Podcasts about blacklist

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." 

OpenAI just raised $110 billion — the largest funding round in Silicon Valley history. Meanwhile, the Pentagon is threatening to blacklist Anthropic over AI safety limits. This is the biggest week in AI news — here's everything you need to know.In this episode of The AI Report Podcast, we break down the 5 biggest AI stories from the week of February 23–27, 2026:

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"

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Listen to Full Episode at: https://podcasts.apple.com/us/podcast/ai-daily-news-rundown-the-anthropic-blacklist-openais/id1684415169?i=1000752107128

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.

Beyond The Outer Realm welcomes The Vortex Detective- Dan Show Date: February 24th, 2026 EP: 684 TOPIC: Dan will be discussing his book " Sedona Vortex Gateway Experience - The True Nature of Ten Sedona Vortices" Contact for the show - theouterrealmcontact@gmail.com https://linktr.ee/michelledesrochers_ Please support us by Liking, Subscribing, Sharing and Commenting. Thank you all !!! About Our Guest: Some people spend their life in search of the guru on the mountaintop, Dan Shaw has experienced the reverse; teachers have come to him. At age 7, Dan began doing gazing meditations, and having psychic experiences. At 14, Dan was watching the dark night sky when a UFO flashed its lights from quite nearby -- below the horizon. Then, in 1985 (at 21 years old), a midnight visit from an enchanting stranger eventually led Dan from the San Francisco area to Austin, Texas, where he began studying Alchemy. In 1992, due to a series of Divine interventions, Dan Shaw began to specialize in geomancy, a branch of Alchemy focusing on the subtle energies of the Earth. Dan travels extensively in the US and abroad, researching sacred places with local vortex experts, and he corresponds with researchers all over the world. Dan Shaw earned a Bachelor of Science in Geography in 2001. Dan Shaw has authored a number of books on vortexes, including Vortex Field Guide: North America, Letters from the Vortex, and US Vortexes 54 Miles Wide, and Stonehenge Gardening Tips: Using Earth Energies in your Garden. Dan Shaw can assess the subtle energies of your land, home, and business, and help to adjust the energetic field for greater harmony, health, and success. Dan is an extraordinary Tour Guide, leading groups to exotic locations. Dan Shaw is known for his enthusiastic presentation of complex ideas in ways that are fun and easy to understand for audiences of all ages. His live public presentations encompass a wide array of scientific and paranormal subjects, exhibit a collection of inspiring, beautiful images and visionary maps, and involve audiences in engaging participatory experiences. Dan Shaw's TV and film appearances include Brad Meltzer's Decoded: Devil's Triangle, Alaska (History channel), and Mysteries of the National Parks: Yosemite (Travel channel), & the documentary Ancient Tomorrow. Dan also consults for TV shows, including NBC's The Blacklist. Dan's writings and videos can be found on his websites: Dan also has book downloads! www.VortexMaps.com www.DanShaw.com. If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio and Beyond The Outer Realm are not necessarily those of the TOR, BTOR Hosts, Sponsors, or the United Public Radio Network and its producers. Although the content may be interesting, it is deemed "For Entertainment Purposes" . We are always be respectful and courteous to all involved. Thank you, we appreciate you all!

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

In honor of Black History Month, TeaRon and BK revisit the 2007 film The Great Debaters for a fresh BK's Blacklist review. It's BK's first watch and TeaRon's long-overdue revisit, and the two dive into the film's powerful themes of racism, justice, and resilience.They break down the film's fictionalized depiction of the Wiley College debate team, the standout performances from Jurnee Smollett, Denzel Whitaker, Denzel Washington, and Forest Whitaker, and the lingering “what could have been” of Nate Parker's once-rising career.Why does a story set in the 1930s feel so relevant in 2026? And how does the film land differently for a millennial viewer vs. a Gen Z first-timer?––––––––––––––––––––––––––––––Follow Us:IG: @tearonworld / @bkwitda4fa4TT: @tearon__ / @bkgostupidFB: facebook.com/UbiquitousBlacksTHRD: @ubiquitousblacks–––––––––––––––––––––––––––––About UBIQUITOUS BLACKS REVIEWS:'Ubiquitous Blacks Reviews' is an extension of the Ubiquitous Blacks Podcast where TeaRon (IG: @tearonworld) reviews the latest in Black Movies, TV Shows, and more. These hilariously entertaining reviews are directed at discussing media that appeals to Black/African people around the world in the diaspora.You can watch the episodes on the official YouTube channel, and you can also listen to the full unedited episodes wherever you listen to podcasts.Send a textSupport the showFollow and Interact With Us: Instagram, Facebook, YouTube, Threads

