Podcasts about Broder

Beim „Marc lädt ein 2025“ spreche ich mit Joana Cotar, Henryk M. Broder und Joachim Steinhöfel über die wahre Lage der Meinungsfreiheit in Deutschland. Wer Bürger einschüchtert, wer Kritik unterdrückt – und warum Doppelmoral längst zum politischen Werkzeug geworden ist. Jetzt gibt es pures Tacheles!Aufnahme:Event "Marc Lädt Ein 2025" am 2 & 3. Mai 2025► Smartbroker:http://marcs-brokertipp.deAuf YouTube schauen:https://youtu.be/l6fHSjzfce4

THIS VOYAGE, the Treksperts, MARK A. ALTMAN (author, The Fifty Year Mission, writer/producer, Pandora, Agent X, The Librarians, writer/producer Free Enterprise), DAREN DOCHTERMAN (associate producer, Star Trek: The Motion Picture) and ASHLEY E. MILLER (showrunner; DOTA: Dragon's Blood, writer, X-Men: First Class, Thor) pay tribute to the late PETER DAVID with Galaxycon CEO/Founder MICHAEL BRODER and Burnettwork commentator ROBERT MEYER BURNETT (True Noir, The Hills Run Red, Free Enterprise). **TREKSPERTS+ SUBSCRIBERS NOW GET COMMERCIAL FREE EPISODES ONE WEEK EARLY! SUBSCRIBE TODAY AT TREKSPERTSPLUS.COM****Join us on our new INGLORIOUS TREKSPERTS DISCORD Channel at: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/7kgmJSExeh⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Rate and follow us on social media at:BluSky: @inglorioustrekspertsTwitter: @inglorioustrekFacebook: facebook.com/inglorioustrekspertsInstagram: @inglorioustrekspertsLearn all that is learnable about Star Trek in Mark A. Altman & Edward Gross' THE FIFTY-YEAR MISSION, available in hardcover, paperback, digital and audio from St. Maritn's Press. Follow Inglorious Treksperts at @inglorioustrek on Twitter, Facebook and at @inglorioustreksperts on Instagram and BluSky. And now follow the Treksperts Briefing Room at @trekspertsBR, an entirely separate Twitter & Instagram feed."Mark A. Altman is the world's foremost Trekspert" - Los Angeles Times

Das Kunstwerk dieser Folge besteht aus über 40 Objekten und erinnert an ein Schaufenster. Aus Maschendraht, Sackleinen, Kleister und Gips schuf der Künstler Jakob Broder eine Installation, die Teil der Kunsthallen-Sammlung ist. In dieser Folge des Kunstsnack erklärt Kunstcomedian Jakob Schwerdtfeger, was es mit dem Titel "Katharsis" auf sich hat und wieso es manchmal hilfreich sein kann, sich im Museum auf den Boden zu legen.

Recognizing Mental Health Month with Dr. Broder and Lena Russell

Ostern beginnt und Pessach geht zu Ende. Gerd Buurmann spricht mit seinen vier Gästen über jüdisches Leben in Deutschland und welche Zukunft es dafür gibt. Zugeschaltet sind die Historikerin Simone Schermann aus Bayern, der Musiker David Serebryanik aus Polen, der Schriftsteller Chaim Noll aus Israel und der Publizist und Gründer der Achse des Guten, Henryk M. Broder aus Berlin.

