Podcasts about Bluth

TRANSCRIPT Gissele: [00:00:00] was Luther King jr. right? Does love have the power to turn an enemy into a friend. We’re creating an inspiring documentary called Courage to Love The Power of Compassion, which explores extraordinary stories of those who have chosen to do the unthinkable, love and forgive even those who are deeply hurtful. Gissele: Through their journeys, we will uncover the profound impact of forgiveness and love, not only on those offering it, but also receiving it. In addition, we’ll hear from experts who will explore where the love and compassion are part of our human nature, and how we can bridge divides with those we disagree with. Gissele: If you’d like to support our film, please go to www M-A-I-T-R-E-C-E-N-T-R e.com/documentary. It’s mitre center.com/documentary Hello and welcome to The Love and Compassion Podcast with Gissele. We believe that love and compassion have the power to heal our lives and our world. [00:01:00] Don’t forget to like and subscribe for more amazing content. Today we’re talking about self-compassion in teenagers. And my guest is Dr. Gissele: Karen Bluth, who’s an associate professor emerita at the University of North Carolina, where she studies how mindful self-compassion improves the mental health of teens and young adults. She’s the author of five books for teens and caregivers, including The Self-Compassion Workbook for Teens and Mindful Self-Compassion for Teens in Schools. Gissele: In addition, she’s a 2022 recipient of the Inaugural Mind and Life Foundation Award for Public Communication of Contemplative Research. Yay. As a mindfulness practitioner for over 45 years, a mindfulness teacher and an educator with over 18 years of classroom teaching experience, Dr. Bluth frequently gives, talks conducts workshops, and teaches classes in self-compassion in educational and community settings and trains [00:02:00] teachers in mindful self-compassion for teens internationally. Gissele: Please join me in welcoming Dr. Karen Bluth. Hi, Karen. Karen: Hi. It’s well. It’s my pleasure to be here. Thank you so much for inviting me. Gissele: Oh, thank you so much for coming. I think this is a topic that it’s definitely needs to be discussed, and as a mother of two teens, I know the need for self-compassion. I was wondering if you could tell the audience a little bit about how you got started in this work. Karen: Sure. Well it really takes me back to my teen years. I was in high school, it, I was a senior in high school. It was 1975 and I needed. A topic for an independent study project that I had to do for my English class. and it was due the next day. I was driving down the road. I didn’t have my topic of course. Karen: I was driving down the road and outta the corner of my eye, I saw a sign that said something about meditation. Tm at that ti at that time it was transcendental meditation. It still [00:03:00] is actually, but I remembered hearing something about meditation in a different class in my social studies class. And there was something about it when we talked about it in that social studies class that resonated with me. Karen: And I remember thinking, Hmm, that makes sense. So when I saw that sign out of the corner of my eye, I thought, oh, well, let me check this out. So I pulled in. It was this old house I remember, and I went in and I picked up some brochures about transcendental meditation. And talked to the people there and they said, well if you want to be initiated, and I think that was the word they used, come back Saturday at 10 o’clock, I think they said, bring flowers and a piece of fruit. Karen: So it sounded very mysterious to me, but I did, I went back and, and was given a mantra at that time, and that was the beginning of my meditation practice. And you know, I practiced for my senior year in high school. I think when I went to college, it kind of fell away [00:04:00] for a couple of years. And then I got back into it after college and have been practicing meditation, mindfulness since you know, probably the mid eighties. Karen: Regularly. It’s been a cornerstone, an anchor throughout my entire adult life. As I’m sure as I’m sure you know, it has been for, for many people. I, I was very lucky to start early on. And then sometime in the nineties I had little kids and so I spent a fair amount of time in my car with them, in their car seats, trying to get them to nap because they wouldn’t nap at home. Karen: Yeah, I imagine there’s a lot of people that, that resonate with this. And so I had a cassette tape at that time. That’s what we used in our cars of poetry of self-compassion read by the British poet, David White. And this cassette tape had been passed around my meditation group [00:05:00] and so I had this copy and I listened to these poems and. Karen: I think I internalized the message a lot because it was in my car stereo for quite some time. And so this message of self-compassion became really integrated into into, you know, how I spoke to myself. And then about a decade later, I decided to go back to school and get my PhD and I wanted to bring together the different threads of my life. Karen: So that was my personal life, my mindfulness practice Gissele: mm-hmm. Karen: And this whole time I was, I was teaching in schools. I was a teacher and middle school and upper elementary school, fifth grade, mostly also younger grades, but mostly fifth grade and middle school. And so youth and, and, and being with youth and. Karen: Wanting to improve the lives of youth was [00:06:00] really very central to me and my mission actually. And so I, when, when I went back to school in 2008, I wanted to bring together these different threats of my life, my personal mindfulness practice, and my interest in helping youth. And at that time, it was just a few years after Kristen Neff was publishing her work. Karen: So her first articles, research articles on self-compassion came out in 2003. And so this was five years later. There wasn’t that much published at that time and nothing with teens. And so that’s when I just started diving into the work at that point. So that’s a long, a long story really, but that’s really how, how I came to where I am now. Gissele: It’s wonderful. I love that as the teen, you, it’s like, okay, well I’m gonna be initiated here. I’ll show up with my stuff. Karen: It was like, why not? You know? It was 1975. I was like, you know, whatever. It sounds a little weird. Fruit and flowers and [00:07:00] a mantra, but whatever, you know? Gissele: Mm. Yeah. That’s lovely. I do Kriya yoga and so there, there is like an initiation part of the, the component too, and there’s like the offering. Gissele: So yeah, that I resonated with that. I’m interested to to know what the receptivity is of young people towards self-compassion. And the reason why I ask that is as, as a mother of two teenagers, I know that when I, you know, I emphasized to them the importance of meditation, the importance of loving yourself. Gissele: They understand it, but they don’t always wanna practice what I’m doing. And so they wanna find their own path to loving themselves and being compassionate to themselves. What has been the reception of young people? When you show up to schools Karen: Yeah, of course, of course. So yeah, it’s interesting. Karen: So I hear from parents a lot that there’s, and this is actually, you know, this is the job of teens, is to resist what comes from parents. Gissele: Yeah. Karen: And find their own way, as you said. So this is not [00:08:00] not only is it not a bad thing, it’s actually a good thing that they’re a little bit resistant, a little bit of, Hmm. Karen: I don’t wanna just like take on what you’re handing me. Gissele: Yeah. Karen: So what is the reception? It depends who it’s coming from. So again, if it’s coming from a parent, of course it varies. It depends on the relationship between the parent and the kid. But usually, and I’m making a generalization here, there is Karen: A little bit of resistance, a little bit too, you know, maybe a little bit more than a little bit of resistance. Generally after the first class teens if we don’t push them and we don’t, you know, we, it’s always an invitation to participate in these classes. we’re not heavy handed about it. Karen: We don’t require them. Not that you could anyway, you can’t require somebody to do these practices, right? Gissele: Yeah. Karen: We just invite them in, but we don’t you know, we’re not heavy handed. We invite them in and if [00:09:00] we approach it that way the resistance decreases a lot. And you know, the teens might be quiet, but they’re taking it in. Karen: And I have to tell you that. I cannot tell you how many times I’ve heard from teens at the end of a class teens will pull me aside and say something like, you know, this was really my mom’s idea to take this class, or, this was my therapist’s idea. I didn’t really wanna do it, but I’m so glad I did. Karen: I frequently hear that. You know, this is the nature of the beast, you know, this is what, this is what teens are supposed to be doing. They’re supposed to be questioning, they’re supposed to be particularly questioning what comes on, you know, what the adults around them are saying to them. Gissele: I agree with you. I think it’s a developmental stage, right? Because we’re constantly trying to improve, what our parents did be better, be different, if we only just accepted the status quo , I don’t think there’d be progress . I’m curious [00:10:00] as to what some of the outcomes you have seen What are some of the things that you have found have helped, maybe some of the things that maybe weren’t as successful? Karen: Yeah. So well first of all, we know from research that teens who are more self-compassionate experience less depression, anxiety, and stress. For example, we know that as teens progress through adolescence, they tend to become more depressed. Karen: And that’s mostly driven by females. And that, that when teens are more self-compassionate, they’re less likely to get depressed as they move through the teen years. So we see that. We also know that stress is linked to depression, but we know that teens who are more self-compassionate, when they’re stressed, they’re less likely to be depressed. Karen: We also know that depression is linked to self-injury non-suicidal self-injury, things like cutting. But teens who are more self-compassionate are less likely to [00:11:00] self-injure when they’re depressed. so we see across many studies in many different places all over the world, we see that self-compassion actually acts as a protective factor or a buffer against. Karen: Some of these difficult challenges in the teen years. And we also know when we actually teach teens self-compassion through these different through our mindful self-compassion for teens course and workshops and things like that, we see that teens at the end experience less depression than they did at the beginning. Karen: Less anxiety, less stress. And in our most recent study with teens who had some suicidal ideation going in, that they had significantly less suicidal ideation at the end of the study. Gissele: That’s really, really powerful. I just wanted to clarify. You said driven by females? Gissele: Does that mean that it’s mostly young girls who are experiencing the [00:12:00] depression? Karen: I. Well, what we see is that as girls move from age 11 or 12 to 18 generally they become of course it’s generalization, but overall teen girls become more depressed and by the time they’re 18 or so, 18 or 19, they are twice as likely to be depressed as males of the same age. Karen: And that statistics stays the same stable through adulthood. So, you know, adult women are generally twice as likely to be depressed as adult men. That doesn’t mean that that boys or men aren’t struggling also they are. It’s just that their way of expressing their discontent, dissatisfaction, unhappiness is not through depression. Karen: It’s through other means. Usually external. Usually things like anger comes [00:13:00] out with anger. Gissele: Yeah. Yeah. Thank you for that. In this world of COVID, we have young people being more isolated and lonely and with all the school shootings that have happened in America in particular not as much in Canada I’m curious as to the impact of self-compassion on improving relationships for young people. Gissele: Does self-compassion work help them in terms of relationships with one another? Karen: Yeah. Well, we do see we do have a study with young adults that shows and these, these were 18 through 30 that shows decrease in loneliness when these young adults were more self-compassionate. I think what we’re seeing it overall is that obviously through COVID, there’s a lot of isolation, loneliness a lot more turning to social media, turning to technology now, AI and, what [00:14:00] social media does unfortunately is exacerbate this sense of comparing oneself with others, right? Mm-hmm. Gissele: Yeah. Karen: And of course, even though we all know, including teens, that what’s posted in social media is not the full picture of somebody’s life. It’s the curated picture of somebody’s life still. Karen: It exacerbates a sense of, I’m not good enough, I’m not worthy. Look at that person there, you know, they have all this great stuff going on in their lives, and I don’t, you know, so self-compassion can be helpful there. And in fact, in our program, we have a social media exercise and what we teach. Karen: Teens is how to be aware of how they’re feeling when they’re engaging with social media. So we don’t tell them social media’s bad, don’t engage in it because first of all, that’s not gonna work. Second of all, as adults, [00:15:00] we engage with social media. You know, it would be hypocritical of us, us to say not to. Karen: So what we do, which I think is a lot more helpful and also empowering to teens, is to teach them to notice what are you feeling when you’re engaging with social media? What’s coming up for you? Are you feeling this sense of, oh, I’m not good enough, or are you feeling lonely or sad? Or maybe you’re feeling excited, maybe you’re feeling connected. Karen: You know, it’s not all bad. So notice what you’re feeling and then make a choice that’s good for you, that’s healthy for you, you know, take care of yourself. So, so, so self-compassion is all about being good to yourself, supporting yourself, standing up for yourself, you know, doing what’s healthy for yourself.