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

This week on the podcast, Patrick and Tracy welcome Damien Ober, author of Voidverse. About Voidverse: When the Sinker was a child, all she knew was violence. To survive, she fled into the Void—a seemingly infinite nothingness where people live on “rocks,” individual lands spread out in all directions, floating in the vast empty space. Some rocks are giant magnets, others burn with eternal flame, and some are influenced by seemingly magical anomalies with such great powers that evil forces would stop at nothing to possess them. And while most are afraid of traveling through the Void, the Sinker is not. With a sword on her back, she speeds through the darkness, running from a past that is quickly gaining on her. Emery only knows the comfort of Fairviel, but when her son falls ill and the Sinker arrives on her doorstep, she ventures into the Void in search of a cure. When she returns, Fairviel is destroyed. With no home, Emery begins to sink, chasing a recurring dream that feels bigger than a dream, that feels like the key to everything. But they are not alone in the Void. Mercenaries rise and fall around them, princes and kings guard their kingdoms, and a great machine fuels its ascent by consuming all in its path. With the Void destabilizing, Emery and the Sinker find themselves at a turning point in history, a moment when everything could collapse or realign, and the only thing that may save them exists at the bottom of it all. Or so legend says… About Damien Ober: Damien Ober is a novelist and screenwriter. He was a writer for the Netflix series The OA and has written scripts and developed TV shows for Paramount+, AMC, Netflix, and Warner Brothers. His work has appeared in The Rumpus, NOON, B O D Y Literature, The Baltimore City Paper, VLAK, and port.man.teau. He was a co-winner of the Sherwood Anderson Award, was nominated for a 2012 Pushcart Prize, and his screenplay Randle Is Benign was selected for the 2013 Black List. This week's picks: Damien: Star Trek: Ascendancy (Board Game) Tracy: Sea Salt & Paper (Game) Patrick: The Game Master’s Book of Instant Towns and Cities by Jeff Ashworth (Author), Tim Baker (Author), Matheus Graef (Illustrator), Luke Eidenschink (Illustrator) & more Links: Damien Ober on Instagram Tracy Townsend on BluSky Patrick Hester on Instagram The Functional Nerds Patreon Page © 2026 Patrick Hester The post Episode 695-With Damien Ober appeared first on The Functional Nerds.

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

Singapore shares were little moved in a shortened session today as investors looked ahead to the Chinese New Year holiday. The Straits Times Index was down 0.04% at 4,935.69 points at 11.37am Singapore time, with a value turnover of S$733.14M seen in the broader market. In terms of companies to watch, we have Marco Polo Marine, after the integrated marine logistics company today posted revenue of S$32.8 million for its first quarter ended Dec 31, up 27 per cent from S$25.8 million in the same period a year earlier. Elsewhere, from how Singapore’s key exports expanded by a slower-than-expected 9.3 per cent year on year in January, to how shares of Chinese jeweller Laopu Gold and miner CMOC Group rallied in Hong Kong, more economic and international headlines remain in focus. Also on deck, how Alibaba Group Holding led a Chinese tech-share sell-off after the Pentagon added some of the country’s biggest names to a list of companies aiding the military, only to withdraw that roster minutes later without explanation. On Market View, Money Matters’ finance presenter Chua Tian Tian unpacked the developments with David Kuo, Co-founder, The Smart Investor.See omnystudio.com/listener for privacy information.

Will the lowering returns on violence along with digital wealth storage lead to an exodus?In Episode #514 of ' Meanderings', Juan & I discuss: The Sovereign Individual book (1997) highly recommended by Bitcoiners, early chapters bogged in Y2K angst versus strikingly prescient calls on digital money, decentralised media and the emerging cyber economy, how portable digital wealth might change the return on violence, what sovereignty means when nation-states still control critical infrastructure, historical arcs the book frames well (church cohesion and bloat, the rise of nation-states, industrial-era labour leverage) and where its predictions remain wavy, why megapolitics is way more interesting than regular politics and whether we will eventually see the demise of the nation state. No boostagrams or support for this week, the beanie remains off!Stan Link: https://stan.store/meremortalsTimeline:(00:00:00) Intro(00:02:12) Why this book is famous in Bitcoin circles(00:03:21) A shaky start: Y2K anxiety and dated worries(00:07:24) Did they really predict Bitcoin? Tech hits and misses(00:11:14) Core thesis: becoming sovereign and limits of the nation state(00:13:32) What the book mostly covers: history and the rise of states(00:16:05) Have nation states fractured? Power, wealth, and timelines(00:18:39) Tech predictions vs social change: flying cars to hoverboards(00:22:45) Numbers vs life: the underestimated intangibles of place(00:25:01) Mobility is hard: visas, citizenship, and places that want you(00:28:58) Libertarian reactions and margin notes in the library copy(00:35:03) Evolution, brutality, and who loses in a sovereign-first world(00:39:41) Public goods dilemma: bins, buses, roads, and who pays(00:41:07) Free market hopes vs missing pure libertarian examples(00:45:15) Effective vs efficient government and outsourcing to markets(00:50:50) Boostagram Lounge and live chat banter (skating and humour)(00:53:02) Key idea 1: Returns on violence across societal stages(00:56:54) Key idea 2: The churchs early positive role and later bloat(01:00:48) From fiefdoms to nation states: merchants, money, and armies(01:05:09) Tech stacks of state power: cannonballs, printing presses, ledgers(01:10:14) Can states still crush you? Blacklists, access, and workarounds(01:17:12) Anonymity needs crowds: mixing, privacy coins, and cash claims(01:20:19) Verdict on portability: harder to police digital than physical(01:25:59) The Jenga tower of ideas: keeping what sticks(01:27:55) New vocabulary: Megapolitical and thinking above politics(01:31:14) Final thoughts, sign-off, and when to listen live Connect with Mere Mortals:Website: https://www.meremortalspodcasts.com/Discord: https://discord.gg/jjfq9eGReUTwitter/X: https://twitter.com/meremortalspodsInstagram: https://www.instagram.com/meremortalspodcasts/TikTok: https://www.tiktok.com/@meremortalspodcastsValue 4 Value Support:Boostagram: https://www.meremortalspodcasts.com/supportPaypal: https://www.paypal.com/paypalme/meremortalspodcast