In episode 28 of Recsperts, I sit down with Robin Burke, professor of information science at the University of Colorado Boulder and a leading expert with over 30 years of experience in recommender systems. Together, we explore multistakeholder recommender systems, fairness, transparency, and the role of recommender systems in the age of evolving generative AI.We begin by tracing the origins of recommender systems, traditionally built around user-centric models. However, Robin challenges this perspective, arguing that all recommender systems are inherently multistakeholder—serving not just consumers as the recipients of recommendations, but also content providers, platform operators, and other key players with partially competing interests. He explains why the common “Recommended for You” label is, at best, an oversimplification and how greater transparency is needed to show how stakeholder interests are balanced.Our conversation also delves into practical approaches for handling multiple objectives, including reranking strategies versus integrated optimization. While embedding multistakeholder concerns directly into models may be ideal, reranking offers a more flexible and efficient alternative, reducing the need for frequent retraining.Towards the end of our discussion, we explore post-userism and the impact of generative AI on recommendation systems. With AI-generated content on the rise, Robin raises a critical concern: if recommendation systems remain overly user-centric, generative content could marginalize human creators, diminishing their revenue streams. Enjoy this enriching episode of RECSPERTS - Recommender Systems Experts.Don't forget to follow the podcast and please leave a review(00:00) - Introduction (03:24) - About Robin Burke and First Recommender Systems (26:07) - From Fairness and Advertising to Multistakeholder RecSys (34:10) - Multistakeholder RecSys Terminology (40:16) - Multistakeholder vs. Multiobjective (42:43) - Reciprocal and Value-Aware RecSys (59:14) - Objective Integration vs. Reranking (01:06:31) - Social Choice for Recommendations under Fairness (01:17:40) - Post-Userist Recommender Systems (01:26:34) - Further Challenges and Closing Remarks Links from the Episode:Robin Burke on LinkedInRobin's WebsiteThat Recommender Systems LabReference to Broder's Keynote on Computational Advertising and Recommender Systems from RecSys 2008Multistakeholder Recommender Systems (from Recommender Systems Handbook), chapter by Himan Abdollahpouri & Robin BurkePOPROX: The Platform for OPen Recommendation and Online eXperimentationAltRecSys 2024 (Workshop at RecSys 2024)Papers:Burke et al. (1996): Knowledge-Based Navigation of Complex Information SpacesBurke (2002): Hybrid Recommender Systems: Survey and ExperimentsResnick et al. (1997): Recommender SystemsGoldberg et al. (1992): Using collaborative filtering to weave an information tapestryLinden et al. (2003): Amazon.com Recommendations - Item-to-Item Collaborative FilteringAird et al. (2024): Social Choice for Heterogeneous Fairness in RecommendationAird et al. (2024): Dynamic Fairness-aware Recommendation Through Multi-agent Social ChoiceBurke et al. (2024): Post-Userist Recommender Systems : A ManifestoBaumer et al. (2017): Post-userismBurke et al. (2024): Conducting Recommender Systems User Studies Using POPROXGeneral Links:Follow me on LinkedInFollow me on XSend me your comments, questions and suggestions to marcel.kurovski@gmail.comRecsperts Website

Kann Merz es mit der neuen Koalition packen?Der neue Koalitionsvertrag der Merz-Regierung steht und dennoch sind viele Fragen offen. Was bedeuten die frisch aufgenommenen Schulden langfristig für Deutschland? Und ist Merz nach dieser riesigen Wahlkampf-Lüge noch zu trauen?Viele Beobachter gehen sogar davon aus, dass sich die Kanzlerpartei CDU von der SPD über den Tisch ziehen lassen hat. Ob die neue Koalition die Herausforderungen unserer Zeit bewältigen kann, ist unklar.Broder und Mohr sind sich in einigen Fragen zur neuen Regierung uneinig. Beide gehen jedoch davon aus, dass jetzt nicht alles gleich besser wird. Ein großes Problem sehen sie in der Beziehung zwischen Politikern und Bevölkerung.Unterstütze uns auf⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Paypal⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ oder werde⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ und erhalte Exklusiv-Content!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠basedpodcast.de⁠⁠⁠⁠⁠⁠⁠⁠"Good Morning Germanistan" auf Amazon: https://amzn.eu/d/g97ZpRt ------------------------------Werbung: Lest hier "⁠⁠⁠⁠⁠⁠⁠⁠⁠mitmenschenreden⁠⁠⁠⁠⁠⁠⁠⁠⁠" - inklusive unserer Kolumne "Zwischen Fronten".

