn’t even two years ago? Jeanine Whright: Sure. Yeah, we are creating AI-generated personalities. So new characters, new personalities from scratch. We design who these personalities are and will be, how they will evolve. So we give them complex backstories. We give them hopes and dreams and aspirations. We every aspect of them, their families, how they’re going to evolve. And in the same way that, say, you know, Disney designs the character for its next animated feature or, you know, an electronic arts designs a character for its next major video game. We are doing that for these personalities and then we are launching them into the world as podcast hosts, content creators on social platforms like YouTube, Instagram and TikTok. And even in the future, you know, actors in feature length films, musicians, etc. Ken Suzan: Very fascinating. Mark, from your practice, what’s the single biggest legal question or dispute you’re seeing clients wrestle with when it comes to AI and media creation? Mark Stignani: Well, I think that, you know, it’s not just one thing, it’s like four things. But most of them tend to be kind of the origin story of AI data or AI tools that they use because, you know, but for the use of AI tools trained on copyrighted materials, the tools wouldn’t really exist in their current form. So a lot of my clients are wondering about, you know, can I legally use this output if it’s built upon somebody else’s IP? The second ask, the second flavor of that is really, is there liability being created if I take AI content that inadvertently infringes or defames or biases there? So there’s the whole notion of training bias from the training materials that comes out. The third phase is really, you know, can I really own this? Because much of the world does not really give IP rights into AI-generated inventions, copyrighted materials. It’s still kind of a big razor. Then at the end of the day, you know, if it’s an existing relationship, does my contract even contemplate this? So everything from authors contracts on up to just use of data rights that predate AI. Ken Suzan: And Janine and Mark, a question to both of you. How would you describe where we are right now in the AI revolution in media and entertainment? Are we approaching a tipping point? And if so, what are the things we need to watch for? Jeanine Whright: Yeah, I definitely think that we’re at a phase where people are starting to come to the realization that AI is the world’s most powerful creative tool. But that, you know, storytelling and point of view is what creates demand and audiences. And AI doesn’t threaten or change that. But it does mean that as people evolve in this medium, they’re very likely going to need to adopt, utilize and figure out how to hone their craft with these AI-generated content and these AI-generated toolings. So this is, you know, something that people have done certainly in the past in all sorts of ways in using new tools. And we’ve seen that make a significant change in the industry. So you look at, you know, the dawn of animation as a medium. You look at use of special effects, computer-generated imagery in the likes of Pixar. And this is certainly the next phase of that evolution. But because of the power of the tool and what will become the ubiquity of the tool, I think that it’s pretty revolutionary and all the more necessary for people to figure out how to embrace this as part of their creative process. Ken Suzan: Thank you, Janine. Mark, your thoughts? Mark Stignani: Yeah, I mean, I liken this to historically to like the California gold rush right now, because, you know, the technology is so far outpaced in any of the legal frameworks that are available. And so we’re just trying to shoehorn things in left and right here. So, I mean, the courts are beginning to start to engage with the foundational questions. I don’t think they’re quite there yet. I just noticed Anthropic got sued again by another group of people, big music group, because of the downloaded works they’ve done. I mean, so the courts are, you know, the courts are certainly inundated with, you know, too many of these foundational questions. Legislatively, hard to tell. I mean, federal law, the federal government is not moving uniformly on this other than to let the gold rush continue without much check and balance to it. Whereas states are now probably moving a lot faster. Colorado, Illinois, even Minnesota is attempting to craft legislation and limitations on what you can do with content and where to go with it. So, I mean, the things we need to watch for any of the fair use decisions coming out here, you know, some of the SAG-AFTRA contract clauses. And, you know, again, the federal government, I just, you know, I got a big shrug going as to what they’re actually going to come up with here in the next 90 to 100 days. So, but, you know, I think they’ll be forced into doing something sooner than later. Ken Suzan: Okay, let’s jump into the topic of the rise of generative content pipelines. My first question to Janine. Studios and production companies are now building what some call generative content pipelines. This is where AI systems produce everything from scripts to visual effects to voice performances. What efficiencies and creative possibilities does this unlock for the