Released in 1985, Tuff Turf is an underrated 80s teen drama that blends street gangs, high school romance, rebellion, and punk rock attitude into one unforgettable cult classic.Directed by Fritz Kiersch (Children of the Corn), the film stars a young James Spader in his first leading role as Morgan Hiller, an intelligent and rebellious teen from Connecticut who is forced to move to Los Angeles after his family loses their business. Struggling to adjust to his new environment, Morgan quickly clashes with a local high school gang known as “The Tuffs.”Things escalate when Morgan falls for Frankie Croyden (Kim Richards) — the girlfriend of gang leader Nick Hauser (Paul Mones). As tensions rise between rival teens, territorial pride, jealousy, and violence push the story toward an explosive showdown. Along the way, Morgan befriends the eccentric and fast-talking Jimmy Parker, played by a very young Robert Downey Jr. in one of his early film roles.Tuff Turf captures the raw energy of mid-1980s teen cinema, combining elements of romance, action, and coming-of-age drama with a distinctly neon, punk-inspired aesthetic. The film also features appearances by Donald Fullilove (Back to the Future) and includes music from The Jim Carroll Band, adding authentic 80s grit to its soundtrack.Though it received mixed reviews upon release and earned a modest box office performance, Tuff Turf found new life on VHS and cable television, eventually earning a reputation as a cult favorite among fans of 80s teen movies. Today, it stands as a fascinating early chapter in the careers of both James Spader and Robert Downey Jr., long before their rise to mainstream fame in films like Pretty in Pink, Less Than Zero, Iron Man, and television hits like The Blacklist.For fans of classic 80s movies, teen rebellion stories, retro nostalgia, and early performances from major Hollywood stars, Tuff Turf remains a hidden gem worth revisiting.If you are new to the podcast then please consider following us on the platform that you love, we can be found most anywhere that you listen to your favorite podcasts. Please leave us a rating and review if you listen on iTunes and a 5 star rating if you listen on Spotify. If you like what you hear then please share the show with your friends and family. If you would like to help support the podcast by donating a small amount or any custom amount you choose then please visit the following link:https://retrolife4u.com/supportThis is not a membership or anything just a way for you to help support us without paying a reoccurring monthly fee when you feel like you are able to help.If you have any questions, comments, suggestions for shows or you have a question you would like us to read on air then email us at retrolife4you@gmail.comYou can find us on social media at the following places:FacebookInstagramTik TokYouTubeRetro Life 4 You Website

It's New Tunesday: new releases from the past week! Give the bands a listen. If you like what you hear, support the bands! Today's episode features new releases by Dani Tamayo, Vogon Poetry & SCALA, BlakLight, Rabbit Junk, Simon Carter, Obsidian Wire, Human 80, La Santé, Psionic Syndicate, Human Steel, KMFDM, One Zero Cypher, ghostbells, Feyleux, Synthetic Mushdrum, Alien Skin, Years Of Shame, Geometric Vision, Cruc1fy, Small Depo, The Secret French Postcards, Mark E Moon, Frenchy And The Punk, Ist Ist, Blacklist, and Wisborg!

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.

Deirdre Lovejoy Take a walk with me down Fascination Street as I get to know Deirdre Lovejoy (DD). In this episode, we chat about her growing up in Indiana, and what made her mom tell her to get into acting. Next, we talk about an insane freak accident that almost took her whole hand off! Naturally I ask her about moving to Brookly after having lived in Manhattan for so long. We touch on her stint on the television show 'Bones', as well as her arc on 'The Blacklist'. Then we dive into one of my all-time favorite shows, 'Raising Dion'. I love this show, so I geek out a little, before we talk about her getting cast in the greatest show of all time, 'The Wire'. Then, we talk about a super rare condition that DD was later diagnosed with, following some really scary events (Stress Related Seizure Disorder). Deirdre shares with me the details of the play she is writing about some of her traumatic experiences (Trauma Nova), and how she plans to put the show on at this year's Edinburgh Fringe Festival, in Scotland. We also discuss her other play (Bird Elephant China), which chronicled some unrelated traumatic events. Finally, we end talking about her love for NBA basketball, and her beloved New York Knicks. You can catch DD on the previously mentioned shows, as well as the upcoming seasons of 'Daredevil Born Again', and Diarra From Detroit.