Die Ampel ist weg - das politische Chaos nicht.Nach drei Jahren Ampel-Koalition hofften viele Wähler auf politische Besserung durch die Bundestagswahl. Doch Friedrich Merz bricht vor der Koalitionsbildung durch das Schuldenpaket ein zentrales Wahlversprechen.Der Ausnahmezustand geht über Deutschland hinaus. Ob Wirtschaft, Migration, Trump oder der Ukraine-Krieg - die Welt. Die Journalisten Henryk M. Broder und Reinhard Mohr fragen sich, ob jetzt alles besser wird.Broder und Mohr sind zwei der bekanntesten deutschen Journalisten. In “Durchs irre Germanistan” berichteten sie über die Kuriositäten der Ampel-Koalition. Nun ist die Fortsetzung “Good Morning Germanistan” erschienen.Unterstütze uns auf⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Paypal⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ oder werde⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ und erhalte Exklusiv-Content!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠basedpodcast.de⁠⁠⁠⁠⁠⁠⁠"Good Morning Germanistan" auf Amazon: https://amzn.eu/d/g97ZpRt------------------------------Werbung: Lest hier "⁠⁠⁠⁠⁠⁠⁠⁠mitmenschenreden⁠⁠⁠⁠⁠⁠⁠⁠" - inklusive unserer Kolumne "Zwischen Fronten".

Reinhard Mohr ist Mitautor des neuen Buches "Good Morning Germanistan". Zusammen mit Henryk M. Broder untersucht er darin den Wahnsinn der Bundesrepublik. Was treibt Politiker an, gegen jede Vernunft zu regieren - und warum wählen sie die Menschen dafür? Maximilian Tichy spricht mit ihm über sein neues Buch und darüber, warum ausgerechnet die CDU es nicht schafft, einen echten Politikwechsel einzuleiten. Denn trotz großer Versprechungen ist das Ergebnis der noch laufenden Koalitionsverhandlungen wohl nicht mehr als eine Fortsetzung der Ampelpolitik mit anderen Mehrheiten. Webseite: https://www.tichyseinblick.de Newsletter: https://www.tichyseinblick.de/newsletter/anmeldung/ Wenn Ihnen unser Video gefallen hat: Unterstützen Sie diese Form des Journalismus: https://www.tichyseinblick.de/unterstuetzen-sie-uns

In den Köpfen da draußen schwirren immer viele tolle Ideen herum und viele dieser Köpfe möchten mit diesen Ideen ein StartUp gründen. Da stellen sich natürlich immer viele Fragen. Wo bekomme ich Unterstützung? Muss ich nebenbei weiter arbeiten gehen, um meinen Lebensunterhalt zu finanzieren? Wie kann ich die Idee in die Umsetzung bringen? Und und und. Passend zu diesen Fragen, wollen wir heute mal über ein Instrument sprechen, das genau dort ansetzt und diese Unsicherheiten nehmen soll. Nämlich das Gründungsstipendium Schleswig-Holstein. Dafür habe ich mir meinen Kollegen Broder Fischbach eingeladen und spreche mit ihm in dieser Episode mal über verschiedene Aspekte, den Prozess und den Ablauf des Stipendiums. 02:27 Wer bist du und was machst du? 03:49 Was macht das Gründungsstipendium SH so besonders? 04:47 Wie viel Geld gibt es denn eigentlich? 06:50 Was hat sich über die Jahre getan? 10:20 Für wen ist das Stipendium gedacht? Wer darf sich bewerben? 12:04 Bewerbungsprozess 20:00 Was erwartet uns im Stipendium? 24:33 Wohin kann das Stipendium führen und wie kann es danach weiter gehen? 27:13 Beispiele 28:57 Tipps von Broder Weitere Infos: www.gruendungsstipendium-sh.de www.wtsh.de Music: freemusicarchive.org/music/Checkie_…_Dilemma_ID_03 License: creativecommons.org/licenses/by-nc-nd/4.0/deed.de

Am Tag der Bundestagswahl in Deutschland spricht Gerd Buurmann mit seinen Gästen über das vergangene Getöse des Wahlkampfs und darüber, wie es um die Demokratie in Deutschland bestellt ist. Zugeschaltet sind der Gründer der Achse des Guten, Henryk M. Broder, und der Schweizer Schriftsteller Giuseppe Gracia, Autor des aktuellen Buches „Wenn Israel fällt, fällt auch der Westen. Warum der Antisemitismus uns alle bedroht“.