[00:16:00] Karen: It’s all of that. So if you’re noticing that, that something is, makes you feel bad, you have the power to limit it or shut it down completely. And whether that’s social media or you know, a toxic relationship with a friend, you know, you can do that also. But so it’s bringing awareness to what you’re feeling when you’re engaging with them. Gissele: I really appreciate that you said this because I think, I don’t wanna underestimate how powerful what you just said is. Because so many of us are so distractible, we have no idea how we’re feeling in our body. And until we’re present in our body, we can’t really understand how we’re treating ourselves. Gissele: And so to allow young people to just notice how they’re feeling about certain things helps them understand, Hey, wait a minute, is this a positive thing for me or a negative thing for me? And makes them more aware about the choices they’re making and therefore they can choose differently, . They might not choose [00:17:00] differently, but it gives them that awareness of like, how am I being impacted by everything? Gissele: And this is really authentically me, Then they can make that choice. They could take their power back. So I think that’s fantastic. Can you share a little bit about some of the other things that you do in your self-compassion program with teens? Like how do you get them to engage? Gissele: ‘Cause I don’t know if I would see a teen just sitting for hours and hours doing meditation. Karen: Sure. Yeah. Well, we don’t ask them to sit for hours and hours, you know, to practice. Karen: First of all, it’s adapted from Kristen Neff and Chris Gerner’s, mindful self-compassion class for adults. The teen class is different in that it does involve it’s much more activity based. it’s developmentally appropriate. So at the beginning of every class and there are eight classes there’s a little bit of art and it could be mindful drawing. Karen: It could be there’s one class which is. My favorite art activity, which involves playing with UBIC, which if you’re not familiar with Ubic, [00:18:00] it’s like the best slime ever. it comes from the Dr. Seuss book, Barnaby and the Ubik. But it’s, it’s just a wonderful substance and it, and it foreshadow something that we do later in the class. Karen: Each art activity foreshadows something that happens in that class. So we have a little bit of art, like 10 minutes of art at the beginning of every class. we emphasize it’s not about creating some beautiful thing that you’re gonna hang on your wall. It’s about just noticing feeling of a pin in your hand or whatever. Karen: You know, so it’s mindful activity. We have a couple of music meditations with the teens, which the teens absolutely love. We play some games. We introduce informal practices. Mostly we introduce some formal practices, but it’s mostly informal practices, which means things that you can do in the moment. Karen: So you’re starting to feel a little stressed. Notice the feeling of your feet on the floor, you know, that point of contact. and that’s because when we [00:19:00] start to feel stressed, we’re generally in our heads, we’re worrying, we’re anxious. Mm-hmm. It’s all going on in our heads. And when we bring attention to something physical, like the sensation of our feet on the floor, it can be very grounding. Karen: So mostly informal practices. So our regular class is an afterschool class, which is eight sessions, 90 minutes. We also have a school version, which is 16 different sessions, which are 45 minutes long each. Karen: And then we also have have what I’m calling drop in sessions. And this is because school counselors have told us that, you know, sometimes they don’t have a big chunk of time with kids. They have only 10 minutes or 15 minutes. So we have these drop in sessions where they could just go ahead into the class, teach this for 10 minutes, and and so they get a little bit of taste of, of what this is about, or, you know, a number of different drop-in sessions. Gissele: Hmm. [00:20:00] Thank you for sharing that. Gissele: I wanted to mention how important art and music and play are in terms of really reconnecting us with ourselves. Gissele: there’s been so much intergenerational trauma in my family and our history that I’ve had to kind of go back to basics and realize how difficult it was for me to play , how difficult it was for me to sit there and be present with myself. Gissele: Even coloring. I tried coloring and I just kind of rushed through it. Like I had an appointment and I’m like, why am I not allowing myself to be in this moment? But those opportunities, art and music, things that in the school system we haven’t always prioritized , I think is really powerful. Karen: yeah. And I think as adults we don’t play enough by any, by any means, you know? And, in fact, when we train teachers in the program we frequently hear from these adult adults that, you know, they wanna do these activities, you know, because they’re fun. [00:21:00] we need to play more, we need to have more fun, just lighthearted, play. Gissele: Yeah. I’m allowing myself to dance more and twirl more, and play more, even though I do it awkwardly. ’cause there’s always this voice in my head that is like, I have to color it perfectly. Gissele: Right? Like, which is weird because I like to think that I’m pretty compassionate with myself. But as I really am stepping up into Being more connected with my inner child, I can see those little tiny things where I’m like, oh, maybe I should have colored this nicer. Maybe this should have been inside the line. Karen: And teens have those voices also, you know, and which is why we emphasize as they’re, as they’re actually doing the art activity, we say at least several times in that 10 minute period, remember, we don’t care what this looks like. This is not about the product. Karen: It’s not about producing some beautiful thing. It’s about simply noticing, noticing what’s [00:22:00] going on. Noticing noticing the sound of the pencil on the paper. You know, is that making a sound? Notice the feeling when your hand is gripping. You know, the, the pencil is, is there a tightness in your hand? You know, so it’s all about that. Karen: It’s all about noticing, feeling, noticing the process, noticing the sensations that are going on as you’re doing the art. So we’re always emphasizing that as as they’re doing the art and even thoughts noticing, you know, you notice any thoughts coming up in your head like, oh, I don’t like this particular part of the drawing, and can you remember? Karen: That’s just a thought. And notice your thought. And as they’re learning more about the mindfulness piece in the class, will, you know, bring in that notice of thought. It’s just a thought. It doesn’t mean it’s a fact. You can let that thought drift away. Gissele: And that is so powerful. Because personally, having done [00:23:00] self-compassion practices is that you’re teaching. Gissele: reconnection . Right. With yourself, with your body, with your being, as a society, we’re so disconnected from ourselves, from other people. And to just even feel like your fingertips in your body and see how tense we are in the thoughts. Gissele: In my own practice, I’m learning to love my fear and focusing on learning to love everything, Even the challenging moments Can I truly love everything in my life or just even if I can’t, can I just accept it? Can I learn to just allow it? Gissele: And it can feel dynamic, right? So I can imagine for teenagers with their hormones that it must be quite the experience. Mm-hmm. Curious as to your perspectives around how teenagers are doing nowadays. Karen: Yeah. What I am seeing is a lot of struggle. It’s a really hard time and that’s what, you know, the statistics that we’re seeing that there’s high levels of [00:24:00] depression, anxiety, and loneliness. Karen: It’s an overwhelming world that we’re living in. I’m working on a book right now with my wonderful colleague, Marissa Knox. And this is a book for young adults and. We haven’t settled on a title yet, but we are bringing in this idea, and this is, you know, throughout the book and it’s about self-compassion for young adults. Karen: But this idea that we are living in an incredibly challenging world right now. Unbelievably challenging in so many ways, on so many levels. And we have to acknowledge that, you know, and we have to acknowledge that, that things are much harder now than they have been in decades past. And, you know, when I was a young adult, it wasn’t easy either. Karen: You know, there was a huge recession. I mean, I graduated from a good university and couldn’t get a job after, and I was waiting tables, you know, it [00:25:00] wasn’t easy then either, but but it’s a lot more difficult now, you know? The economy is, is even harder and rougher now than it was in the eighties when. Karen: Was waiting tables after graduating. And and you know, I have two young adult children and you know, I hear a lot about their lives and their friends’ lives and how hard it’s, I mean, so we have to acknowledge that. I and you know, when I’m teaching young adults and teens I always bring that in, that, you know, this isn’t your fault. Karen: That you feel all all this huge range of difficult emotions. You know, you’re living at a time when, you know things are really hard, politically, economically on the global stage, everything, you know so. To acknowledge that, to put that out there, to have that be the context in which we [00:26:00] then bring in self-compassion and we talk about how, okay, so now knowing that the world is this way, and guess what, for the moment we can’t do anything about it. Karen: We can in the long run, yes. And we’re working towards that, but right now, in the moment, we’re stuck with it. So how can we take care of ourselves? How can we support ourselves knowing that it’s rough right now and it may not be our fault that we can’t get a job or feel safe in our schools or, Gissele: yeah. Karen: All of that. Gissele: Mm-hmm. Yeah. I think acknowledging is sort of the first step towards saying, okay, where is my power in this moment?Because I think it’s one of the conversations I had with my students is like, you know, in the time when you might feel so powerless, where do you have power? Even if it’s just in terms of how you determine how you feel about the situation. Gissele: Are you gonna let the situation sink you [00:27:00] down and lead you to further depression, Or are you going to choose to say. I’m gonna choose to be kind to myself. I’m gonna choose to do the best I can. I’m gonna choose to allow and do in the moment what I can. And then, you know, if I make a mistake or a trip over over the same rock, I’m gonna pick myself up and keep going. Gissele: Like, or if I can’t, I can’t. Right? So how do we practice that ’cause there’s an element of me that believes that part of the reason why we are in the situation we are in terms of the world, is because of a disconnection, because of a lack of self-compassion and self-love. Gissele: There’s a lack of love in the world in general. And we keep thinking that the way that we’re gonna approach it is have more money and be more successful and do all of these things, but it just breeds separation. Which leads to my next question of how can self-compassion help us create community? Karen: Ah, yeah, so that’s a great [00:28:00] question. Karen: Because of course, as we know, community is absolutely vital. Having community is vital. So I think you know, the first thing that comes to mind is that when we’re more self-compassionate we have less fear of failure because we know we’re not gonna beat ourselves up when we fail. If we fail at something, we’re just gonna say, you know, well, you know, it doesn’t mean I’m a bad person. Karen: It just means like, that didn’t work for me in, in that particular moment. How this applies to community is that we’re more likely to reach out to others, right? So if we’re not so afraid that of getting rejected by others, we’re more likely to make an attempt move out of our comfort zone and reach out and engage in a conversation with. Karen: Somebody we don’t know, for example, we’re more likely to join a community group or, you know, in the case [00:29:00] of teens, you know, sign up for some new sport or music class or whatever to engage with others more and develop that community when we’re feeling so unqualified, unworthy not enough, we’re much more likely to isolate. Karen: And so in that way you know, obviously that’s how community develops is, where we’re able to reach out and en engage with others in, you know, all different ways. Gissele: Mm. Yeah. And the other thing I found in, especially in my self-compassion practice has been that it’s led me to be more authentically myself. Gissele: Mm-hmm. And you can’t really, you can’t really allow yourself to be seen and to be loved and to find your people if you are not allowing yourself to be authentically yourself or to be vulnerable . And so I think that’s a really key aspect of self-compassion, ’cause that’s really what primarily young people want. Gissele: They just wanna be authentically themselves. But we hear all these [00:30:00] messages. I know, I heard them growing up. You know, all about how we have to look a certain way. We have to be a certain way. There’s a right answer to everything. Gissele: and so I think that’s the beauty of self-compassion, is the allowing of multiple perspectives is the allowing of differences in the discomfort. Karen: when you were talking about that, what I was thinking about was in our our teen class, we have a session where teens have the opportunity to really reflect on their core values, and we take them through a particular activity to do this so that they’re thinking about what’s really important to me, what do I really value? Karen: You know how do I wanna live my life and what are the things I wanna let go of, you know? Mm-hmm. So it’s not a conclusive activity where they get to the end and they say, okay, this is what I want. You know? But it’s an opportunity for them to really take a few moments to think about and to reflect on, you know, what do I wanna keep [00:31:00] in my life? Karen: What do I want to hold onto? What do I value and what do I, maybe wanna think about letting go of? It’s just the beginning of that conversation with themselves. Gissele: Hmm. And I love that ’cause I’ve had to do this later in my life, realizing that the things I wanted to have were based on somebody else’s perspective of what they thought I should have. Gissele: And I, I went through a really stripping of like, who am I really? And again, I, this is older, right? Like, who am I really, what do I really love? What do I really wanna do? What do I really want my life to look like? And it’s not anything that I would’ve thought would’ve fit the picture, like it’s not. Gissele: Mm-hmm. But it’s so much better . It’s so much greater, it’s so much more me. Karen: Mm-hmm. Gissele: I was curious as to whether in the program there are elements of how to deal with conflict with one another Karen: Yeah. Well we do have a session activity where we talk about conflict with parents. Mm. And, Gissele: mm-hmm. Karen: Why, first of all, [00:32:00] why that occurs. So, you know, why is that happening? And we talk about the developmental stage and the brain changes and we show this video clip actually from the movie Crudes. Karen: Yeah. Yeah. And you know, there’s a teen in there and she’s having a conflict with her dad. And the dad just wants to keep her safe and isolated and in the cave, and she wants to go out and explore. And we talk about how the dad is doing what he’s supposed to be doing, and the teen is doing what she’s supposed to be doing. Karen: Neither one of them is wrong. And yet conflict ensues because they have different objectives and what can you do when conflict ensues when this happens? And so first of all, just having that awareness that, this dad’s not trying to be mean and horrible. Karen: He’s just trying to keep his kids safe. And sort of having that awareness and then how self-compassion can support