A sheet of ice turned Nashville into a maze of downed lines, frozen driveways, and tough choices—stay put, chase a generator, or brave the roads that turn cars into curling stones. We trade real stories from a chaotic week: the house that became a money pit overnight, the water heater that erupted sediment like a geyser, a dog's hospital dash, and the neighbor with a torch who became a winter superhero. Along the way, we spotlight a small-town moment that stopped us cold: an 11-year-old lifting a tree trunk off his grandpa's leg. That's the kind of grit we're here to amplify.From the storm we slide straight into the studio, where hype meets reality. We break down what actually happens when you pitch songs to artists and producers: why credibility disappears when you send five “perfect” tracks that miss; why the fire emoji doesn't turn a good idea into a great cut; why keys, phrasing, and demo voices can make or break a listen. We talk camps, trust, and the band dynamic—how long relationships shape the sound, why great outside songs still break through, and how an artist's ear isn't swayed by sales copy. Honest feedback matters more than comfort, and rejection is often the teacher that sharpens your pen.There's heat here too—on selective outrage, on empathy that shouldn't be partisan, on keeping the temperature down when tensions run high. But we keep coming back to the core: show up for your people, prepare for the next storm, and do the work. Whether it's clearing ice with a T-square or cutting noise in your inbox, consistency wins. If you're a songwriter, you'll leave with hard-earned guidance on pitching, demos, and crafting lyrics and melodies that hold. If you're here for community and small-town stories, you'll hear proof that character shows up when the power goes out.If this resonates, tap follow, share it with a friend who'd appreciate the honesty, and leave a quick review to help more folks find the show. Got a small-town story or a “dipshidiot of the week”? Drop it in the comments—we might feature yours next.______________________________________________________________________________________________SPONSORS: Without them, we wouldn't be able to keep the show going! Please keep them in mind should the occassion arise!*****The Try That in a Small Town Podcast is powered by e|spaces!Redefining Coworking - Exceptional Office Space for Every BusinessAt e|spaces, we offer more than just office space - we provide premium private offices designed for focus and growth. Located in the heart of Music Row, our fully furnished offices, private suites, meeting rooms and podcast studio give you the perfect space to work, create and connect.Ready to elevate your business? Book a tour today at espaces.com*****From the Patriot Mobile studios:Don't get fooled by other cellular providers pretending to share your values or have the same coverage. They don't and they can't!Go to PATRIOTMOBILE.COM/SMALLTOWN or call 972-PATRIOTRight now, get a FREE MONTH when you use the offer code SMALLTOWN.*****Original Brands - Our original sponsor since the beginning!!Original brands is starting a new era and American domestic premium beer, American made, American owned, Original glory.Join the movement at www.drinkoriginalbrands.com*****Peacemaker Coffee CompanyFounded by now-retired police officer/chief Chris Morris after 20+ years of service, Peacemaker deliv...

We might still be angry but this week we had some comedy relief - 3 million Epstein files. We also ask the question: "Is The Blacklist America's Vincenzo??

First Smoke family - this episode goes all the way in.We sit down with Blacklist for a candid conversation about what's unfolding inside the cannabis industry right now. From rumors and behind-the-scenes stories to raids, robberies, media influence, and the growing divide between the legal and underground markets, this discussion covers topics most people avoid addressing publicly.We talk through how power actually operates in cannabis, why many operators feel pushed to the margins, what federal pressure looks like away from the headlines, and how silence and selective narratives continue to shape public perception. The conversation also touches on legalization, Schedule 3, market control, and the frustration many in the community are feeling.Some portions of this episode can't fully live on YouTube without limitations. For extended and uncensored content, visit fsotd.com and connect directly with the community.Like, comment, subscribe, and share with those who want to understand what's really happening. Hosted on Acast. See acast.com/privacy for more information.

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.

Welcome Spader Nation! It's Blacklist week at TVPL and have we got a treat for you… the Blacklist… we watched NBCs the Blacklist are you following?Anywho The Blacklist tells the story of ‘Red' Reddington (James Spader) an international super criminal who voluntarily turns himself in to the FBI to take down other criminals who he deems adversaries. In doing so he makes one brand new FBI agent, Elizabeth Keen (Megan Boone) the most important agent in the country as his only method of communication.We talk neck stabbing, leg stabbing, and back stabbing with this NBC powerhouse. Thanks To Riverside For Sponsoring The Pod! Click this link to learn more!HostsGeoff KerbisMax SingerRich Inman

Eric Johnson joins Amy Iler and Jack Sunday (while JJ Is away) to talk about what he's been watching and what he recommends going into the weekend... In this episode, Jack recommends: Brockmire, Soul On Fire, Blacklist, Lucifer, Operation Mincemeat and The Best You Can. Eric recommends: A Knight of the Seven Kingdoms (premiering this weekend), Death by Lightning (limited series) and The Americans (long series). See omnystudio.com/listener for privacy information.