industry? Jeanine Whright: Yeah, so this is quite a bit of what we do. And if I could help pull the curtain back and explain a little bit. Ken Suzan: That’d be great. Jeanine Whright: Yeah, there’s this assumption that, you know, somebody is just sitting behind a machine pushing a button and an out pops, you know, what it is that we’re producing. There’s actually quite a bit of humans still in the loop in the process. You know, we have my team as creators. The other half of my team is the technologists. And those creators are working largely at what we describe as the the tip of the sphere. So they’re, of course, coming up with the concepts of who are these personalities? What are these personalities, characters, backgrounds going to be a lot of like rich personality development? And then they’re creating like what are the formats? What are the kind of story arcs? What is the kinds of content that this this character wants to tell? And what are the audiences they’re desiring to reach and what’s most going to resonate with them? And then what we built internally is what we refer to as an AI orchestration layer. So that allows us to pull from basically all of the different models and then all of these different really cool AI tools. And put those together in such a way and combine those in such a way that we can have the kind of output that our creative team envisions for what they want it to be. And at the end of the day, what you what the stack looks like for, say, a long form audio drama, like the combination of LLMs that we’re going to use in different parts of scripting and production and, you know, ideating and all of that. And the kinds of tooling that we use to actually make it and get it to sound good and have the kinds of personality characteristics that we want to be in an authentic voice for a podcast is going to be different than the tech stack and the tool stack that we might use for a short form Instagram beauty tip reel. And so there’s a lot of art in being able to pull all of these tools together to get them to do exactly what you want them to do. But I think the second part of your question is just as interesting as the first. I mean, what is what possibilities is this unlocking? So of course you’re finding efficiencies in the creative production process. You can move faster. You can do things were less expensive, perhaps, and you were able to do it before. But on the creator side, I think one thing that hasn’t been talked about enough is how it is really like blown wide the aperture of what creators can do and can envision. Traditionally, you know, Hollywood podcasting, many of these businesses that become big businesses have become hit making businesses where they need to focus on a very narrow of wide gen pop content that they think is going to get tens of millions, hundreds of millions in, you know, fans and dollars in revenue for every piece of content that they make. So the problem with that is, is that it really narrows the kinds of things that ultimately get made, which is why you see things happening in Hollywood, like the Blacklist, which is, you know, this famous list of really exceptional content that remains unpredited, unproduced, or why you see things like, you know, 70 to 80% of the top 100 movies being based on pre-existing IP, right? Because these are such huge bets that you need to feel very confident that you’re going to be able to get big, big audiences and big, big dollars from it. But with AI, and really lowering the barrier to entry, lowering the costs of production and marketing, the experimentation that you can do is really, really phenomenal. So, you know, my creative team, if they have an idea, they make it, you know, they don’t have to wring their hands through like a green lighting process of, you know, should we, shouldn’t we, like we, we can make an experiment with lots of different things, we can do various different versions of something. We can see what would this look like if I placed it in the 1800s, or what if I gave this character an Australian accent, and it’s just the power of being able to have this creative partner that can ideate with you and experiment with you at rocket speed. With the creators that are embracing it, you can see how it is really fun for them to be able to have this wide of a range of possibility. Ken Suzan: Mark, when you hear about these generative pipelines, what are the immediate red flags or concerns that come to mind from a legal standpoint? How about ethics underlying all of this? Well, Mark Stignani: that was not, that’s the number one red flag because I mean, we are seeing not just that in the entertainment industry, but it literally at political levels, and the kind of the phrase, to turn the phrase AI slop being generated, we’re seeing, you know, people’s facial expressions altered. In some cases, we’re seeing AI tools being misused to exploit various groups of individuals and genders and age groups. So I mean, there’s a whole lot of things ethically that people are using AI for that just don’t quite cover it. Especially in the entertainment industry, I mean, we’re looking at a fair amount of displacement of human workers without adequate transition support, devaluation of the creative labor. I mean, the thing though that I’m always from a technical standpoint is