Fredagen är här och med den kommer ett rykande fredagsquiz! Sara Kinberg håller i lekledarpinnen och utmanar Assia Dahir samt artisten Broder John. Lyssna på alla avsnitt i Sveriges Radio Play. Assia Dahir och Broder John tävlar bland annat i ”Har det suttit på Pete Davidson?”, ”Sport och svordomar” och firar att Youtube fyller 20 år.

durée : 00:26:57 - Martial Solal, pianiste (1/5) - par : Yvan Amar - Premier volet de notre entretien chez le pianiste Martial Solal. Né à Alger, il s'intéresse à la musique grâce à sa mère chanteuse d'opéra, qu'il accompagna et avec qui il improvisa. Avec son professeur naît une passion pour le jazz et toute la liberté que cette musique propose. - réalisé par : Gilles Blanchard

Die Kabarettistin und Schauspielerin Monika Gruber und der Autor und Gründer der Achse des Guten, Henryk M. Broder, sprechen über das, was war und das, was da noch kommen kann und Gerd Buurmann hört es zu. Die zentralen zwei Fragen sind: Wie konnte es soweit kommen und wer übernimmt Verantwortung?

Under Gustav Vasas tid trädde Sverige på allvar in i Europas lärda värld, bokstavligt talat – och det berodde inte på kungen utan på två av hans argaste kritiker. Olaus Magnus och Johannes Magnus var östgötska katoliker som gått i landsflykt till Rom och ägnade sig åt att försöka förmå övriga Europa att ombesörja att svenskarna åter blev katoliker. Sverige måste framstå som så stort och viktigt att katoliker i gemen insåg behovet att hjälpas åt för att Gustav Vasa och hans regim skulle ändra sig – eller störtas. De tog boktryckarpressen till hjälp.Både Johannes och Olof blev med tiden katolska ärkebiskopar i exil, och som sådana hade de gott om fritid – men de var inte sysslolösa. Fritiden omsattes i bokskrivande och kartritande. Olaus Carta marina är den första avbildningen av Norden, och den tillhör de kändaste och mest reproducerade kartorna överhuvudtaget. Johannes skrev en svensk historia som dignade under överdrifter och påhitt, och Olaus skrev sin väldiga Historia om de nordiska folken, som handlade om allt mellan himmel och jord i Sverige och dess grannländer. Det var Johannes som hittade på de många erikar och karlar som gjorde att Vasakungen Erik valde att kalla sig för Erik XIV och lillebror Karl för Karl IX – istället för Erik IX och Karl III, som de egentligen borde ha kallat sig.I detta avsnitt av podden Harrisons dramatiska historia samtalar Dick Harrison, professor i historia vid Lunds universitet, och fackboksförfattaren Katarina Harrison Lindbergh om bröderna Olaus Magnus och Johannes Magnus, två svenska lärdomsgiganter i renässansens era.Omslag: Till vänster kungen Gorm, Broder och Buke som färdats så långt norrut att inget dagsljus syntes. På denna plats blir de attackerade av de övernaturliga varelserna till höger på träsnittet.Olaus Magnus - "Historia de gentibus septentrionalibus", Wikimedia, Public Domain.Klippare: Emanuel LehtonenProducent: Urban Lindstedt Hosted on Acast. See acast.com/privacy for more information.