A Conversation with Joe Santana; a DEI original Would you agree that most conversations about DEI today sound loud, polarized, and disconnected from the work itself? In this episode of Everyday Conversations on Race, I talk with Joe Santana—advisor, author, and long-time DEI consultant—about where Diversity, Equity, and Inclusion actually came from and how it was originally practiced inside organizations. What really is DEI, (Diversity, Equity, and Inclusion)? Joe and I have both spent decades doing this work. We've watched DEI evolve, get renamed, repackaged, misunderstood, and in some cases quietly dismantled. What often gets lost is that DEI didn't start as a political position. It started as a business conversation—about how organizations function, how people are evaluated, and how talent is either used or ignored. What is the business case for DEI?  Why are people still talking about diversity, equity, and inclusion? The early thinking behind DEI and why it mattered to organizational performance How good intentions gave way to vague language and inconsistent practice What happens when leaders avoid difference instead of learning how to work with it Why "treating everyone the same" sounds fair but rarely works How Employee and Business Resource Groups can either matter—or miss the point entirely This is a grounded conversation between two practitioners reflecting on what we've learned, what we got wrong, and what still holds value—especially for leaders trying to make sense of the current moment. You'll learn more about the challenges, and strategic importance of Diversity, Equity, and Inclusion (DEI) in organizations. From the historical context provided by pioneers like Roosevelt Thomas to practical advice on optimizing business outcomes, Joe shares a wealth of knowledge on how DEI can drive both social good and financial success in companies. The episode also covers the vital role of Employee Resource Groups (ERGs) and what organizations can do to leverage them effectively. You'll gain valuable insights on turning DEI initiatives into strategic business tools. If you're looking for clarity instead of slogans, and experience instead of soundbites, you'll find it in this episode.   Guest Bio Joseph (Joe) Santana is a business strategy coach and futurist specializing in developing CDOs, ERG/BRG leaders, and Executive Sponsors who drive measurable business impact. He is an author, keynote speaker, and member of the Forbes Business Council and the Fast Company Executive Board and a frequent contributor to articles in both organizations' magazines. His insights and ideas have been shared globally in interviews with media outlets such as ABC, PIX, Fox, Ticker News, and The Black List, a streaming business interview show. His two most recent books, "The New DEI and ERG Frontier" and "SuperCharge Your ERGs," are available on Amazon, offering invaluable guidance to those ready to embark on the journey toward 21st-century business-impacting success. As CEO of Joseph Santana, LLC, an Inc Verified company, he leads multiple brands focused on equipping CDOs and ERG/BRG Chairs in national and global enterprises with the skills and strategies needed to enhance organizational performance. Below is a graphic depiction of the brands owned by Joseph Santana, LLC.   Click here to DONATE and support our podcast All donations are tax deductible through Fractured Atlas. Simma Lieberman, The Inclusionist, helps leaders create inclusive cultures. She is a consultant, speaker, and facilitator. Simma is the creator and host of the podcast, Everyday Conversations on Race. Contact Simma@SimmaLieberman.com to get more information, book her as a speaker for your next event, help you become a more inclusive leader, or facilitate dialogues across differences. Go to www.simmalieberman.com and www.raceconvo.com for more information Simma is a member of and inspired by the global organization IAC (Inclusion Allies Coalition)    Connect with me: Instagram Facebook YouTube Twitter LinkedIn Tiktok Website Previous Episodes Curiosity, Not Cancellation: Real Talk with Dr. Julie Pham Voices of Triumph: Stories of African Women Immigrants in America Black Health Matters: Community, Data, and the Journey to Wellness with Kwame Terra Loved this episode?  Leave us a review and rating

Send us a textWhere you take someone on a first date can tell you everything you need to know — and the internet has officially made a blacklist

BK's Blacklist is back, and this time TeaRon and BK revisit one of the most provocative and unsettling films in Black cinema history: John Singleton's Higher Learning.Released over 30 years ago, this controversial cult classic feels disturbingly more relevant today. Set on the fictional Columbus University campus, Higher Learning traps America's most volatile social issues inside a pressure cooker—where race, masculinity, identity, white supremacy, patriarchy, and violence collide with devastating consequences.The film features early performances from future Black Hollywood heavyweights and cultural icons including Omar Epps, Ice Cube, Tyra Banks, Regina King, Laurence Fishburne, Busta Rhymes, alongside Kristy Swanson and Jennifer Connelly. Each character represents a different path through college life, exposing how ideology, insecurity, and power can radicalize young minds.TeaRon and BK unpack Singleton's bold vision, debate whether the film still holds up, and confront the uncomfortable truth at its core: the more things change, the more they stay the same.Does Higher Learning still hit too close to home in today's America—or was it always meant to be a warning we ignored?––––––––––––––––––––––––––––––Follow Us:IG: @tearonworld / @bkwitda4fa4TT: @tearon__ / @bkgostupidFB: facebook.com/UbiquitousBlacksTHRD: @ubiquitousblacks––––––––––––––––––––––––––––––About UBIQUITOUS BLACKS Podcast:Ubiquitous Blacks is an internationally focused podcast that explores similarities and differences of the Black/African diaspora experiences around the world. The goal is to shed light on the differences and similarities between us all, while learning to celebrate those very things.World News, Politics, Pop Culture and More are discussed by host TeaRon and an array of awesome guests.Send us a textSupport the showFollow and Interact With Us: Instagram, Facebook, YouTube, Threads

Welcome to Inwood Art Works On Air. On this Artist Spotlight episode, we chat with actor and filmmaker, Manny PérezBorn in the Dominican Republic and based uptown in Washington Heights, Manny Pérez is a Dominican American actor that has gained international recognition for his contributions to film and television. He gained significant attention for his performance in the film "Washington Heights" (2002), which he cowrote and produced. His portrayal in this independent film earned him critical acclaim, with The New York Times noting that he has "charisma to burn."  He has appeared in various television series, including "Third Watch," "Law & Order: Special Victims Unit," and "The Blacklist." His versatility as an actor has allowed him to take on both leading and supporting roles in numerous films, including "La Soga", which premiered at the Toronto International Film Festival, it's two sequels, and many others.  Manny is not only recognized for his film work but also for his humanitarian efforts. He has been involved in charitable activities, including donating shoes to families affected by Hurricane Noel in the Dominican Republic. 

Christian Polanco and Alexis Guerreros react to Pellegrino Matarazzo becoming the first American coach in La Liga. Can Matarazzo succeed at Real Sociedad, and what would a successful stint mean for his future and U.S. Soccer's future?Then, Christian and Alexis bring on American film producer and soccer fanatic Franklin Leonard to discuss English media bias in soccer and whether England is ready to accept a Black superstar on the national team.Later, they also chat about Leonard's soccer fandom, the direction of the film industry, and his recent foray into politics. Timestamps:(10:30) – Can Pellegrino Matarazzo succeed in La Liga?(30:00) – Franklin Leonard joins The Cooligans(42:00) – Is there media bias against Black soccer players?(52:00) – Diving into the ever-changing film industry Subscribe to The Cooligans on your favorite podcast app:

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.