you because when you’re [00:33:00] supporting yourself in that way, you can add through mindfulness also. You can regulate your emotions and which is the first step, you know? Karen: Well awareness is the first step. That would be the second step. And then get to a place where you can actually. Talk about what’s going on and acknowledge what the other person wants and needs also. Gissele: Hmm. Yeah. I I love that you brought the movie up, the crudes. ’cause what I, remember you know, they both the daughter and the father push each other, right? Gissele: they push each other to grow and learn. And I wanted to emphasize as well for my listeners about something that you just said, which is really important, which is dealing with Gissele: conflict. the first part is always awareness. It’s like awareness of how am I feeling? What am I, what am I thinking? You know, what’s happening in my body. And the second one is being able to hold space for those difficult feelings , right? Validating our feelings, holding space for those difficult feelings, having compassion for ourselves so that then we can have [00:34:00] compassion for other people’s, even if their perspective’s completely different, like differ from our own. Gissele: And so I think that’s the, the beauty of self-compassion is that it helps us have compassion for ourselves and other people. Sometimes the, as they called the disliked person, mm-hmm. But it really does start with the awareness because I feel like we don’t really know how to have conversations with people anymore. Gissele: There’s like this global canceling that happens because I think we are just so overwhelmed by our own emotions and we haven’t really been. At least some generations haven’t really been taught the social emotional part of, regulating our emotions so that we can then do the work of listening. Gissele: And you know, when I think about listening, I think about the work of Valerie Kaur who talks about revolutionary love. And she says, you know, listening, if you’re truly listening, you have to be willing to change Mm-hmm. Karen: Mm-hmm. Gissele: And that that’s can feel difficult. [00:35:00] It can, Karen: yeah. Karen: I think that’s, I I think you hit on a really important and very big issue which is that there isn’t a lot of listening going on. You know, there really isn’t. You know, there might be people sitting there waiting for the other person to finish talking so that they can say their piece. Right? Gissele: Yeah. Karen: But, of course, when you’re really listening, that’s not what’s going on. When you’re really listening, you’re open and willing to change your mind. So yes, that’s certainly part of this whole, you know, the program at the very beginning, in our first class, we have a piece called Community Agreements where we all agree on how the class is going to proceed. Karen: And one of the things is deep listening. Really listening, without that judging voice, you know, put that judging voice aside as much as possible. [00:36:00] Gissele: And that takes practice. Karen: Yes, Gissele: it does. Karen: It absolutely does. Gissele: often we go straight to judgment instead of professing observations. The other thing I wanted to mention was listening to the voices of young people is so important, which is why I think also your work is so phenomenal . Historically, we have not viewed young people’s voices as important as adult voices, or especially the voices of, of young children. Gissele: What are your thoughts about our ability to be able to listen to young people and collaborate with them in a way that makes them feel involved? ’cause I know I, that’s, I didn’t feel that way when I was young. Gissele: Young people were not invited to sit at the table with the adults to talk about adult things and talk about the world, How can we, emphasize more listening to young people? Karen: Yeah. It’s interesting. I too remember being a teen and clearly thinking, you know what, I know what I’m talking about here. Karen: I have ideas. Gissele: Yeah. Karen: You know, [00:37:00] and I actually did have the opportunity as a teen to be on an adult board of, mm-hmm. Of a nonprofit organization. It was a theater organization that we were involved with. and it was a great opportunity, we need to hear teen’s, voices, you know, we need to hear what they have to say. Karen: That doesn’t mean thatwe’re going to make decisions based on everything that they say or, because obviously we’ve been on the planet for longer and we have a certain amount of wisdom coming from our experience, but truly they know what they need and giving them the opportunity to talk about it and to express it and to listen. Karen: You know, I think what teens want more than anything is really to be listened to. Is to be heard. And maybe that’s what we all want more than every [00:38:00] anything is to be heard. Right. Particularly in the teen years, it’s really the first time when they are aware that they have some opinions and values and things to contribute to the conversation. Karen: And as adults I think it’s our responsibility to listen and to hear their input Gissele: Yeah. Karen: As much as we can again, that doesn’t mean we’re gonna make decisions based on, what they suggest. I remember my daughter as a 15-year-old, went through a stage where she just felt like she didn’t need to wear her seatbelt in the car. Karen: And I was like that’s not happening. Like, now I Gissele: got Karen: this. Nope. Gissele: Yeah. Karen: No. Gissele: Mm-hmm. Karen: So it doesn’t, you know, it doesn’t mean we go with everything that they, that they wanna do by any stretch, but, but to listen, I think is important. Gissele: Yeah. And they, that’s a great example. I’m curious as to her perspective as to why she felt in [00:39:00] that moment she didn’t need seat belts anymore. Karen: You know, I can ask her. I don’t remember. I think she was just exercising herperceived right. as an individual, you know? Mm-hmm. Mm-hmm. Obviously when it comes to safety, you know, we have to, Gissele: there’s a history there as to how we got seat belts. Gissele: Yeah. And so engaging in that conversation as you were talking, I was thinking about the generations and how sometimes it’s difficult for parents to hear the perspectives of their young people. if it, ignites shame and guilt, right. I’ve had conversations with my parents about the impact of my childhood and there’s been lots of like deflecting because it was difficult for them to hold some of these things that I was claiming. Gissele: And I’ve been on the other end as well in terms of like my children when they say stuff and you’re like, I hurt you. And so being able to apologize for me has been really important as a parent to emphasize to my kids that I’m not perfect. You know, we’re, Karen: we’re winging it out here [00:40:00] Gissele: and, and how much forgiveness and how much apologizing needs to happen and how much communication needs to happen when mistakes are made on both sides, right? Gissele: Mm-hmm. And how sometimes those mistakes and those conversations bring us closer together . But I can relate to my parents’ experience ’cause we all wanna be. At least from my perspective, I wanna be a good mom. I wanna be a loving parent. I wanna be the best parent that I can be. Gissele: And sometimes despite your best intense, you make mistakes. you hurt them. you do things like maybe that are based on your own fear. And so I find the practice of self-compassion really helps me be kind to myself and so that I can listen to that feedback and say, you know what? Gissele: I’m gonna sit with this. But it can feel difficult. Gissele: self-compassion really helped me sit with those difficult feelings because I wasn’t judging myself. A bad parent. Karen: yeah. You know, I think being a parent has been so good for my self and compassion practice just because of [00:41:00] everything that you said. Karen: My daughters are now 31 and 33, and you know, of course I made lots and lots of mistakes, I was one of those moms that I prioritized being a good mom. It was so important to me, you know, to be a good mom. And yet I made mistakes. And recently even I, maybe, I don’t know, six, eight months ago I was talking to my older daughter and there was something that I did when she was a teen that I felt, you know, I wish I could have. Karen: Not done what I did. And I felt really bad about what I did. And I, you know, I was talking to her about it and I said, I’m so sorry that I, put my foot down. I know what you really needed was a big hug. I wish I had, you know, done it differently. And she said, you know, mom, don’t worry about it. Karen: You can let that go. You know, I’m fine, But it helped me, first of all to be able to say that. And I think I was able to say that part at least in part, if not, [00:42:00] if not solely because of my self-compassion practice. And I think part of what self-compassion does for us is, is to remind us that we don’t have to be perfect and we’re not going to be any way. Karen: We’re not going to be perfect. We’re gonna make mistakes. So can we forgive ourselves? Gissele: Yeah. Karen: When we make mistakes, you know? And then if we can, and if it’s appropriate or if we want to or whatever, go to that person, you know, like go to our kid and say, look, I am really sorry that I did that and at the time I thought that was best. Karen: And now I see that’s not what you needed. Yeah. And I’m really sorry. Gissele: Yeah, yeah. Yeah. It’s, it’s so interesting, and I think it’s important for us to have this conversation for two reasons. Number one is we think we have to be perfect at being compassionate or none at all. Gissele: none of us are perfect. And I think that’s the problem . We expect ourselves to be truly compassionate, the pinnacle of love [00:43:00] and really just, can you just be a little bit better than yesterday? That’s all that requires. Can you be a little bit more loving? Can you be a little bit more kind? Gissele: That’s all that is really required. And the second thing, which I think you emphasize, which is so important, It’s that we think that being compassionate, it’s gonna be like, well, I’m just gonna, allow my crappy behavior. It is so difficult to be loving and compassionate towards yourself when you don’t feel you deserve it. And what I found in my own practice is it actually enabled me to sit. More. Gissele: With all those aspects that I didn’t like about myself, the more that I was compassionate with myself, I didn’t let myself off the hook, I was able to see how my behavior could have been hurtful , was able to see how there was times when I wasn’t living my values, but if I hadn’t been compassionate, I would’ve deflected. Gissele: I would’ve like invalidated. I would’ve been like, no, no. It’s their problem. It’s not me. And so this is why the practice of compassion is so important, especially starting younger. [00:44:00] So a few more questions. I say youngest that you have done work on it. And are there groups that are helping our, really young people practice compassion? Karen: Yeah, absolutely. So I work with teens and as young as 11 or so. Gissele: Mm. Karen: There are people who work with younger, with younger kids. My colleague Jamie Lynn Tartera works with kids age about seven to 10 or so. And then my colleague Catherine Lovewell in the UK works with kids who are younger and she has a wonderful book out and stuffed animals and and all this really wonderful wonderful stuff for younger kids. Karen: And it’s just adorable. I have some of her things right here. I know you’re not gonna be able to see it over audio, but some of her, so these are her [00:45:00] stuffies that go with her, with her. I like Gissele: the rainbow one. Karen: Yeah. Well, this is actually, so her book is about the inner critic and Yeah, this is Crusher, which is your inner critic, and this is Booster. Karen: Who is your self-compassionate. So the Rainbow Guide is, oh, that’s beautiful, but she just has an unbelievably wonderful program. So yes, there are people working with younger kids and yeah, it’s so important to start early. Gissele: Thanks. Oh yeah, for sure. Yeah. But I absolutely appreciate that you’re working with teens ’cause that can be a difficult population, but definitely, definitely needed. Gissele: I think sometimes we make it more acceptable to do those kinds of things, like self-compassion, self-kindness practices with young kids, and then for some reason it just kind of drops off the face of the earth and we’re not continuing that practice. So I think it’s wonderful that you are doing that work. Gissele: Two more questions. I’m asking all of my, guests what their definition of self-love is. Karen: Definition of [00:46:00] self-love accepting yourself for who you are. Gissele: Mm-hmm. Karen: With all your so-called challenges and securities. Because really that’s, that’s what makes us who we are, is the whole package. Karen: You know, the things we like about ourselves and the things we’re not as comfortable with about ourselves and when we can. And you used this word earlier, which I think is, is really great. Allow the word allow when we can allow those parts of ourselves to be there, to be present and to accept them. Karen: Say, you know what, you know, I’m not the most patient person in the world. I know that about myself. And you know what? It’s okay. It’s okay. I’m not gonna be perfect and I’m not gonna be good at everything. I. And that’s okay. It’s okay not to be good at everything. So I, you know, my definition of self-love would be [00:47:00] just to, you know, be able to allow all those parts of your, of yourself, you know, to be present and to be there and maybe eventually move towards embracing them. Gissele: Hmm. I love that. So last question. Where can people work with you? Where can they find you? Where can they find your books? Please share. Karen: there’s two websites. There’s my website, which is my name http://www.karenbluth.com. And so you’ll find out about me about my work. On that website, we have a new website, which I really would like to promote. Karen: it’s a website, for teens teens, and that’s http://www.self-compassionforteens.org. And self-compassion is hyphenated. And so that is a recent website that we’ve just launched in the last couple of months which has all kinds of resources for teens, videos, short videos about explaining what self-compassion [00:48:00] is, you know, what the inner critic is, how can we deal with the inner critic. Karen: There’s there’s a quiz on there. See how self-compassionate you are. There’s video, there’s some videos that. Teams who have learned taken our courses, have talked about their experience with self-compassion. And then there’s section about taking a deeper dive. Anyway, I really would like teens everywhere to, to know about this website and have access to it. Karen: And it’s a great place to start to learn about how to be nicer to yourself. Gissele: Beautiful. There’ll be a link on our site. So thank you very much, Karen, for coming on the show and sharing your wisdom with us and for the work that you’re doing, which is so, so important and so needed at this time. And thank you for everyone that tuned into another episode of Love and Compassion Podcast with Gissele. Gissele: See you soon.