Please subscribe and rate us on your preferred podcast platform and sign up for the patreon! Thanks for listening! Elliot Broder is a standup comedian, DIY agriculture enthusiast, and former unofficial spokesperson of U.S. Catfish. You can find him at @mikehawkburns on Instagram, Threads, etc. I met Elliot a couple of times over the years while doing comedy in Colorado. We even went running once but not super tight bros. When I landed a coveted elk tag this spring, I posted about it on social media, soliciting a more experienced hunter to accompany me on my elk hunt. Everyone who chimed in ended up washing out except for my last choice-- Elliot Broder. When you have one option, that's your best option, so I put the screws into him to get him to come. Spoiler alert: we weren't just successful on our hunt, we ended up having the best time, Elliot kicked much ass, and in the future, he's going to be the first person I call for my next hare-brained scheme. He's a deep dude, too, with much to say about building a meaningful life under the shadow of capitalism. Hope you dig it.

Wake Up, Woodward! What's on tap today with the WUW Crew? DETROIT TIGERS PLAYOFF RACE WUW Crew revisits the magic of this past weekend - wins over Baltimore and losses from the Twins, Royals and Mariners MLB's top pitching prospect Jackson Jobe added to MLB roster,Shelby Miller DFA'ed What do you expect out of Jobe? To be used out of bullpen Tigers likely to receive roster exemption relating to Sawyer Gipson-Long Tigers Part Two Every team in the MLB should fear the Tigers. WUW crew will tell you why. Skubal on the mound tonight…paint the path to a playoff appearance for the Gritty Tigs. MICHIGAN FOOTBALL Kalel Mullings leads #18 Wolverines to 27-24 win over #12 USC Michigan moved up to #12 in latest CFB polls, USC to #13 What did you think of the Michigan win? Is this style of play sustainable? If not, what should they do? Kalel Mullings was the star, but did you see anything out of Donovan Edwards that makes you think he may turn his career around? (14 rushes, 74 yards, 1 TD) Mullings - 17 carries, 159 yards, 2 TD Orji - 7-12, 32 yards passing, 13 rushes, 43 yards DETROIT LIONS Hate to say it, but are we surprised Davenport is out for the year? What's the contingency plan? Next man up or Brad Holmes hits the trade market? Do any of the other injuries concern you, and what is the contingency plan there, too? Notable injuries: Marcus Davenport (elbow) - out for season Derrick Barnes (knee) - not expected to be season-ending Alim McNeill (shoulder) - day-to-day Sam LaPorta (ankle) - day-to-day Brian Branch (concussion) - day-to-day, in concussion protocol NFC NORTH What was the biggest surprise of the weekend in the NFC North? Bears: lose to Colts, Williams - 363 yards, 2 TDs, 1 INT Vikings: upset Texans 34-7, Darnold - 181 yards, 4 TD Packers beat lowly Titans 30-14, Willis - 202 yards passing, 1 TD + 73 yards rushing, 1 TD Are you worried about the Vikings yet? Er, are you worried about them the most? TOP TEN TUESDAY - NFL WEEK FOUR POWER RANKINGS Flannel Sam and Broder present their Top Ten team in the NFL Kool-Aid moderates and reads chat comments KG and JB Smoov rip lists apart and get the people going WHAT'S TRENDING WITH JB-SMOOV MAILBAG sponsored by FELDMAN AUTOMOTIVE Submit questions to the WUW Crew using the hashtag: #FELDMANMAILBAG