This week, Hannah and Barbi dive into the rich history behind some of our most beloved Christmas traditions. They explore the origins of the Trans-Siberian Orchestra - from its powerful storytelling to its extraordinary charitable impact - before jumping into the surprising beginnings of Rudolph the Red-Nosed Reindeer and the iconic voice of Burl Ives.The conversation also takes a fascinating turn into the era of celebrity blacklisting during the 40s and 50s, the golden age of stop-motion animation, and how these moments shaped the holiday specials we still cherish today.And woven throughout it all is a heartfelt reminder of the importance of grandparents, the wisdom they hold, and the memories they gift us. With plenty of nostalgia, history, and holiday warmth, this episode is a meaningful celebration of Christmas past and present.

Linkedin's Editor in Chief Dan Roth presents Linkedin's annual list of “Big Ideas”, their predictions for the New Year based on input from executives, experts, and economists. Also, catching up with actor Ryan Eggold to hear all about his new Christmas movie “My Secret Santa”. Plus, Shop Today contributor Melissa Garcia showcases some unique last-minute gifts for foodies, crafters, beauty gurus, and more. And, executive chef of NYC's “Ci Siamo” Hillary Sterling demonstrates how to make a delicious Hannukah meal- braised brisket with chickpeas, raisins, and pine nuts and noodle kugel. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Kimchi One from Brightcore – Health Starts in the GutGet 25% Off – Use Code: LARRY at https://www.mybrightcore.com/larryOr call (888) 462-4779 for up to 50% OFF your order and Free Shipping! Watch LARRY with Larry O'Connor LIVE — Monday-Friday at 12PM Eastern on YouTube, Facebook, & Rumble! Listen to LARRY with Larry O'Connor wherever you get your podcasts! SPOTIFY: https://open.spotify.com/show/7i8F7K4fqIDmqZSIHJNhMh?si=814ce2f8478944c0&nd=1&dlsi=e799ca22e81b456f APPLE: https://podcasts.apple.com/us/podcast/larry/id1730596733 On this full episode of LARRY, we discuss the BREAKING NEWS that DHS Secretary Kristi Noem is squaring off against DELUSIONAL Democrats like Rep. Bennie Thompson (& she's WINNING), Obamacare fraud EXPLOSION breaks Democrat brains, Stephen Miller gets the last laugh after CNN tried to BLACKLIST him, and MUCH, much more! SHOP OUR MERCH: https://store.townhallmedia.com/ BUY A LARRY MUG: https://store.townhallmedia.com/products/larry-mug Become a Townhall VIP Member today and use promo code LARRY for 50% off: https://townhall.com/subscribe?tpcc=poddescription https://townhall.com/ https://rumble.com/c/c-5769468 https://www.facebook.com/townhallcom/ https://www.instagram.com/townhallmedia/ https://twitter.com/townhallcomBecome a Townhall VIP member with promo code "LARRY": https://townhall.com/subscribeSee omnystudio.com/listener for privacy information.

On the daily news and information show broadcast out of KPFA in Berkeley, California, every Friday host Dennis Bernstein is joined for the first half of Flashpoints by Sam Husseini to talk about the latest in Israel's genocide. Today journalist Robert Inlakesh and I joined Dennis and Sam to talk about our respective experiences getting blacklisted by YouTube, or in Robert's case, by Google altogether.

In this episode of This Week in AML, Elliot Berman and John Byrne unpack a pile of developments across the globe. From the EU's decision to add Russia to its AML blacklist and phase out Russian gas imports, to major enforcement action against a crypto mixer, the conversation dives deep into the evolving financial crime landscape. They also cover Canada's updated guidance on politically exposed persons, U.S. alerts on cross-border transfers, OCC's changes for community banks, and a surprising OFAC penalty tied to real estate sanctions. Plus, insights on humanitarian access challenges and upcoming year-in-review discussions. Stay informed on what's shaping compliance and risk management today.

I had a conversation with Scott Harris on Counterpoint Radio earlier this week. The first half is about news of all my albums being deleted from YouTube Music, and the second half is about the double-edged sword of AI and AI music.

SCTV legend Dave Thomas reflects on the bold choices that shaped his life and career, from growing up in Canada to navigating success and uncertainty in Hollywood. He discusses how Shakespeare and literature helped ground him early on, and the pivotal decision to leave a lucrative advertising career to pursue improvisational comedy at Second City. Thomas shares stories of becoming head writer on SCTV and collaborating with comedy icons such as Martin Short, Dan Aykroyd, John Candy, Harold Ramis, Catherine O'Hara, Eugene Levy, Andrea Martin, and Joe Flaherty. The conversation spans his career-defining work on SCTV, the creation of the McKenzie Brothers, Strange Brew, Mad Magazine, and later successes including Grace Under Fire. Thomas also explores his transition into animation, running his own studio, voice work across major animated series, and eventually shifting into dramatic television with shows like Bones and The Blacklist. He touches on international experiences, including time spent in Ukraine and Thailand, and reflects on lessons learned across decades in entertainment. Throughout the episode, Thomas emphasizes that success in Hollywood depends on having at least two of three essential elements: talent, drive, and luck—along with the courage to take risks and follow creative instincts. Learn more about your ad choices. Visit megaphone.fm/adchoices