Man on the Run - Ubu Roi - Don Bluth: Somewhere Out There

Even naughty dogs can have a huge impact on animation.In 1989, animator Don Bluth dared to go it alone, without the might of George Lucas and/or Steven Spielberg, and pushed the boundaries of what animated movies could explore in All Dogs Go To Heaven; the third and final movie to celebrate this podcast's seventh birthday.Released on the exact same day as Disney's The Little Mermaid, this darker, grittier tale of redemption featured a con-artist dog literally escaping heaven to seek revenge on his murderer, complete with a terrifying nightmare sequence that traumatized a generation of kids.But the real horror wasn't just on screen. All Dogs Go To Heaven became a haunting memorial to ten-year-old Judith Barsi, whose voice brought orphan Anne-Marie to life just over a year after she and her mother were killed by her father, with the movie released posthumously, and its end credits song dedicated in her honour.Despite being overshadowed at the box office by Disney's juggernaut, All Dogs Go to Heaven has endured as a cult classic that represents both the peak of Don Bluth's artistic ambition and the beginning of his studio's commercial decline.Bluth's rebellious approach to animation, rejecting Disney's formula in favour of raw emotion and moral complexity, created a film that dared to ask whether dogs have souls, whether redemption is possible, and whether animated movies need happy endings. From its chaotic production with multiple story contributors to its lasting impact on viewers who still remember that nightmarish boat ride to hell, this is the story of an animated film that refused to play it safe.Support Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app

Even baby dinosaurs can have a huge impact on animation.In 1988, three Hollywood titans, Steven Spielberg, George Lucas, and Don Bluth, came together to create what would become one of the most emotionally devastating animated films ever made, and it is the second movie to celebrate this podcast's seventh birthday.The Land Before Time wasn't just another dinosaur movie: it was an ambitious attempt to recapture the magic of Bambi for a new generation, complete with a mother's death scene that traumatized millions of kids and made it a cultural touchstone. Despite the cutting of over ten minutes of footage deemed too scary, the film still pulled no punches in its portrayal of loss, survival, and the harsh realities of a prehistoric world.What makes The Land Before Time so enduring isn't just nostalgia, it's the film's willingness to treat young audiences with respect, addressing grief and fear head on.Working with both Spielberg and Lucas wasn't exactly the dream scenario Bluth expected it to be, though, and the partnership between Amblin & Sullivan Bluth would, like the dinosaurs they depicted, quickly become extinct. Despite this, The Land Before Time remains a masterclass in emotional storytelling that still resonates nearly four decades later.Support Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app

Jim and Eric kick things off with breaking news from Universal's Fan Fest - yes, there are now multiple colored Yoshis roaming around. From there, they dig into Universal's bold Mummy 4 release date, Wicked's Peacock debut, Mardi Gras madness in Orlando, and that Epic Universe Super Bowl ad that's clearly aimed at changing everything. Then in the back half, Jim dives into the surprisingly complicated history of The Land Before Time - from Spielberg's creative notes to 14 installments and those rare Littlefoot walk-around characters at Universal Studios Hollywood. NEWS • Mummy 4 gets a prime summer release date - Universal slots the Brendan Fraser-led sequel for May 19, 2028, signaling major confidence in the franchise's return. • Wicked heads to Peacock - Universal's Broadway juggernaut begins streaming March 20, keeping the contractual Wicked mention streak alive. • Universal Mardi Gras 2026 begins - Over 40 international food booths, live concerts, and the debut of Prince Gator at Universal Orlando. • Volcano Bay goes cashless - Starting February 25, the water park transitions to card-only transactions. • Epic Universe Super Bowl commercial - A sibling rivalry story spotlights Stardust Racers and positions Universal Orlando as a multi-day destination experience. FEATURE • The Land Before Time's surprising origin story - How Steven Spielberg partnered with Don Bluth after The Secret of NIMH and reshaped a dinosaur tale to be less terrifying for kids. • Scenes cut for being “too scary” - Nearly 10 minutes were removed before the 1988 theatrical release of The Land Before Time. • From theatrical hit to direct-to-video empire - Universal ultimately produced 14 installments, with the final entry arriving in 2016. • Rare Universal Studios walk-around characters - Littlefoot and Sarah once appeared in the parks - and Jim wants proof from listeners who remember them. HOSTS • Jim Hill - IG: @JimHillMedia | X: @JimHillMedia | Website: JimHillMedia.com • Eric Hersey - IG: @erichersey | X: @erichersey FOLLOW • Facebook: JimHillMediaNews • Instagram: JimHillMedia • TikTok: JimHillMedia SUPPORT Support the show and access bonus episodes and additional content at Patreon.com/JimHillMedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - Strong Minded Agency SPONSOR Planning your next adventure? The experts at Be Our Guest Vacations are a Platinum Level Universal and Disney travel agency, offering concierge-level planning for Universal Orlando, Universal Hollywood, Disney parks, cruises, and more. Start planning today at BeOurGuestVacations.com and be sure to mention the Epic Universal Podcast. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Even a little Jewish mouse can have a huge impact on animation.The 1986 Don Bluth animated classic An American Tail, a film that became the highest-grossing non-Disney animated feature of its time and helped reshape the animation industry, is the first movie to celebrate this podcast's seventh birthday.The project began with a concept by David Kirschner that was first pitched to Jeffrey Katzenberg at Disney, but when it reached Steven Spielberg's Amblin Entertainment, the legendary director saw its potential as a feature film. Spielberg, making his first foray into animation, brought aboard Don Bluth, a former Disney animator whose 1982 film The Secret of NIMH had impressed him with its return to the lush, detailed style of classic Disney animation.The film's story held deep personal significance for Steven Spielberg. Fievel was named after Spielberg's grandfather's Yiddish name, and the narrative of Jewish immigration and escape from persecution in 1885 Russia drew directly from stories Spielberg had heard about his own family history.An American Tail doesn't shy away from the harsh realities of immigrant life in 1880s New York, either. The film portrays sweatshops, tenement poverty, political corruption, and exploitation, though it wraps these difficult themes in the accessible framework of a mouse family's journey to find each other in a new land.Don Bluth's unique animation style revolutionized the industry, proving that animation is a powerful medium for all ages, and should not be pigeonholed as just movies for children. An American Tail tackles serious themes like immigration, anti-Semitism and child slavery, making it relevant for audiences of all ages.An American Tail was a wake-up call for Disney, and the fact it beat (Basil) The Great Mouse Detective's box office takings, meant battle lines were drawn, and round one went to Bluth and Spielberg...Support Verbal DioramaLoved this episode? Here's how you can help:⭐ Leave a 5-star review on your podcast app