Wake Up, Woodward! What's on tap today with the WUW Crew? LAYUP LINES TIGERS BEAT ROYALS 4-2 | TWINS LOSE TO GUARDIANS 5-4 Record: 80-73 0.5 GB after Minnesota loss to Guardians in extras Top of the 3rd inning - Riley Greene's solo homer to leadoff 3rd puts Tigers up 2-1 - Trey Sweeney 1-out, 2-run double makes it 4-2 Tork incredible diving catch in top of the 9th on Massey line drive (also had 3 walks in the game) DETROIT TIGERS Did Tarik Skubal lock up the AL Cy Young Award with Wednesday's win? How many Tigers players have looked completely different now than they did at an earlier point of the season? MLB Hitting coach Michael Brdar (pron: burr-darr) deserves some flowers Chris Fetter - Is he the most valuable “assistant” coach in the MLB right now? Broder has a hypothetical offseason question for the WUW crew: “This offseason, what contract extension should be the priority: Chris Fetter or Tarik Skubal?” DETROIT LIONS VS. ARIZONA CARDINALS - WEEK 3 Worried about injuries heading into the weekend? Can the Lions offense get on track? Where should Ben Johnson attack the Cardinals defense? Who do the Lions miss more: Jonah Jackson or Josh Reynolds? Where should Aaron Glenn attack the Cardinals offense? Will the Lions defense limit Kyler Murray's legs and force him to win with his arm? Or are you more worried about his arm than his legs? Hypothetically, Anzalone is out Sunday…are you confident enough in Jack Campbell stepping up against Kyler and the Cardinals? AROUND THE NFL - WEEK 3 What's your interest level in tonight's TNF matchup between the Jets and Pats? Jordan Love returns to practice and may be able to play Sunday vs. Titans Which 0-2 team are you confident will turn it around, and who is headed for more losses? Ravens, Bengals or Rams Which 2-0 team is for real, and which is the biggest pretender? Chargers, Steelers, Seahawks, Vikings, Saints Bucs Can you believe Bryce Young got benched already in Carolina? Is he done, or is this a learning experience? Any head scratchers in the first-time nominees for 2025 Hall of Fame class: Eli Manning, Luke Kuechly, Terrell Suggs, Adam Vinatieri, Marshawn Lynch, Darren Sproles, Vernon Davis, Aqib Talib, Earl Thomas, How much better are the returning nominees (just missed the cut last year)? Tight end Antonio Gates Receivers Torry Holt and Reggie Wayne Offensive linemen Willie Anderson and Jahri Evans Defensive backs Darren Woodson, Eric Allen and Rodney Harrison Defensive lineman Jared Allen Running back Fred Taylor WHAT'S TRENDING WITH JB-SMOOV MAILBAG sponsored by FELDMAN AUTOMOTIVE Submit questions to the WUW Crew using the hashtag: #FELDMANMAILBAG

This week JD chats with Elliot Broder. Elliot is a standup comedian/environmental conservationist. Topics discussed include but are not limited to: wetland field science, electrocuting fish, and performing as a “comedy character” on stage. Please remember to like, subscribe, rate, review, and tell a friend!Follow LHRB on Facebook, Instagram @lefthandrightbrain, Twitter @LHRBpodcast, or just hit us up old school on the website lefthandrightboainpod.comCheck out all the other podcasts on The Mile High Life Network!

Wake Up, Woodward! What's on tap today with the WUW Crew? WARM UP R.I.P. to James Earl Jones - Sandlot, Star Wars, Field of Dreams and many, many more San Francisco 49ers defeat New York Jets, 32-19 on Monday Night Football COLLEGE FOOTBALL Michigan Football trounced by Texas at The Big House Michigan State beats Maryland on late field goal DETROIT LIONS VS. LOS ANGELES RAMS Aidan Hutchinson, Marcus Davenport and the defensive line Terrion Arnold, Brian Branch and the secondary David Montgomery, Jahmyr Gibbs and the offense TOP TEN TUESDAY Flannel Sam and Broder present thei Week One NFL Power Rankings WHAT'S TRENDING WITH JB-SMOOV Technical Director extraordinaire, Jeremy “JB-Smoov” Bryant, provides the most trending videos from around the world of social media. MAILBAG sponsored by FELDMAN AUTOMOTIVE Submit questions to the WUW Crew using the hashtag: #FELDMANMAILBAG