AI is simply a statistical average of most everything. So it kind of devalues the benefit of having a human creator, a human contribution to it. That’s the ethical side. But on the legal side, I see chain of title issues. I mean, because these are built on very questionable IP ownership stages, I mean, in most of these tools, there has been some large copying, training and taking of copyrighted materials. Is it transformational? Maybe. But there’s certainly not a chain of title, nor is there permission granted for that training. I mentioned SAG-AFTRA earlier, I think there’s a potential set of union contract aspects to this that if you know many of these agreements and use sub-licenses for authors and actor agreements, they weren’t written with AI in mind. So that’s another red flag. And also I just think in indemnification. So if we ultimately get to a point where groups are liable for using content without previous license, then who’s liable? Is the tool maker the liable group or the actual end user? So those are probably my top four red flags. But I think ethics is probably my biggest place because just because we can do something from an ethical standpoint doesn’t mean we should. Jeanine Wright: Yeah, if I can respond to both of those points. I mean, one from a legal perspective, just to be very clear, I mean, we are always pulling from multiple different models and always pulling from multiple different sources. And we even have data sources that we license or use for single source of truth on certain pieces of information. So we’re always pulling things together from multiple different sources. We also have built into our process, you know, internal QAing and checking to make sure that we’re not misappropriating the name or likeness of any existing known personality or character. We are creating original personalities there. We design their voice from scratch. We design their look from scratch. So we’re not on our personality side, we’re not pulling or even taking inspiration from existing intellectual property that’s already out there in creating these personalities. On the ethical side, I agree. I mean, when we came out of stealth, we came out of stealth in September. There was certainly quite a bit of backlash from folks in my—I previously co-founded a company in the audio space. I mean, there’s been many rounds of layoffs in audio and in many other parts of the entertainment industry. So I’m very sensitive to the feedback around, like, is this job displacement? I mean, I do think that the CEO of NVIDIA said it right when he said, you’re likely not going to lose your job to AI, but you will lose your job to somebody who knows how to use AI. I think these tools are transforming the way that content is made and that the faster that people can embrace this tooling, the more likely they’re going to be having the kinds of roles that they want in, you know, in content creation and storytelling in the future. And we are hiring. I’m hiring AI video creators, AI audio creators. I’m hiring AI developers. So people who are looking for those roles, I mean, please reach out to me, we would love to work with you and we’d love to grow with you. We also take the ethics very seriously. For the last few months or so, I’ve met regularly with an ethicist, we talk about all sorts of issues around, you know, is designing AI-generated people, you know, good for humanity? And what about authenticity and transparency and deception, and how are we in building in this space going to avoid some of the problems that we’ve seen with things like social media and other forms of technology? So we keep that very top of mind and we try to build on our own internal values-based system and, you know, continue to elevate and include the humanity as part of the conversation. Ken Suzan: Thank you, Janine. Janine, some argue that AI content pipelines will level the field for filmmaking, giving independent creators access to tools that were once available only to major studios. Is that the future you envision? Jeanine Wright: I do think that with AI you will see an incredible democratization of access to technology and access to these capabilities. So I do think, you know, rise of independent filmmakers, you won’t have as many people who are sitting on a brilliant idea for the next fantastic script or movie that just cannot get it made because they will be able to with these tools, get something made and out there, at least to get the attention of somebody who could then decide that they want to invest in it at a studio kind of level in the future. The other thing that I think is really interesting is that I think, you know, AI will empower more niche content and more creators who can thrive in micro-communities. So it used to be because of this hit generation business model, everything needed to be made for the masses and a lot of content for niche audiences and micro-communities was neglected because there was just no way to make that content commercially viable. But now, if you can leverage AI—we make a pollen report podcast in 300 markets, you know, nobody would have ever made that before, but it is very valuable information, a very valuable piece of content for people who really care about the pollen in their local community. So there’s all sorts of ways that being able