SCTV's Dave Thomas talks about making bold life choices, growing up in Canada, Shakespeare saving his ass, choosing between big money success as an ad man or being a broke improviser at Second City, becoming head writer on SCTV, Martin Short, Dan Aykroyd, Harold Ramis, John Candy, Catherine O'Hara, Eugene Levy, Joe Flaherty, Andrea Martin, Grace Under Fire, running an animation studio, turning to dramas like Bones and The Black List, going to Ukraine, Thailand, Mad Magazine, The McKenzie Brothers, Chester Hope, and how, to make it in Hollywood, you need at least two of these three things, Talent, Drive, & Luck. Bio: David William Thomas was born May 20, 1949, in St. Catharines, Ontario. He is the eldest son of British parents, Moreen Duff Muir (May 4, 1928 – May 18, 2022), a church organist for thirty years originally from Glasgow, Scotland and composer of church music, and John E. Thomas (1926–1996), a medical ethicist from Merthyr Tydfil, Wales who was head of the Philosophy Department at McMaster University, and the author of several books. Dave's younger brother, Ian Thomas, is a Canadian singer-songwriter. The family moved temporarily to Durham, North Carolina, where his father attended Duke University and earned a PhD in philosophy. The family moved back to Dundas, Ontario, in 1961, where Dave attended Dundas District high school, and later graduated with an honours Bachelor of Arts degree in English literature from McMaster University in Hamilton, Ontario.[1]  Starting his career as a copywriter at ad agency McCann Erickson in 1974, Thomas became the head writer of the Coca-Cola account in Canada within a year. After watching a Second City stage show in Toronto, and while suffering from self-described "boredom" in his advertising work, he auditioned for the Second City troupe and was chosen as a performer.[2] He was a cast member of the Toronto production of Godspell, along with Victor Garber, Martin Short, Eugene Levy, Gilda Radner, and Andrea Martin.[3] Paul Shaffer was the musical director.[3 He first achieved fame as a cast member of the Canadian TV comedy series SCTV, joining Godspell castmates Levy, Martin and later Short, plus Rick Moranis, John Candy, Harold Ramis, Catherine O'Hara and others. Notable characters on the show include Doug McKenzie of beer-swilling brothers Bob and Doug McKenzie, editorialist Bill Needle, Scottish scone-chef/bluesman Angus Crock, motor-mouthed TV ad announcer Harvey K-Tel, Lowery organist/curio pitchman Tex Boil and the "Cruising Gourmet". Thomas's first film role was in Home to Stay, directed by Delbert Mann, in which Thomas played in a scene with Hollywood legend Henry Fonda. He then wrote, co-directed, and starred in the Bob & Doug McKenzie feature film Strange Brew. Soon after, he wrote for and acted in The New Show, produced by Lorne Michaels during his hiatus from Saturday Night Live. Short-lived, this show featured a powerhouse writing staff including Thomas along with Buck Henry, George Meyer, Jack Handey, Al Franken, Tom Davis, Valri Bromfield and Steve Martin. Thomas tried his hand at network television hour-long shows in 1986 when he wrote and co-executive produced Steel Collar Man for CBS. The pilot was produced but did not go to series. He co-wrote Spies Like Us (1985) with Dan Aykroyd.  In 1988, Thomas wrote another hour long show for CBS, B Men, which was back ordered, but Thomas took a directing job at Paramount, which caused the network to drop the series. He reportedly introduced John Travolta and Kelly Preston while directing them in the Paramount film The Experts.  He wrote for, produced, and starred in The Dave Thomas Comedy Show (1990). In 1991, he starred in the Showtime comedy, Public Enemy #2. In 1992, he tried his hand at reality TV and co-executive produced ABC's America's Funniest People with Vin Di Bona, but left after thirteen weeks to appear in the film Coneheads.  In 1993, he co-starred in ABC's Grace Under Fire with Brett Butler and Tom Poston and continued with the show for 5 seasons. In 1995 Thomas starred in the ABC television film Picture Perfect with Mary Page Keller and Richard Karn. In 1995 Thomas produced a pilot of a game show called Family Challenge for ABC. When ABC did not pick up the series, Thomas sold Family Challenge to the Family Channel, where he produced 144 episodes of the show spread over 2 seasons. In 1996, Thomas played the title role in the Fox television film Mr. Foster's Field Trip aka Kidz in the Wood with Julia Duffy. In 1996, he wrote the book SCTV: Behind the Scenes (McClelland & Stewart, publishers). From 1999–2002, he voiced various roles on the animated series Mission Hill. Thomas co-starred in the Paramount feature Rat Race. As of 2001, Thomas has been the Executive Creative Director of Animax Entertainment, an animation studio based officially in Culver City, California. In 2001–2002 Thomas appeared with Eugene Levy and Martin Short on Short's show Primetime Glick as Bob Hope (an impression he had first developed for SCTV with great success). In 2002, he co-starred with Jason Priestley, Dave Foley, and Ewen Bremner in Fancy Dancing. The next year he played a lead role in Beethoven's 5th. In 2003, he directed a hospital comedy feature film entitled Whitecoats, which he also wrote. As of 2004, Thomas was on the official Advisory Committee for the Comedy program at Humber College, the only such diploma program in the world. In 2004, he and Moranis again worked together voicing Rutt and Tuke, two moose based on the McKenzie Brothers, in Disney's animated feature Brother Bear.[4]  Thomas has had a long career doing voices for animation including Animaniacs, Duckman, CatDog, The Adventures of Tarzan, Justice League and multiple roles on The Simpsons, King of the Hill and Family Guy. In 2005, he had a guest stint as Charlize Theron's "Uncle Trevor" on Fox's Arrested Development. In 2006, he reprised his voice role in Brother Bear 2 and appeared as himself in the feature film The Aristocrats. He began production on ArnoldSpeaks.com, a video blog, as the voice of Arnold Schwarzenegger; Animax Entertainment won an Emmy for a broadband animated series produced for ESPN, Off Mikes.  In 2007, Thomas and Rick Moranis reprised their roles as Bob and Doug McKenzie in a one-hour special, Bob & Doug McKenzie's Two-Four Anniversary, for CBC Television. The show featured cameos from McKenzie celeb fans like Ben Stiller, Dave Foley, Tom Green, Paul Shaffer, Andy Dick, Matt Groening, Barry Pepper, Martin Short, and Geddy Lee. Former Prime Minister of Canada Paul Martin was the host. In 2008, Thomas revived Bob and Doug McKenzie in a new animated series, Bob & Doug. While Thomas reprises the character of Doug in the new series, Moranis chose not to voice the character of Bob, which instead is voiced by Dave Coulier. Moranis is, however, involved in the series as an executive producer.[5]  In November 2009, Thomas received an Honorary Doctor of Letters from his alma mater McMaster University and gave the fall convocation speech. In 2010 Animax continued to produce branded entertainment, advertising and digital shorts for corporations like Disney, Warner Brothers, NBC Universal, and Kodak. In 2011, Thomas's company Animax produced another animated show for MTV entitled Big Box along with numerous Internet shorts such as Life With Dad.[6][7]  In 2012 and 2013 Thomas guest starred in the dramatic shows Perception and Bones as well as comedy shows Comedy Bang! Bang! and How I Met Your Mother. In addition in 2013 Thomas voiced the recurring role of Jeff Foxworthy's father Jesco in the CMT show Bounty Hunters.  Thomas joined the writing staff of the Fox crime drama television series Bones beginning in 2013. Thomas worked for two seasons on Bones, writing several episodes and working on staff as consulting producer for two seasons.[8]  In 2015 Thomas joined the writing staff of NBC's The Blacklist as a consulting producer. In 2020 life-sized statues of Thomas and Rick Moranis as their characters Bob and Doug McKenzie were put in place at the ICE District Sports Arena in Edmonton, Alberta.[9] Also in 2020, the Governor-General of Canada announced that Thomas was being appointed to the Order of Canada,[10] Canada's highest civilian award. In 2021, Thomas and Max Allan Collins teamed to write a sci-fi mystery novel, The Many Lives of Jimmy Leighton.