Fonseca talks with founder Mike Broder Galaxycon: where,when and how? Winona Ryder tells Parade magazine that her famous "Beetlejuice" line, "Beetlejuice, Beetlejuice, Beetlejuice," made her a TSA target. “I would do it and they'd be like, ‘Do it again!' Like, it became a thing and I'm like, ‘Please! I'm late!' I have missed flights because the TSA people wouldn't let me through unless I said it three times.' At least I didn't get pat down.'' Denny's has unveiled a Beetlejuice-themed menu with items named The Afterlife Melt, the Beetlejuicy Burger and the Cookies 'N' Scream Shake. ‘'Beetlejuice Beetlejuice'' opens in theaters on September 6thTravis Kelce  and Adam Sandler recently had dinner to discuss Travis's role in ‘'Happy Gilmore 2''. A source says, “Travis couldn't believe it; it's like a dream come true for him. Adam Sandler is one of his idols—a heavyweight in the movie business—and he loves his movies. It's a perfect opportunity for him to work with one of his favorite directors. They get along super well, they are both very simple guys, easy going and chill, and they like to laugh a lot, so they are a perfect match. Adam is one of Travis' idols, and he feels that the experience of working with Sandler will make him learn so much about the movie industry and acting, but also the business part of it as Sandler is a fantastic businessman too.The Daily Breeze says the famous "Poltergeist" house, in Simi Valley, California, has found a buyer. The four-bedroom, three-bathroom house was listed for $1.175 million and has a pool and spa. The home was built in 1979 Wendy's To Sell SpongeBob SquarePants-Inspired Burger: RetailWire says Wendy's is set to launch a limited-edition SpongeBob SquarePants Krabby Patty Burger on October 8th. The burger will come with a secret Krabby Patty Sauce. In the Spongebob cartoons, the Krabby Patty is a meatless hamburger made out of seaweed,  deep sea veggies, and a patty of mystery meat. A vanilla-flavored Pineapple Under the Sea Frosty may also be sold.Footwear News says Crocs has a new "Scooby-Doo!" clog collection. The collection includes a Classic Clog resembling Scooby-Doo for $70 and a teal-and-green croc modeled after the Mystery Machine for $100

Zum zwanzigjährigen Jubiläum der Achse der Guten spricht Gerd Buurmann mit den drei Herausgebern Henryk M. Broder, Dirk Maxeiner und Fabian Nicolay über die Erfolgsgeschichte des Autorenblogs, über die Vergangenheit und die Zukunft, sowie darüber, wofür die Achse steht und wo sie von wem verortet wird.

We've all heard of people dying by their pursuit of building a car engine that doesn't require gasoline or oil. But this is a lesser known one from 1998 which involves electromagnetism and Aether! Such a cool topic and fun rabbit hole to dive into, so keep that third eye open!Sign up for our Patreon go to-> Patreon.com/cultofconspiracypodcast10% OFF Rife Machine---> https://rifemachine.myshopify.com/?rfsn=7689156.6a9b5c10% To find the Meta Mysteries Podcast---> https://open.spotify.com/show/6IshwF6qc2iuqz3WTPz9Wv?si=3a32c8f730b34e7950% OFF Adam&Eve products---> :adameve.com (promo code : CULT)10%OFF Orgonite ! ---> https://oregon-ite.com/?sca_ref=5029405.hji3fNHxUdTo Sign up for our Rokfin go to --> Rokfin.com/cultofconspiracyCult Of Conspiracy Linktree ---> https://linktr.ee/cultofconspiracyBecome a supporter of this podcast: https://www.spreaker.com/podcast/cult-of-conspiracy--5700337/support.