to leverage AI is making it more accessible both to the creator and to the audience that is looking for content that truly resonates with them. Ken Suzan: Mark, let’s talk about the legal landscape right now. If someone creates an AI-generated performance that closely resembles a living actor without their consent, what legal recourse does that actor have? Mark Stignani: Well, I mean, I think we can go back to the OpenAI Scarlett Johansson thing where, you know, if it’s simply—well, the “walks like a duck, quacks like a duck” type of aspect there. You know, I think it’s pretty straightforward that they need to walk it back. I mean, the US doesn’t have moral rights, really, but there’s a public visage right, if you will. And so, one of the things that I find predominantly useful here is that these actors likely have rights of publicity there, we probably have a Lanham Act false endorsement claim, and you know, again, if the performance is not parody, and it’s so close to the original performance, we probably have a copyright discussion. But again, all of these laws predate the use of AI, so we’re going to probably see new sets of law. I mean, we’re probably going to see “resurrection” frameworks, we’ll probably have frameworks for synthetic actors and likenesses, but the rules just aren’t there yet. So, unfortunately, your question is largely predictive versus well-settled at this point. Ken Suzan: Janine, your company works with AI actors. How do you navigate the questions of consent and likeness compensation when creating digital performers? Jeanine Wright: I mean, if we—so first of all, if we were to work with a person who is an existing real-life person or was an existing real-life person, then we would work with them to license their name and likeness or their voice or whatever aspects of it we were going to use in creating content in partnership with them. Not typically our business model; we are, as I said, designing all of our personalities from scratch and making all of our content originally. So, we’ve not had to do that historically. Now, you know, the flip side is: can I license my characters as if they’re similar to living characters? Like will I be able to license the name and likeness and voice of my AI-generated personalities? I think the answer is yes and we’re already starting to do that. Ken Suzan: Let’s just switch gears into ethics and AI because I find this to be a really fascinating issue. I want to look at a hypothetical. And this is to both of you, Janine and Mark: an AI system creates a new performance by a beloved actor who passed away decades ago, and the actor’s estate authorizes it, but the actor was known to have expressed opposition to such technology during their lifetime. Is this ethical? Jeanine Wright: This feels like a Gifts, Wills, and Trusts exam question. Ken Suzan: It sounds like it, that’s right. Jeanine Wright: Throwing me back to my law school days. Exactly. What are your thoughts? It’d be interesting to see like who has the rights there. I mean, I think if you have the legal rights, the question is around, you know, is it ethical to go against what you knew was somebody’s wishes at the time? I guess the honest answer is I don’t know. It would depend a lot on the circumstances of the case. I mean, if we were faced with a situation like that where there was a discrepancy, we would probably move away from doing that content out of respect for the deceased and out of a feeling that, you know, if this person felt strongly against it, then it would be less likely that you could make that storytelling exceptional in some way—it would color it in a way that you wouldn’t want in the outcome. And I feel like there’s—I mean, certainly going forward and it’s already happening—there are plenty of people I think who have name, likeness, and voice rights that they are ready to license that wouldn’t have this overhang. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I mean, again, I have to kind of go back to our property law—the Rule Against Perpetuities. You know, from a property standpoint to AI rights and likenesses—since most of the digital replica contracts that I’ve reviewed generally do talk about things in perpetuity. But if it’s not written down for that actor and the estate is doing this—is it ethical? You know, that is the debate. Jeanine Wright: Well, gold star to you, Mark, for bringing up the Rule Against Perpetuities. There’s another one that I haven’t heard for many years. This is really taking me back to my law school days. Ken Suzan: It’s a throwback. Jeanine Wright: The other thing that’s really interesting is that this technology is really so revolutionary and new that it’s hard to even contemplate now what it is going to be in a decade, much less for people who have passed away to have contemplated what the potential for it could be today. So you could have somebody who is, perhaps, a deceased musician who expressed concerns about digital representations of themselves or digital music while they were alive. But now, the possibility is that you could recreate—certainly I could use my technology to recreate—that musician from scratch in a very detailed way, trained on tons of different available data. Not just like a digital twin or a moving image of them, but to really rebuild their