Right in the thick of awards season, Jim Hill and Drew Taylor sit down to read the tea leaves on this year's animation race while also digging into a pivotal - and often misunderstood - moment in Disney animation history. From Annie Award trends and box office signals to Don Bluth's garage-era rebellion, this episode covers how a shortage of effects animation talent helped spark one of the biggest talent walkouts the studio ever faced. NEWS • Why KPop Demon Hunters and Pixar's Elio leading the Annie nominations could matter as Academy voting begins • The third Avatar film dominates the box office again as Zootopia 2 closes in on Lion King-level numbers • GKIDS picks up Shaun the Sheep: The Beast of Mossy Bottom for a Halloween release • Remembering composer Guy Moon and his legacy across The Fairly OddParents, Danny Phantom, and more FEATURE • How shrinking FX animation departments in the 1970s quietly changed Disney's films • Why Don Bluth created Banjo the Woodpile Cat as a “training exercise pretending to be a movie” • Ron Miller's rejection of Banjo and how that decision helped trigger Bluth's mass exit from Disney • The ripple effects that delayed The Fox and the Hound, reshaped the studio, and helped set the stage for Disney's 1980s reboot HOSTS • Jim Hill - IG: @JimHillMedia | X: @JimHillMedia | Website: JimHillMedia.com • Drew Taylor - IG: @drewtailored | X: @DrewTailored | Website: drewtaylor.work FOLLOW • Facebook: JimHillMediaNews • Instagram: JimHillMedia • TikTok: JimHillMedia SUPPORT Support the show and access bonus episodes and additional content at Patreon.com/JimHillMedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - Strong Minded Agency SPONSOR This episode is sponsored by Unlocked Magic. Save on Walt Disney World and Universal Orlando tickets - sometimes up to 12 percent off - at UnlockedMagic.com. When you book, please let them know Drew and Jim sent you. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Right in the thick of awards season, Jim Hill and Drew Taylor sit down to read the tea leaves on this year's animation race while also digging into a pivotal - and often misunderstood - moment in Disney animation history. From Annie Award trends and box office signals to Don Bluth's garage-era rebellion, this episode covers how a shortage of effects animation talent helped spark one of the biggest talent walkouts the studio ever faced. NEWS • Why KPop Demon Hunters and Pixar's Elio leading the Annie nominations could matter as Academy voting begins • The third Avatar film dominates the box office again as Zootopia 2 closes in on Lion King-level numbers • GKIDS picks up Shaun the Sheep: The Beast of Mossy Bottom for a Halloween release • Remembering composer Guy Moon and his legacy across The Fairly OddParents, Danny Phantom, and more FEATURE • How shrinking FX animation departments in the 1970s quietly changed Disney's films • Why Don Bluth created Banjo the Woodpile Cat as a “training exercise pretending to be a movie” • Ron Miller's rejection of Banjo and how that decision helped trigger Bluth's mass exit from Disney • The ripple effects that delayed The Fox and the Hound, reshaped the studio, and helped set the stage for Disney's 1980s reboot HOSTS • Jim Hill - IG: @JimHillMedia | X: @JimHillMedia | Website: JimHillMedia.com • Drew Taylor - IG: @drewtailored | X: @DrewTailored | Website: drewtaylor.work FOLLOW • Facebook: JimHillMediaNews • Instagram: JimHillMedia • TikTok: JimHillMedia SUPPORT Support the show and access bonus episodes and additional content at Patreon.com/JimHillMedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - Strong Minded Agency SPONSOR This episode is sponsored by Unlocked Magic. Save on Walt Disney World and Universal Orlando tickets - sometimes up to 12 percent off - at UnlockedMagic.com. When you book, please let them know Drew and Jim sent you. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. Learn more about your ad choices. Visit megaphone.fm/adchoices

Andrea Gelsi nace en Montevideo y se forma en dibujo, pintura y collage en el taller de Edgardo Ribeiro discípulo de Torres García. Adquiere un lenguaje propio en el taller de Virginia Jones y Dina Vicente, donde realiza su serie de los inmigrantes y en el taller de Álvaro Amengual se anima a expresarse más desde su imaginación utilizando la acuarela, el óleo y el collage para transmitir su sentir y su pensamiento.Su obra se centra en la figura humana, quizás por su profesión de psicóloga. Son retratos, recuerdos de infancia en la playa, escenas de intimidad que se contraponen a cuadros de multitudes, donde la autora nos muestra en ellos, a gente que puede reunirse por algo que les es común que habla de semejanza. Hay escenas de estadios, de teatros, de calles llenas de gente por ver un espectáculo, por decidir una votación.

Natalia Brignoni es artista visual y licenciada en Diseño Gráfico.Su práctica artística se centra en la exploración dematerialidades y narrativas a través de la pintura abstracta, elcollage y la instalación, indagando la subjetividad, las emociones y la memoria. Actualmente, su trabajo se enfoca en dos líneas principales: la transmisión de sus aprendizajes a través de programas y cursos, y el desarrollo de instalaciones inmersivas, un camino que le permite profundizar en los aspectos conceptuales de su obra y en la interacción directa con el público.

On the Saturday December 20, 2025 edition of The Richard Crouse Show we’ll meet author Joe Hill. His bestselling novels & short stories have inspired hit adaptations like “Locke & Key,” “Horns,” and “The Black Phone,” as well as “In the Tall Grass” (which he adapted for film and co-wrote the novella of with his father Stephen King.) Today we’ll talk about “King Sorrow,” a genre-bending horror epic that spans 25 years. It follows six college friends who summon a dragon using a book bound in human skin. Each year, they must choose a sacrifice—or become one. Then we get to know Jen Viens. They work in both film and theatre across Canada. When Jen is not wearing one of their many hats on set or on stage, they coach actors of all ages and keep productions safe and creative as an Intimacy Coordinator Then we spend some time with Will Arnett. The Canadian born actor, comedian, and producer is known for his voice roles, particularly as the title character in the Netflix series BoJack Horseman and as Batman in “The Lego Movie” franchise. He is also famous for his live-action roles, most notably G.O.B. Bluth in “Arrested Development.” He is also the host for the US version of “LEGO Masters.” He has been Primetime Emmy Award-nominated for “Arrested Development,” “30 Rock,” and “BoJack Horseman.” Since 2020, he has hosted the Fox reality series Lego Masters. Arnett began co-hosting the comedy podcast “SmartLess” alongside Sean Hayes and Jason Bateman. Today we talk about his new film “Is This Thing On?” In the film, which is already getting Oscar buzz, he plays Alex, who, after many years with Tess, played by Laura Dern, reach an amicable end to their marriage. As they figure out how to live separately while raising two boys and maintaining their friendships, Alex discovers stand up comedy and, in the process, learns more about himself and his relationship.

On the Saturday December 20, 2025 edition of The Richard Crouse Show we'll meet author Joe Hill. His bestselling novels & short stories have inspired hit adaptations like “Locke & Key,” “Horns,” and “The Black Phone,” as well as “In the Tall Grass” (which he adapted for film and co-wrote the novella of with his father Stephen King.) Today we'll talk about “King Sorrow,” a genre-bending horror epic that spans 25 years. It follows six college friends who summon a dragon using a book bound in human skin. Each year, they must choose a sacrifice—or become one. Then we get to know Jen Viens. They work in both film and theatre across Canada. When Jen is not wearing one of their many hats on set or on stage, they coach actors of all ages and keep productions safe and creative as an Intimacy Coordinator. Then we spend some time with Will Arnett. The Canadian born actor, comedian, and producer is known for his voice roles, particularly as the title character in the Netflix series BoJack Horseman and as Batman in “The Lego Movie” franchise. He is also famous for his live-action roles, most notably G.O.B. Bluth in “Arrested Development.” He is also the host for the US version of “LEGO Masters.” He has been Primetime Emmy Award-nominated for “Arrested Development,” “30 Rock,” and “BoJack Horseman.” Since 2020, he has hosted the Fox reality series Lego Masters. Arnett began co-hosting the comedy podcast “SmartLess” alongside Sean Hayes and Jason Bateman. Today we talk about his new film “Is This Thing On?” In the film, which is already getting Oscar buzz, he plays Alex, who, after many years with Tess, played by Laura Dern, reach an amicable end to their marriage. As they figure out how to live separately while raising two boys and maintaining their friendships, Alex discovers stand up comedy and, in the process, learns more about himself and his relationship.

La obra de Pablo refleja paisajes que conoció en sus viajes por el mundo, inspirado en los colores y una paleta brillante.Con sus cuadros transmite gran pasión por los colores y mucha paz. En ocasiones abrumado por información que no escapa de la realidad, sus creaciones reflejan tristeza e injusticia.Durante su recorrido artístico, se ha especializado en la creación de collages elaborados a partir de origamis confeccionados con papel de revistas en desuso que encuentra en ferias barriales de diferentes países donde se encuentre.Sus obras han sido presentadas en diversas ferias y muestras, donde ha logrado plasmar sus ideas y transmitir profundas emociones a través de cada pieza.Cada creación refleja aspectos esenciales de su identidad, integrando en sus formas y colores fragmentos simbólicos de su propia historia.Ha participado en exposiciones internacionales en España, Italia, Francia, Punta del Este y Montevideo.Su obra ha recibido reconocimiento en múltiples eventos y certámenes artísticos, además de formar parte de exhibiciones tanto colectivas como individuales.Sus trabajos se encuentran en diferentes lugares del mundo.El propósito de Pablo como creador es continuar explorando nuevas formas de expresión y desarrollar cuadros que conecten íntimamente con las emociones de quienes los contemplan.Actualmente convive entre la gastronomía y el arte plástico.