Jennifer Tsay is the CEO and Co-Founder of the professional photography platform Shoott, which uniquely offers free photoshoots where clients only pay for the photos they love. Shoott operates in over 60 U.S. cities, supporting more than 750 freelance photographers with supplemental income, and maintain a 4.9 rating on Google across 2400 reviews and counting. With a diverse background in investment banking, strategic finance, project management, documentary film producing, and acting, Jennifer combines her passion for process with her love of art and storytelling to manage growth, strategy, and operations for Shoott. You may know Jennifer from her acting gigs on The Other Two, High Fidelity, The Village, The Blacklist, and Bored to Death as well as spots for Citi, AT&T Wifi, Samsung, Geico, and Manhattan Mini Storage. Jennifer is a Forbes #Next1000 entrepreneur and one of Brit + Co's 30 AAPI Founders We Love to Support, and recently appeared on Entrepreneur.com's Elevator Pitch Season 11.

In this episode, Blacklist Royals drummer Rob Rufus sits in for a heartfelt conversation about the band's powerful new single, "Punk Rock Survivors." The song was shaped by Rob's personal battle with cancer and the themes of resilience and survival found in his memoir Die Young with Me. Rob opens up about the therapeutic nature of songwriting, the importance of vulnerability in music, and how simple, honest lyrics can create a profound connection with listeners. This episode offers a deep dive into the making of a track that aims to resonate with anyone who's ever fought through hard times. Chris DeMakes A Podcast is brought to you by DistroKid, the ultimate partner for taking your music to the next level. Get 30% off your first YEAR with DistroKid by signing up at ⁠http://distrokid.com/vip/demakes For bonus episode of The After Party podcast, an extensive back catalog of past After Party episodes, early ad-free releases of new episodes of Chris DeMakes A Podcast, full video versions of episodes, and MUCH more, head to the Patreon at ⁠http://www.ChrisDeMakes.com Follow Chris DeMakes A Podcast on Instagram: ⁠https://www.instagram.com/chrisdemakesapodcast/⁠ Join the Chris DeMakes A Podcast community on Facebook: ⁠https://www.facebook.com/groups/2643961642526928/⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

The Democrats claim that President Trump is weaponizing the government by indicting James Comey and John Bolton. But what if Glenn were to tell you that a new report shows FEMA kept disaster aid from people who held conservative views? Will the Left be outraged by this obvious political weaponization? Glenn and Stu examine the No Kings protest data, which reveals that the majority of the protests occurred in heavily blue areas. The guys also discuss the terrifying numbers of Democrats who believe violence is the answer for conservatives they disagree with. MIT physics professor Max Tegmark joins to discuss his bipartisan initiative calling for a “prohibition on the development of superintelligence.” Max lays out why artificial superintelligence poses such a risk to society. BlazeTV host of “Economic War Room” Kevin Freeman joins to discuss the existential threats to Western civilization that America is facing. Texas attorney general candidate Rep. Chip Roy (R-Texas) joins to expose the threat that Sharia law poses to America as Europe falls apart.  Learn more about your ad choices. Visit megaphone.fm/adchoices