personality from scratch, so that they and their music could be reintroduced to totally new generations in a very respectful and authentic way to them. It’s hard to know, with the understanding that that is possible, whether or not somebody who is deceased today would or would not agree to something like that. I mean, many of them might want, under those circumstances, for their music to live on. These deceased actors and musicians could live forever with the power of AI technology. Mark Stignani: Yeah, I really just kind of go to the whole—is deep-faking a famous actor the best way to preserve them or keep them live? Again, that’s a bit more of an ethical question because the deep fakes are getting good enough right now to create huge problems. Even zoom meetings in Hong Kong where a CFO was on a call with five synthetic actors who all looked like his coworkers and they sent a big check out based upon that. So again, the technology is getting good enough to fool people. Jeanine Wright: I think that’s right, Mark, but I guess I would just highlight the same way that it always has been: the ethical line isn’t AI versus human, the ethical line is about deception. Like, are you deceiving people? And if people know what it is that they’re getting and they’re choosing to engage with it, then I think it isn’t about the power of the technology. In our business, we have elected—not everybody has—but we have elected to be AI transparent. So we tell people when they listen to our show, we include it in our show notes, we include it on our socials. Even when we’re designing our characters to be very photo-realistic, we make an extra point to make sure that people know that this is AI-generated content or an AI personality. Like, our intention is not to deceive and to be candid. From a business model perspective, we don’t need to. I mean, there’s already people who know and understand that it is AI, and AI is different than people. Because it is AI, there’s all sorts of things that you can do with it that you would not be able to do with a real person. You know, we get people who ask us on the podcast side, we get all sorts of crazy funny requests. You know, people who say, “Can I text with this personality? Can I talk to them on the phone? Can they help me cook in the kitchen? Can they sing me Happy Birthday? Can they show up at my Zoom meeting today because I think my boss would love it?” You know, all sorts of different ways that people are wanting to engage with these characters. And now we’re in the process of rolling out real-time personalities so people will be able to engage with our personalities live. It is a totally different way that people are able to engage with content, and people can, as they choose, decide what kind of content they want to engage with. Ken Suzan: Jeanine and Mark, we’re coming to the end of this podcast. I would love to keep talking for hours but we have to stay to our timetable here. Last question: five years from now, what percentage of entertainment content do you predict will involve significant AI generation, and will audiences care about that percentage? Jeanine? Jeanine Wright: I mean, I would say 99.9%. I mean, already you’re seeing—I think YouTube did a survey—that it was like 90% of its top creators said that they’re using AI as material components of their content creation process. So, I think this will be the default way that content is created. And content that is not made with AI, you know, there’ll be special film festivals for non-AI generated content, and that will be a special separate thing than the thing that everybody is doing now. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I go a little lower. I mean, I think Jeanine is right that we’re seeing, especially in the low-quality content creation and like the YouTube shorts and things like that, you know, there’s so much AI being pushed forward that the FTC even acquired an “AI slop” title to it. I do think that disclosure will become normalized, that the industries will be pushed to say when something is AI and what is not. And I think it’s very much like, you know, do you care about quality or not? If you value the human input or the human factor in this, there will be an upper tier where it’s “AI-free” or low AI assistant. I think that it’s going to stratify because the stuff coming through the social media platforms right now—I can’t be on it right now just because there’s so much nonsense. Even my children, who are without much AI training at all, find it just too unbelievable for them. So, I think it will become normalized, but I think that we’re going to see a bunch of tiers. Ken Suzan: Well, Jeanine and Mark, this has been a fantastic discussion of an ever-evolving field in IP law. Thank you to both of you for spending time with us today on the IP Friday’s podcast. Jeanine Wright: Thank you so much for having me. Mark Stignani: Appreciate your time. Thank you again.

Timestamps: 0:00 time is wacky! Ah. Oh well! 0:14 Phil Spencer leaves Xbox / Microsoft 2:20 Wikipedia blacklists archive . today 4:03 Discord, Persona, and surveillance 7:36 QUICK BITS INTRO 7:43 Sam Altman: AI needs your food 8:30 Has AMD stopped Ryzen Z1 updates? 9:15 Nova Lake-S maybe delayed to 2027 9:48 3D-print an electric motor! 10:29 Kohler Anthem EvoCycle shower NEWS SOURCES: https://lmg.gg/HctVI Learn more about your ad choices. Visit megaphone.fm/adchoices