Artista uruguaya de origen sueco. Se formó con figuras destacadas como Clever Lara y Dante Picarelli, comenzando su práctica con un enfoque en la figura humana y un profundo interés por los procesos interiores de la mente.Con el tiempo, su obra evolucionó hacia la abstracción, un giro que le permitió desarrollar un lenguaje más personal, capaz de trascender la forma para adentrarse en la memoria, la emoción y lo simbólico. A través de técnicas mixtas que combinan acrílico, tinta, óleo y collage, sus composiciones construyen un paisaje psicológico: estratificado, intuitivo y de una intensidad silenciosa.La práctica de Barfod habita la tensión entre el orden y el caos, entre la estructura y la espontaneidad. Sus pinturas no buscan explicar, sino revelar - sugieren en lugar de declarar, invitando al espectador a una mirada más profunda y contemplativa.Sobre sus obras: Su arte parte de una intuición. En general no empieza con algo definido; casi nunca tiene una idea previa. Comienza con colores, formas y distintos materiales como acrílicos, óleos al agua, mixed media, y empieza por cualquier parte de la tela. A partir de ahí va construyendo algo que, para ella, tenga una armonía propia. Se deja llevar hasta acercarse a una zona que comienza a resultarle atractiva.Desde hace un tiempo, sus trabajos la llevan a jugar con símbolos y, dentro de lo abstracto, con interferencias que hacen aparecer, cada tanto, elementos reconocibles. A veces solo para ella; a veces otros ven cosas diferentes. Los percibe como pequeños universos, un lenguaje propio donde surgen presencias y signos que no planifica, que aparecen incluso antes de pensarlos.En ese proceso creativo siente algo parecido a un juego, un estado intermedio entre lo consciente y lo inconsciente. No busca explicar ni representar algo literal. Su disfrute está en dejarse llevar: en esa sensación de inmersión donde hasta su “yo” se diluye un poco. Es una especie de trance, momentos de felicidad absoluta donde desaparece la vida cotidiana y su automatismo.Prefiere que su trabajo la lleve a ella y no al revés. Ese movimiento es como un silencio lleno de ideas que no maneja racionalmente. Si jugara con lo religioso —aunque no lo es— podría decir que ese estado habita por momentos lo infinito y lo eterno.Pintar, para ella, es pensar con las manos: ordenar lo que aparece y darle un lugar a lo invisible. Y lo invisible, paradójicamente, es todo aquello que la forma y la contiene, aunque no pueda racionalizarlo. Como si una pequeña puerta al inconsciente se abriera por momentos. A eso se refiere cuando habla de trance.

Es una diseñadora y artista plástica uruguaya cuyo trabajo fusiona la sensibilidad textil con la pintura. Formada en la alta costura desde 1999, desarrolló un fuerte vínculo con la materia, la textura y el color, elementos que luego trasladó al lienzo.Su obra, inscrita en el expresionismo abstracto, se caracteriza por la gestualidad, la espontaneidad y una intensidad cromática que transmite emoción y energía.En los últimos años ha consolidado su presencia en el circuito artístico uruguayo, realizando diversas exposiciones individuales y colectivas como “Impulso y Espacio”, “Belleza y Enigma”, “Signos” y “Desde la hamaca”. Además de participar en ferias como MasterArtFeria y Artify.En 2025 expuso junto a Horacio Guerreiro en Casa Solís y fue invitada a Expo Educate.Sobre sus obrasSu pintura se enmarca en el expresionismo abstracto y destaca por su gestualidad, espontaneidad, libertad e intensa fuerza cromática.Trabaja en grandes formatos, superponiendo capas de color que transmiten energía y emoción.Guiada por el impulso y la intuición, convierte la acción de pintar en una extensión del cuerpo y en un medio de conexión profunda.Su obra revela una rica escritura plástica mediante empastes, diluciones, raspados y goteados, realizados con una amplia variedad de instrumentos como pinceles, espátulas, lampazos, rodillos y trapos.Cada obra se convierte así en un acto vital donde el color es lenguaje y el gesto, revelación.

José Gurvich, que nació en 1927 en un pequeño pueblo de Lituania y llegó al Uruguay a los cinco años, fue pintor, dibujante y ceramista. Se formó en la Escuela Nacional de Bellas Artes y luego en el Taller Torres García, donde también fue docente y uno de sus integrantes más destacados.Viajó por Europa e Israel, vivió en un kibutz y expuso en Roma y Tel Aviv. En 1967 presentó en Montevideo una muestra decisiva, celebrada por la crítica. Tras nuevos viajes por Europa se radicó finalmente en Nueva York, donde continuó trabajando hasta su muerte.Sobre la nueva exposición "Iconos modernos. José Gurvich y el género del retrato"La exposición antológica del Museo Gurvich propone un recorrido por una de las vertientes más significativas de su obra: el retrato, revisado aquí desde los principios del Universalismo Constructivo y las enseñanzas del Taller Torres García.Presentada simultáneamente en el Museo Gurvich (Sarandí 524) y en la Sala de Arte Carlos Federico Sáez del MTOP (Rincón 575), con inauguración el 27 de noviembre a las 18 h, la muestra organiza las obras en núcleos que abordan el retrato femenino, la familia, amigos, colegas artistas y figuras emblemáticas como Estela Medina.Conversamos con el curador de esta exposición y con el presidente de la Fundación Gurvich.

Sebastián es pintor y docente de arte.Entre los años 2000 y 2015 se dedicó principalmente al retrato, explorando la figura humana desde distintos enfoques. Luego su práctica se orientó hacia la naturaleza, tema que atraviesa su producción más reciente.Ha viajado por la selva peruana, colombiana y brasileña, experiencias que influyeron profundamente en su mirada y en su obra. También ha trabajado sobre los ríos contaminados de Minas Gerais, en particular el río Dulce y el Gualaxo do Norte.Actualmente desarrolla su trabajo en su estudio ubicado en la Ciudad Vieja de Montevideo.Sobre su obraSu interés se centra en la naturaleza: sus formas, sus transformaciones y su relación con el ser humano. En sus pinturas, a veces aparecen animales o figuras humanas, presencias que emergen del paisaje o lo habitan de manera sutil.Sus cuadros pueden representar tanto no-lugares como espacios con los que mantiene una relación afectiva o de memoria, construyendo así un territorio pictórico propio.

Desde muy joven estuvo vinculada a la creación plástica, formándose en la Escuela Nacional de Bellas Artes, donde comenzó a explorar el lenguaje del color, el agua y la materia como fuerzas generadoras de sentido.Su obra explora el equilibrio entre orden y caos como parte de un destino que se despliega en cada trazo. Sus universos pictóricos emergen a través del agua, el color y la transparencia, revelando lo que ya estaba latente en un estado de gestación.Su arte nace desde la emoción y el amor como energía primordial; a través del color, el agua y la forma se revelan mundos en gestación, universos simbólicos donde lo íntimo se une con lo infinito y la vida se expresa en su estado más esencial.

Flavia Ocando nació en Caracas, Venezuela en 1981.Desde temprana edad mostró un profundo interés por las artes plásticas, lo que la llevó a formarse en el Colegio Bellas Artes y a complementar su carrera universitaria con talleres de expresión artística. Su desarrollo creativo se consolidó en Suiza, donde cursó estudios de expresión plástica y definió su concepción estética.Graduada en Psicología por la Universidad Rafael Urdaneta (URU), con estudios de posgrado en la Universidad Católica Andrés Bello (UCAB) y en la Universidad La Salle (España), Ocando integra su formación académica en sus procesos artísticos, dotando a su obra de un enfoque emocional y reflexivo orientado al bienestar y la positividad.Su trabajo se caracteriza por una marcada afinidad hacia el arte cinético, el estudio del movimiento y la interacción con la luz. A través de un meticuloso proceso creativo, utiliza arreglos matemáticos para organizar lo accidental, transformando la luz en un elemento activo que cambia la percepción de la obra según la hora del día y la dirección lumínica. Emplea principalmente ensamblajes de madera y acrílico cortado con láser, combinando precisión técnica con una sensibilidad psicológica y estética.Su práctica artística refleja la influencia de su formación en psicología, buscando generar bienestar y transmitir mensajes positivos a través de sus composiciones. Inspirada en el arte cinético, su trabajo explora el movimiento, la luz y la interacción con el entorno como vehículos de conexión emocional y serenidad interior.

Andrés Urtado Morales nació en Salta, Argentina en 1987. Desde su infancia manifestó inclinaciones deportivas y artísticas, que con el paso del tiempo se fueron transformando en su estilo de vida. La veta artística lo ha llevado a explorar diferentes técnicas, elementos y soportes, necesarios para llevar a cabo sus expresiones creativas.Esas inquietudes por plasmar en algo tangible las ideas que surgían, lo llevaron a aprender de forma autodidacta, técnicas para pintar, soldar en varios procesos, grabar y manejar una gran variedad de herramientas, con las cuales da forma a sus obras.Sus esculturas están elaboradas a mano en acero Corten y acero inoxidable, combinando la resistencia y el tono rojizo del primero con el brillo y la durabilidad del segundo. La soldadura MIG y TIG asegura un acabado pulido y uniones robustas, resaltando la forma y la textura de cada pieza.

Desde muy joven se formó en la Escuela Industrial de su ciudad natal, con orientación en Corte y Confección.Se dedicó inicialmente al tejido manual y a máquina, confeccionando prendas de vestir.A partir de 1987 encontró en el tapiz su verdadera forma de expresión artística.Su formación en este arte comenzó en el taller de Graciela Risso y continuó con Gianella Machado, consolidando así una base sólida que luego compartiría al comenzar a impartir cursos en 1992.A lo largo de los años presentó sus trabajos en numerosas exposiciones colectivas e individuales, tanto en Las Piedras como en Montevideo y Punta del Este, y fue una activa participante en encuentros nacionales de tapicería, dejando su huella en cada muestra. Entre 1997 y 2015 mantuvo una exposición permanente en el establecimiento La Tardecita, en Las Brujas, Canelones.A sus 84 años, Violeta continúa creando con la misma pasión de siempre, defendiendo el valor del trabajo manual en tiempos de producción industrial. En su bastidor, urde con paciencia los hilos que darán forma a cada obra, en un proceso que puede tomarle meses pero que siempre termina sorprendiendo por su originalidad y calidez.Fiel a su espíritu incansable, suele decir que el tapiz que está tejiendo será el último... aunque ese último, afortunadamente, nunca llega.

Nacida, criada y residente en Montevideo, Uruguay, sus primeros pasos en la creación artística estuvieron ligados al diseño de papelería. Durante 25 años trabajó con papeles y cartulinas, plasmando su creatividad en invitaciones para eventos. En un momento de su recorrido sintió la necesidad de dar un nuevo significado a los materiales que utilizaba, comenzando así a combinarlos con objetos personales, transformando recuerdos en creaciones cargadas de una fuerte implicación emocional.Su incorporación al Taller de Arte José María Pelayo (Montevideo) le brindó un valioso crecimiento técnico y una orientación artística significativa. Los talleres de Historia del Arte con Emma Sanguinetti fueron un estímulo creativo y una fuente de gran inspiración. Actualmente, la curadora Jaqueline Lacasa la acompaña en su proceso artístico, potenciando su desarrollo.Su interés principal es transformar una idea o un recuerdo en una obra a partir de materiales simples y cotidianos, que en conjunto se convierten en una representación profundamente emocional.Recientemente, como síntesis de un proceso de investigación, ha intervenido máquinas de tejer, radios, grabadores y vitrolas antiguas —objetos que alguna vez fueron parte de la vida cotidiana— para resignificarlos y hacer que resuenen como ecos de una memoria tanto colectiva como personal. Les devuelve voz, vibración y sentido en un diálogo con sus manos, para seguir tejiendo otras historias.