Send a textGarry Pastore is a seasoned actor whose impressive career spans over four decades in film and television. Most recently, Garry guest starred as Arnold White in the highly anticipated Peacock original series Long Bright River (2025), starring Amanda Seyfried and Nicholas Pinnock. Currently, he captivates audiences in the trending Paramount+ series First Shift (2024), where he plays Valente, a maniacal mob boss. Filming for First Shift will continue in New Jersey through September 2025. Throughout his extensive career, Garry has been a prominent presence in numerous blockbuster TV series, including The Blacklist, The Deuce, The Sopranos, Blue Bloods, Billions, Boardwalk Empire, Power, Law & Order, Hit & Run, Seven Seconds, Gotham, and many more. On the big screen, Garry's filmography is equally remarkable, with standout roles in iconic movies such as The Irishman, Wolf of Wall Street, Rob the Mob, The Week Of, Last Call, The Yards, Who's Jenna, as well as fan favorites like Goodfellas, Carlito's Way, Donnie Brasco, A Bronx Tale, Cop Land, The Siege, Do the Right Thing, Cocktail, Prizzi's Honor, and many others. His film and television credits now exceed over one hundred, and his prolific career shows no signs of slowing down. Recently, Garry has ventured into new territory, moving away from his signature mobster and law enforcement roles. He has been cast as Father McCarthy, a beleaguered Irish priest, in the upcoming gothic horror film Hellbound Covenant (2025), where he faces a demonic force threatening his clergy. Beyond acting, Garry is also pursuing a passion for writing, directing, and producing. Having already found success with his personal projects Waiting for Budd and Destressed, he continues to create compelling screenplays for the big screen, with plans to bring some of his projects into production before the end of the year.Find Garry PastoreIMDb InstagramFind The Suffering PodcastThe Suffering Podcast InstagramKevin Donaldson InstagramApple PodcastSpotifyYouTubeSupport the showThe Suffering Podcast Instagram Kevin Donaldson Instagram TikTok YouTube

EPISODE 127 -  “HOLLYWOOD FIGHTS BACK: THE COMMITTEE FOR THE FIRST AMENDMENT” - 2/16/2026  On October 1st, a group of entertainment professionals—led by iconic actress and activist JANE FONDA—relaunched the Committee for the First Amendment. They did so in response to what they see as troubling actions by the current government, including renewed efforts to silence critics across government, media, the courts, universities, and the entertainment industry. The group is standing up for free speech and creative expression, believing that the right to criticize, question, protest—and even poke fun at those in power—is central to what America has always aimed to be.This isn't the first time Hollywood has come together to push back against the federal government for violating the Constitution. Back in 1947, the fear of communism sent the government into a frenzy. In an effort to root out so-called “commies,” officials went after elected leaders, government workers, professors, and artists. Many were blacklisted, harassed, silenced, and even jailed because of their political beliefs. To counter this, a group of actors, writers, producers, and directors formed the Committee for the First Amendment, an advocacy group to fight these Hollywood blacklisting, during what would turn out to be a very dark and shameful chapter in American history. This week, we dive into the Committee for the First Amendment, how it started, what it stood for, and why it's still relevant today. SHOW NOTES:  Sources: Show Trial: Hollywood HUAC, and the Birth of the Blacklist (2018), by Thomas Doherty; Hollywood on Trial: McCarthyism's War Against the Movies (2007), by Michael Freeland; Tender Comrades (1997), by Patrick McGilligan & Paul Buhle; Red Scare: The Memories of the American Inquisition (1995), by Griffen Fariello; The Way We Wore (1993), by Marsha Hunt; Witch Hunt: The Revival of Heresy (1950), by Carey McWilliams; “When Hayden Named Names,” May 3, 2023, by Larry Clinton, SausalitoHistoricalSociety.com Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Our show today is being sponsored by Free Float Analytics, the only platform measuring board power, connections, and performance for FREE.Story of the Week (DR):Epstein: The tech brosReid Hoffman (2,658 Files)Bill Gates (2,592 Files)Peter Thiel (2,281 Files)Elon Musk (1,116 Files)Kimbal too (100+ files)Larry Page (314 Files)Sergey Brin (294 Files)Mark Zuckerberg (282 Files)Jeff Bezos (196 Files)Eric Schmidt (193 Files)Epstein: the lack of US-based corporate fallout MMHead of firm founded by Mandelson to quit after Epstein releasesBenjamin Wegg-Prosser, the chief executive of the lobbying firm co-founded with Peter Mandelson, has announced his resignation after information in the Jeffrey Epstein files detailed apparent links between the company and the convicted sex offender.‘Ignore It.' How the Elite Consoled Jeffrey Epstein Over His Crimes.A Revolt Inside Paul Weiss Over the Epstein Files Took Down Brad KarpOn Wednesday, an exclusive group of 10 or so Paul Weiss partners met unbeknown to their longtime chairman, Brad Karp, to discuss whether he could continue to lead the law firm.The partners, who manage the firm and refer to themselves as the “Deciding Group,” were grappling with the release of new emails suggesting Karp had a more extensive relationship with Jeffrey Epstein than they realized, including in the months before the convicted sex offender's death. Karp led one of the country's biggest law firms for 18 years and had survived a maelstrom less than a year ago when he struck a first-of-its-kind settlement with President Trump on his firm's behalf. He wouldn't survive a second controversy as the firm's leader. World Economic Forum investigates its CEO over Epstein linksCEO Borge BrendeWasserman Group CEO issues public apology after being mentioned in Epstein filesCasey WassermanPeter Attia, longevity doctor named in Epstein files, no longer listed on advisory board on sleep tech company's websiteBut still at CBS: but Bari Weiss hates cancel cultureElon Musk announces SpaceX's acquisition of AI startup xAIRecord-Breaking $1.25 Trillion ValuationGoal: Orbital AI Data CentersConsolidation of the "Muskonomy"DisneyJosh D'Amaro (Incoming CEO): Currently the Chairman of Disney Experiences (Parks and Resorts), D'Amaro will officially become CEO on March 18, 2026, following the Annual Shareholder Meeting. He is a 28-year Disney veteran credited with driving the $36 billion revenue growth in the parks segment.Disney's next CEO often dresses like Bob Iger. Is it a good idea to copy your boss's style?Dana Walden (New President & CCO): In a historic move, Walden (formerly Co-Chair of Disney Entertainment) has been named President and Chief Creative Officer. Reporting directly to D'Amaro, she will oversee the creative direction of the entire company, ensuring brand consistency across all storytelling platforms.Same Old Disney: Woke Exec Elevated to Top Position as ‘Head Storyteller'Bob Iger (Senior Advisor): Iger will step down as CEO on March 18 but will remain as a Senior Advisor and Board Member until his formal retirement on December 31, 2026, to ensure an "orderly transition."PayBase SalaryTarget BonusAnnual EquityOne-Time AwardTotal Year 1Josh D'Amaro$2.5M$6.25M$26.25M$9.7M$44.7MDana Walden$3.75M$7.5M$15.75M$5.26M$32.26MGoodliest of the Week (MM/DR):DR: Judge rules Texas anti-ESG law is unconstitutionalMM: 38% of Companies' Emissions Trajectories Are Aligned with Global Climate Goals: MSCIAssholiest Triggeringiest of the Week (MM):Nike among the first targeted by EEOC for DEI activity DRThe charge: Specifically, on May 24, 2024, EEOC Commissioner (now Chair) Andrea R. Lucas issued Charge No. 551-2024-04996, alleging that Respondent NIKE may have violated Title VII “by engaging in a pattern or practice of disparate treatment against White employees, applicants, and training program participants in hiring, promotion, demotion, or separation decisions (including selection for layoffs); internship programs; and mentoring, leadership development, and other career development programs.”This is crazy to me: EEOC counsel signatory GWENDOLYN YOUNG REAMS - a black woman who signed off on this lawsuit was the subject of an entire article on the amazing power of Title VII for the civil rights movement in July of 2024. Reams has been at EEOC since 1972, and Biden made her acting general counsel.Trump took over, appointed Andrea Lucas as chair who DEMOTED Reams to Associate General Counsel to make room for Catherine Eschbach, a Federalist Society who has SIX YEARS EXPERIENCE AT A LAW FIRM who got her Bachelor's in 2010 and her law degree in 2015 (a whole 10 years experience!), but had this to say upon her appointment: “President Trump made clear in his executive order on eliminating DEI that EO 11246 had facilitated federal contractors adopting DEI practices out of step with the requirements of our Nation's civil rights laws and that, with the rescission of EO 11246, the President mandates federal contractors wind those practices down within 90 days. As director, I'm committed to carrying out President Trump's executive orders, which will restore a merit-based system to provide all workers with equal opportunity.”All the other lawyers signing were white, and I can only guess Reams had no choice but to sign unless she decided to do MLK dirty 60 years after seeing him in collegeBut literally, the EEOC discriminated against a black lawyer who was in charge to put white lawyers in charge to bring discrimination cases against companiesNOT TO MENTION, here is Nike's workforce composition in 2024:57% white, 50% male overall65% white, 55% males for management77% white, 62% male for leadershipThe EEOC workforce demographics as of 2022, when it was WOKEST:60% white, 56% maleNIKE IS WHITER THAN THE EEOC FROM MANAGEMENT UPBlackrock and every Wall Street bank that quit Net Zero AllianceRather than sticking it out and fighting, knowing that you were correct and legally able to invest however you wanted and associate with anyone you wanted, you all cowered when Texas passed the first law saying you “discriminate against” fossil fuels and generated an arbitrary “black list”Now, this: Texas anti-ESG law declared unconstitutional by US judgeIn a decision made public on Wednesday, U.S. District Judge Alan Albright said the law violated First Amendment free-speech protections because it punished businesses for speaking about fossil