Show #260 - Hosts Dave Bossert and Aljon Go share a classic interview from the Skull Rock Podcast Vault featuring Supervising Animator Dave Spafford. Spafford is best known for his work with Disney, Bluth, and Warner Bros. Animated films - Who Framed Roger Rabbit, The Little Mermaid, An American Tail, and Space Jam. In this episode, Spafford shares stories of how he was hired by Disney and some of the animated classics of the early to mid-80s (content note for very brief adult language). This unedited interview segment was originally released on the 8/21/03 episode of Skull Rock Podcast.We are now on Patreon! Click this link to support the show -⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Skull Rock Podcast | Join our crew! | Patreon. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Skull Rock Podcast is powered by Riverside.fm. Click⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ HERE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and start making great podcasts today!Visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠theoldmillpress.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Faceboook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠|⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X/Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ |⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ |⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Youtube ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠-⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Aljon Go (aljongo) - Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - Aljon's ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Dining at Disney Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - Sorcerer Radio - All Disney Music, All Day Long ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SRSounds.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - E-mail: aljon@skullrockpodcast.com ||⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Dave Bossert (@dave_bossert) • Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ - Email dave@skullrockpodcast.com. For behind-the-scenes stories and articles, visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠davidbossert.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Shop using our Amazon affiliate ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠HERE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. The Skull Rock Podcast is one of the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠best Disney podcasts you must follow (feedspot.com)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. LISTEN to Dave's ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠"Tunes Behind the Toons" segment on Sirius/XM's Disney Hits channel 133⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Eden, Mo, Zach, Katie and Mayes ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join the Mailbag LIVE on YouTube every Friday⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Do you feel more qualified than some of your friends for their jobs? If basketball was invented tomorrow, would it become popular? Why does Paul Boehl only have one pair of underwear? All those questions answered, and so much more. Patreon Exclusive: We start our post-apocalyptic cults COUNT THE DINGS MERCH STORE - Check it out here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/CTDMERCH⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to hear the full Mailbag, check out the Patreon! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join the Count The Dings Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for exclusive full, ad free episodes, extra Cinephobe content and more at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/CountTheDings Learn more about your ad choices. Visit megaphone.fm/adchoices

Trigun E11 & E12 Kicking off the famous Legato Arc, and this just turns into a while different show, doesn't it? Our theme music is JoJango by Milk Jooce, it can be found at https://milkjooce.bandcamp.com/ If you enjoy the show, please consider supporting us at https://www.patreon.com/jojosworld

The podcast is making another visit to Salt Lake County. UIAAA Connection #245 – Lindsey Bluth-Baldwin, CAA, Director of Athletics – American Preparatory Academy Draper, is now available. Lindsey grew up in Molalla, Oregon, competing in basketball, volleyball, and softball during high school. She attended Western Oregon University and Utah Valley State College, beginning her coaching career in girls' basketball immediately after graduation. Holding undergraduate and graduate degrees in Elementary Education, Lindsey recently earned her CAA and stresses the importance of certification. She reminds listeners thatserving as an athletic director involves far more than attending games. Her advice: delegate responsibilities when possible and focus on building strong, positive relationships with students to foster trust, growth, and success in the athletic environment. Please Listen, Learn, and Share! You can subscribe to UIAAA TV on YouTube! This podcast is also available on Amazon Music, Apple Podcasts, Breaker, Castbox, Google Podcasts, iHeartRadio, Overcast, Pocket Casts, RadioPublic, Spotify, Stitcher, and YouTube.

Part 2 of our conversation with Queer Therapist Jay Holt as we continue to celebrate Pride. Our in-depth conversation concludes as we chat about the affects the world have on us as a community and Pride as a whole. We're taking the convo to lots of places but always bringing it back to a place of positivity and hope.PLUS! This episode we also have new music from Adam Renz, Anthony Mascia, Baileigh Jane, BLUTH, Downupright, Fedge, Gemma Laurence, Heather Paterson, Huntington, Jayden McKenzie with Keith McMillan, and The Noisy.⚡️CONNECT WITH THE Q⚡️ Website: ⁠⁠⁠⁠https://www.curatedbyq.com⁠⁠⁠⁠ ⚡️FB/Instagram/TikTok @theqreviews ⚡️YouTube.com/@QCreativeNetwork⚡️Apparel Shop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://qreview.threadless.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⚡️Theme Music provided and performed by UK DJ and producer Hectic @hectictracks on Instagram⚡️ 

On this episode of The 3DO Experience, we talk about the 1983 arcade classic Dragon's Lair and its sequels to see how they've held up!Check Out Call of Duty: Thrak Ops: https://superpodnetwork.com/podcast/call-of-duty-thrak-opsProud Member of https://superpodnetwork.com/Follow us at: https://linktr.ee/ThebarberwhogamesFollow Thrak at: https://bsky.app/profile/thrak.bsky.socialCheck out Thraks streams at: https://www.twitch.tv/thrak94

Link for CME Credit Coming soon! This enlightening episode of Pediatrics Now features an in-depth conversation with Dr. Karen Bluth, an associate professor emerita from the University of North Carolina and a pioneering author on self-compassion for teens. Host Holly Wayment explores with Dr. Bluth the transformative power of self-compassion in helping teens cope with anxiety, depression, and stress. Dr. Bluth shares her insights and decades of experience in the field, emphasizing the critical importance of teaching teens resilience and self-kindness. The discussion delves into the challenges faced by today's youth and practical strategies for clinicians and parents to support adolescents in becoming their own advocates for well-being. Additionally, the conversation covers the utility of Dr. Bluth's books and courses designed to instill mindfulness and self-compassion skills for teens facing everyday stressors and emotional struggles. Clinicians will gain valuable understanding of how cultivating self-compassion can lead to improved mental health and academic outcomes for teenagers. Tune in to discover how both teens and adults can benefit from embracing these principles to enhance their quality of life.

The original Secret of NIMH kicked off Don Bluth's independent animation studio, and is fondly remembered by many millennials. But the sequel abandons all its ambition and artistry for a cheap cash-in. Can we craft something that better honours the original's legacy? And which Sequeliser is a hardcore Bluth-hater? Website: www.sequelisers.com/  Discord: www.sequelisers.com/discord  Shop: www.sequelisers.com/shop  BlueSky: https://bsky.app/profile/sequelisers.bsky.social Instagram: instagram.com/sequelisers TikTok: tiktok.com/@sequelisers Music by Daniel Williams Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Shaping Our World, Dr. Karen Bluth joins host Chris Tompkins to explore how self-compassion can transform the lives of teens. A leading researcher and author, Dr. Bluth unpacks practical tools for managing anxiety, overcoming self-criticism, and navigating the challenges of adolescence. With heartfelt stories and research-backed insights, this episode offers encouragement and strategies for parents, educators, and anyone passionate about supporting young people on their journey to emotional well-being.

OA1157 - Leah Litman is a co-host of Crooked Media's Strict Scrutiny podcast and professor at University of Michigan Law School, and most recently the author of Lawless: How the Supreme Court Runs on Conservative Grievance, Fringe Theories, and Bad Vibes. We are pleased to welcome Professor Litman to discuss everything from what it's like to teach American Constitutional law 2025 to what the Supreme Court has in common with the Bluth family. Lawless: How the Supreme Court Runs on Conservative Grievance, Fringe Theories, and Bad Vibes, Leah Litman (2025) Check out the OA Linktree for all the places to go and things to do! To support the show (and lose the ads!), please pledge at patreon.com/law! This content is CAN credentialed, which means you can report instances of harassment, abuse, or other harm on their hotline at (617) 249-4255, or on their website at creatoraccountabilitynetwork.org.

Are you ever going to text me?This episode is running hands free.Jason, Jim, and Joseph recall their favorite TV series to revisit.Murky flush."Old Man" Joseph is complaining (about everything) again.Jason is unrestrained with the puns.I am a white man with hair in America.  I can do anything.Jim may have a case of "wired connectivity".Jason admits to being a real life "Hop On" the Bluth's stair car.One name... Gilligan.  Need Jim say anymore?Lovey Howell, the sexiest Honeybee.How long does it take Joseph to binge a seven-season series?  Hint: It is a ridiculously short amount of time.Which one of Jim's favorite shows is frequently played in the background during the recording of CCR shows.

This week on the podcast, we talk real vs. simulacrum, the photographer's hunt for ownership, and the Bluth family model home in 1991's THE ADJUSTER! swimfanspod.com patreon.com/swimfans

The Bluths are back for one final season three spectacle, and it's as chaotic as ever! Michael finally takes the reins of the company, but will he ever escape his dysfunctional family for good?George Michael makes a bold move—literally—while Lindsay gets shocking news that shakes up her identity. Meanwhile, Lucille proves once again that she's the real puppet master of the Bluth empire, and Annyong makes an unexpected return with a secret mission of his own. Hop on the S.S. Bluth for a season finale packed with awkward romance, family betrayals, and just the right amount of maritime absurdity!-----------------------------------------------------------------Follow us on Twitter and Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Magic3TVPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out all of our sweet merch at the Magic Number is 3 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch Store ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠And learn more about The Magic Number is 3 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Here⁠

Back to Bluth! Is that anything? It doesn't feel like anything, but I'm writing stream-of-consciousness today, so I'm not changing it. What IS the secret of NIMH? Why is there a terrifying necromancer-coded owl? Will little Timmy survive!? Find out. Our theme music is Homeward by Scott Buckley. Find us on the Internet! Email is mail@directto.video Youtube channel is Direct to Video Podcast Andy's Youtube Channel is Ethical Games Journalism Tony is@inspiredbytrueevents.org Tony's comic is Inspired By True Events

The Bluth family is back in full chaotic force in Arrested Development Season 3, Episode 11, Family Ties! This week, we unravel Michael's latest quest to uncover a long-lost sister—only to get tangled in a web of misunderstandings, a tech failure, and one very expensive escort. Meanwhile, Tobias and Lindsay continue to be the most mismatched married couple in existence, GOB takes religious misinterpretations to new heights, and Buster is still faking his coma (or is he?). Plus, we break down Nellie's financial savvy, George Sr.'s ridiculous business model, and the economics of being a puppet pimp. Is GOB secretly rich? Should Tobias and Lindsay just call it quits? And most importantly—who actually finishes each other's sandwiches? Tune in to find out!-----------------------------------------------------------------Follow us on Twitter and Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Magic3TVPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out all of our sweet merch at the Magic Number is 3 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch Store ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠And learn more about The Magic Number is 3 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Here⁠