fuels and associating with organizations that oppose fossil fuels.First Amendment! The very first one! You didn't even have to read ALL the amendments to figure out which Stewardship whiningThe UK Investment Association stewardship working group, a group that included Aegon, BlackRock, Fidelity, M&G, Schroders, Artemis, CCLA, Legal and General, and Royal London Asset Management, put out a paper: Realigning Stewardship: Delivering sustainable value through StewardshipThe group wants you to know some things about stewardship, specifically:Stuff happening in the future is too far away for us to care now: “The need for realism over what stewardship can achieve – There are potential time horizon trade-offs between achieving real world outcomes on sustainability themes such as climate change and delivering financial returns to clients. These trade-offs need to be actively considered. Additionally, there are concerns that targeted sustainability goals may not always be realistic, and that government and other stakeholders may have developed unrealistic expectations of stewardship's capacity to deliver systemic change.”Translation: if we actually invested for climate and were stewards of climate in our portfolios given that climate change will totally fuck up everything we know and invest in, we'd have to give up on, like, AI and oil and stuff… we can't really do that because there's too much money and stonks and rockets and whatever, so we'll give up on climate, but just like, for NOW, later we'll fix it by asking nicelyDespite historically having voted 96% in favor of virtually EVERYTHING: “There is an undue focus on voting as a barometer of good stewardship, which does not reflect the role of all stewardship mechanisms.”Translation: we get no credit for talking about this for a decade and voting for everything - like, NONE. Stewardship teams are seen as cost centers, not alpha generation. But we should get credit for talking about stuff in the hopes that things change over a long period of time.We are poor: “There are different costs associated with the process of stewardship for both investors and companies, who have finite resources.”Translation: I mean, PLENTY of resources for CEO pay that outstrips inflation and massive AI investments to displace workers and stuff, but you know… poor.OMG, stop whining… the vote IS THE MECHANISM YOU'VE NEVER USED! Your owners WANT YOU TO and you vote with management at a higher rate than people in the US believe in the moon landing!Headliniest of the WeekDR: The meritocracy is officially a lie: Elon Musk's hiring advice: 'Don't look at the résumé — just believe your interaction'DR: It's official, we are right about everything: Disney's Bob Iger achieves an essential feat for outgoing CEOs: giving his successor a clean slateMM: Hillary Clinton wants testimony on Jeffrey Epstein in public: 'Let's stop the games'MM: My neighborhood is pushing back against sidewalk delivery robots. The fight's coming to your town nextPicture of the week from inside a Cracker Barrel, which is getting its mojo back:Who Won the Week?DR: The Epstein Bros (see Matt's winner)MM: White men (again) - I am already filing a lawsuit against that girl in high school who wouldn't make out with me for discriminating against white men with ugly glasses and long noses. It's racism of the highest order.PredictionsDR: The best we can hope for are shareholder derivative lawsuits against boards who failed to oversee the "reputational risk” of their Epstein tech bro directors and CEOs. MM: When I saw this: Elon Musk says it's hard to convince engineers with families to move to SpaceX's 'technology monastery' in Texas, it was clear: Elon Musk will re-reincorporate SpaceX in a really nice suburb somewhere near or around San Francisco in an effort to re-re-rehire talent (who may actually have families), after which a single white man who moved to Texas to join SpaceX will sue the company for discrimination against single white men who move to Texas, forcing Musk to re-re-reincorporate in Texas again.

A felon-turned-lawmaker wants to ban ICE agents under Trump from getting hired as law enforcement in Washington. Gavin Newsom rolled up to Davos, Switzerland to troll Trump and the White House fired back. // A new bill would effectively require public colleges in Washington to become abortion providers. Democrats in the State Senate passed another gun bill that criminals will ignore. // A Seattle playwright is withdrawing her play from the Kennedy Center to spite Trump.

Bobby sits down with Morgan 1 and Mike D for a laid-back Q+A that ends way more honest than they planned. They trade stories about the best concerts they’ve ever been to, from childhood shows to the ones that still feel unreal. They also admit the things they secretly wish they were better at on the air, off the air, and in real life. Bobby then pulls back the curtain on why some guests get quietly blacklisted from the show, how those decisions are made, and what it takes to get back in good graces. Along the way, there are side trails, a few awkward confessions, and some moments they almost talk themselves out of sharing but leave in anyway. Follow on Instagram: @TheBobbyCast Follow on TikTok: @TheBobbyCast Watch this Episode on YoutubeSee omnystudio.com/listener for privacy information.