Welcome to this week's episode of The Video Store Podcast . This week, I'm focusing on animated movies that lean into darker themes and mature storytelling. These aren't your typical Saturday morning cartoons or Disney films. They're imaginative, ambitious, and not afraid to explore the more complicated corners of life.Let's dive into the four films I'm recommending this week.1. Watership Down (1978)This adaptation of Richard Adams' novel is often remembered for its striking animation and unflinching depiction of survival. On the surface, it's a story about rabbits searching for a safe place to call home, but the film works on deeper levels, touching on themes like leadership, sacrifice, and the brutal realities of nature.Director Martin Rosen made the choice to stay true to the novel's tone, which makes this film stand out from other animated projects of the time. The voice cast is strong, John Hurt as Hazel and Richard Briers as Fiver bring a lot of emotion to their roles. The animation is hand-drawn, with detailed backgrounds that create a world that feels both beautiful and dangerous.2. The Last Unicorn (1982)Based on Peter S. Beagle's novel, The Last Unicorn has a dreamlike quality that sets it apart from other animated films of its time. It tells the story of a unicorn searching for her lost kind, encountering both friends and enemies along the way. While the animation was produced by Rankin/Bass, the actual work was done by a Japanese studio that would later become Studio Ghibli, which might explain the film's unique visual style.This voice cast is great. Mia Farrow voices the Unicorn, Jeff Bridges plays Prince Lir, and Christopher Lee is unforgettable as King Haggard. Lee was reportedly a huge fan of the book and even brought his own copy to recording sessions to ensure his performance stayed faithful to the source material.The soundtrack, provided by the band America, gives the movie a melancholy, almost folk-like feel that complements its tone.3. The Secret of NIMH (1982)Don Bluth made his directorial debut with this adaptation of Mrs. Frisby and the Rats of NIMH by Robert C. O'Brien. The film tells the story of a widowed field mouse, Mrs. Brisby, who must save her home and sick child with the help of highly intelligent rats.What makes The Secret of NIMH stand out is how dark and detailed it is. Bluth and his team left Disney to make this film because they wanted to push the boundaries of animation, and it shows. The level of detail in the animation is stunning, especially in the rats' lair, which feels alive with glowing lights and intricate designs.The score by Jerry Goldsmith is sweeping and dramatic, which matches the film's high stakes. And while it's technically a kids' movie, it doesn't shy away from mature themes like death, ethics, and the consequences of human interference with nature.4. Heavy Metal (1981)If you're into sci-fi, fantasy, or anthology storytelling, Heavy Metal is one to check out. It's based on the magazine of the same name and features multiple stories connected by a mysterious glowing orb called the Loc-Nar. The animation is bold, with an unapologetically adult tone. Even though I saw it as a kid, I think this one is definitely not for kids.What's interesting about Heavy Metal is how it pulls from different art styles, with each segment feeling distinct. The soundtrack is packed with rock and heavy metal tracks from bands like DEVO, Black Sabbath, Blue Öyster Cult, and Journey, giving it a unique energy.Each of these films pushes the boundaries of what animated storytelling can do, whether through their themes, visual style, or just their ambition. They're all worth watching if you're looking for something that goes beyond the typical animated fare. That's it for this week's episode of The Video Store Podcast. Thanks for listening, and let me know what you think of these recommendations. Thanks for reading Video Store Podcast! Subscribe for free to receive new posts and support my work. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

Get ready for an episode packed with legal loopholes, fake comas, and an ill-advised wedding! This week, Kalvin and Chris break down Arrested Development Season 3, Episode 10, Fakin' It, where the Bluth family prepares for trial in the most chaotic way possible—featuring a mock court presided over by none other than Judge Reinhold. Meanwhile, Buster's accidental overdose lands him in the perfect situation: a guilt-free, hospital-sponsored nap. Plus, George Michael and Maeby take role-playing a little too far, leading to some unintended family drama. Mock trial with J. Reinhold? Franklin's bold new fashion statement? We're covering it all—so tune in and let's break it down! -----------------------------------------------------------------Follow us on Twitter and Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Magic3TVPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out all of our sweet merch at the Magic Number is 3 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch Store ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠And learn more about The Magic Number is 3 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Here⁠

This week we're diving intoArrested Development Season 3, Episode 7:Prison Break-In! What do pet turtles, questionable fundraising galas, and Tobias' grotesque hair plugs have in common?A whole lot of Bluth family chaos.We break down Lucille's latest power moves, George Sr.'s bizarre house arrest logic, and GOB's disaster of a promotional video.Plus, is Tobias' hair secretly a sentient parasite?Tune in to find out!-----------------------------------------------------------------Follow us on Twitter and Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Magic3TVPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Check out all of our sweet merch at the Magic Number is 3⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch Store ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠And learn more about The Magic Number is 3⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Here⁠

In this episode, we dive headfirst into the hilariously chaotic "Mr. F" from season 3 of Arrested Development. From moles—both literal and metaphorical—to Tobias's unforgettable costumed rampage, this episode is layered with the show's signature humor and absurdity. We unravel Michael and Rita's quirky relationship and the comedic genius behind George Michael's jetpack adventure. Plus, we tackle the mysteries of Tobias's improv background and the Bluth family's tangled web of secrets. Join us for a deep-dive full of laughs, wild theories, and unexpected insights! ----------------------------------------------------------------- Follow us on Twitter and Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Magic3TVPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Check out all of our sweet merch at the Magic Number is 3 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch Store ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ And learn more about The Magic Number is 3 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Here

Meet Jordon MeyerJordon Meyer is a PPC expert practitioner and the Founder and CEO of Granular, a leading digital marketing agency based in Milwaukee, Wisconsin. Prior to starting Granular, Jordon spent the previous ten years in various leadership roles, serving as the "go-to" digital marketing expert responsible for driving measurable revenue growth for various companies in the Midwest.These include organizations like Best Buy, Globe University, Lightburn, and Zeon Solutions. He has personally managed over $40mm of digital marketing spend, worked on 100+ brands, and led 3 in-house marketing teams. Jordon lives in Milwaukee's Bay View neighborhood with his wife Jaime and two mini dachshunds named Oscar Meyer and Bluth.Highlights00:00 Welcome to the Social Capital Podcast01:06 Introducing Today's Special Guest01:59 Reflecting on Social Media Changes04:23 The Evolution of LinkedIn06:40 Networking in a Post-Pandemic World09:34 Shifts in Business Focus and Passion13:19 Final Thoughts and FarewellConnect with JordonGranular Marketing jordon@granularmarketing.com LinkedIn

Join Kalvin and Chris as they unpack the absurd antics of the Bluth family, from Michael's awkward triathlon journey with Steve Holt!! to GOB's unconventional approach to fatherhood. We debate the true meaning of the fake Popemobile and dissect Tobias' hair transplant saga with outlandish theories that rival the show's absurdity. Packed with witty banter, nostalgic TV references, and plenty of surprises, this recap is as unpredictable as a Bluth family scheme. Tune in to laugh along and share your own wild theories—don't forget to tag us! ----------------------------------------------------------------- Follow us on Twitter and Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Magic3TVPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Check out all of our sweet merch at the Magic Number is 3 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch Store ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ And learn more about The Magic Number is 3 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Here

Join Kalvin and Chris as they dive into the chaos of "Arrested Development" Season 3, Episode 3. Let's unravel the hilarity of GOB's "Forget-Me-Now" pills, Michael's ill-fated attempts to escape family drama, and Lucille's questionable party planning skills. Who's the real hero of the episode, and why does GOB think roofies are the ultimate problem-solver? Plus, a deep dive into the unforgettable surrogate, Larry Middleman, and the Bluth family's knack for well-intentioned disasters. Hit play now and join the conversation—because family dysfunction has never been this fun! ----------------------------------------------------------------- Follow us on Twitter and Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@Magic3TVPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Check out all of our sweet merch at the Magic Number is 3 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch Store ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ And learn more about The Magic Number is 3 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Here

Titan A.E. is a testament to ambition and risk-taking in animation, but it's also a cautionary tale of execution falling short of vision. For every moment of dazzling creativity, there's a missed opportunity or an awkward misstep. It's a flawed gem worth watching for its ambition and aesthetic daring, but it is unlikely to resonate deeply beyond its most loyal fans.

All Dogs Go to Heaven is a film with undeniable heart and artistry but struggles to find its footing. Its ambitious themes and dazzling visuals make it memorable, but tonal inconsistency and narrative clutter keep it from reaching its full potential. The film offers a unique and heartfelt experience for those willing to embrace its eccentricities. For others, it may feel like a noble effort that falls short of greatness.

The Land Before Time is a beautifully animated film with an emotional core that continues to resonate. However, its rushed storytelling and limited character development prevent it from reaching its full potential. It's a film worth revisiting for its artistry and heartfelt moments, but its flaws are hard to ignore.

An American Tail succeeds in delivering a visually spectacular and emotionally charged story but falters in execution. It's an ambitious work that tackles meaningful themes, yet its uneven pacing and tonal inconsistencies keep it from reaching its full potential. Despite its flaws, the film remains a beloved classic and an important entry in Don Bluth's filmography. For those who appreciate beautifully animated stories with heart, An American Tail is a journey worth taking, even if it's not without its bumps along the way.

The Secret of NIMH is a bold and memorable entry into the world of animated cinema, even if its narrative ambition occasionally outpaces its execution. It is a film that rewards patience and appreciation for artistry, though it might leave some viewers yearning for a more focused and balanced tale.

Kelly is an amazing woman who is near and dear to my heart! Here is a pre-released episode that we MUST bring out of the archives all about gut-health.  Of course these are not her only tips, she is a vast wealth of knowledge on this subject - so at the RISE Conference, you will learn soooo much about this subject and leave with the actionable steps to begin your gut health journey. Ready To Rise Fam:THE event of the YEAR is almost here! Let's go!! I'm hosting a virtual women's conference (not your grandpa's conference) - August 17&18 featuring TOP keynote speakers! Imagine chilling at home with a fresh cup of coffee, tuning into a wellness event in those favorite PJs with your de-puffing under eye masks on! We are going to touch on all things health-wealth-self! I'm talking hormones, gut health, personal development, mindset, & money mindset.  Think: all the experts, & hacks.  Because I KNOW you & I both need this right now, & time is limited to search for it on our own.  So it's coming to you sister!www.helloaudreyrose.com/riseconference✨✨ Want to watch this podcast on YouTube?? You can now at https://youtube.com/@hello.audreyrose?si=z9VhTxaLM0-zFDt2✨✨ SISTERHOOD TIME: Craving more community??  I host a Sisterhood Virtual Community that meets weekly. Once a month we have an experience such as Breathwork, Sound Bath, or Journalling led by a guest facilitator. Other calls are Connection Calls- we sit back, relax, let our hair down & enjoy deep conversations together. The conversations that the other women around don't understand, but this tribe of women completely have your back.  Learn more at www.helloaudreyrose.com/sisterhood or text "SISTERHOOD" to 707 347 0723 ✨✨Weekly Newsletter: Join the weekly newsletter full of info by clicking: helloaudreyrose.com/free✨✨Audrey IG : @helloaudreyrose