Wake Up, Woodward! What's on tap today with the WUW Crew? DETROIT LIONS 53-man Roster Finalized - LB Trevor Nowaske claimed off waivers Practice Squad is set - Lions add: Quarterback: Jake Fromm Wide receivers: Tim Patrick, Allen Robinson, Donovan Peoples-Jones and Tom Kennedy Running Back: Jermar Jefferson Tight Ends: Shane Zylstra and James Mitchell Offensive Lineman: Kingsley Eguakun and Jamarco Jones Defensive Lineman: Isaac Ukwu, Chris Smith, Kyle Peko and Pat O'Connor Linebacker: Mitchell Agude Safety: C.J. Moore REVISITING THE JAMESON WILLIAMS DRAFT DAY TRADE WITH THE MINNESOTA VIKINGS Who won the 2022 Jameson Williams draft-day trade between the Vikings and the Lions? Lions received picks 12 (Jamo) and 46 (Josh Paschal) from Vikings Vikings received picks 32 (Lewis Cine), 34, 66 (Brian Asamoah) but traded 34 to GB for 42 (Andrew Booth) and 59 (Ed Ingram) TOP 5 OFFSEASON MOVES - “EXPLAIN YO SELF!” Flannel, Kool-Aid and Broder present their top-5 offseason moves around the NFL Lists can include trades, free agent signings, draft picks, coaching hires, etc. COLLEGE FOOTBALL - “WINK ER BLINK” A play on “Buy or Sell”: QB Alex Orji will finish the regular season with more passing yards than Aidan Chiles. (or should we use touchdowns? total touchdowns?) RB Donovan Edwards will finish the regular season with more all-purpose yards than Ohio State's Qunshon Judkins. CB Will Johnson will finish in the Top 10 of the Heisman voting. DT Mason Graham will be the first Big Ten player selected in the 2025 MLB draft. MICHIGAN FOOTBALL PREDICTIONS Flannel Sam makes his University of Michigan Football predictions Game vs. Fresno State Season Offensive MVP Season Defensive MVP Final Record/Season results MAILBAG sponsored by FELDMAN AUTOMOTIVE Submit questions to the WUW Crew using the hashtag: #FELDMANMAILBAG

Wake Up, Woodward! Today the WUW Crew discuss the following: LAYUP LINES - WARMUP: College Football AP Preseason All American teams announced: Ohio State = 4 first team selections Michigan and Georgia = 3 first team selections James Houston trade to Texcans? LIONS On a scale of 1-5, how close are the following players from being cut? (1 = lock / 2 = safe / 3 = practice squad / 4 = fringe practice squad / 5 = cut) James Houston DPJ Josh Paschal Mathieu Betts Would you start Hendon Hooker in game 3 and how much would you play him? Or would you give him the Penix Jr. treatment and sit him? AROUND THE NFC NORTH Caleb Williams, Rome Odunze and the Chicago Bears Minnesota Vikings sign veteran CB Stephon Gilmore to one-year, $7M contract Green Bay Packers a mess without Jordan Love playing “EXPLAIN YO-SELF” RANKINGS NFC North Offense Position Groups Edition Flannel, Kool-Aid and Broder rank and debate the position groups on offense within the toughest division in the NFL DETROIT TIGERS - YOUTH MOVEMENT…TO THE CORE If the yoots play well enough over the final six weeks, could it force Scott Harris/Chris Ilitch to attack free agency earlier than expected? Let's talk about the core and what we could learn over the next 6 weeks… Who's a shoe-in? Who's on the cusp? Any longshots to become a part of the core? COLLEGE FOOTBALL - HEISMAN HYPE CFB starts this weekend, who are the names to keep an eye on in the 2024 Heisman race? MAILBAG sponsored by FELDMAN AUTOMOTIVE Submit questions to the WUW Crew using the hashtag: #FeldmanMailbag

Wake Up, Woodward! Today the WUW Crew discuss the following: LAYUP LINES WARMUP: ESPN Announces E-60 on Armando Galarraga and Jim Joyce titled: “28 Outs: A Near Perfect Game.” Where do you stand on Jim Joyce? Should MLB acknowledge the perfect game for Armando Galarraga? DETROIT LIONS Lions sign backup QB Jake Fromm and release 2nd year wide receiver Antoine Green. Injury bug hits camp on Monday: Jahmyr Gibbs, Terrion Arnold and Ennis Rakestraw. Are you surprised the Lions have moved on from Green already? Does this affect the WR battle after Amon-Ra St. Brown, Jameson Williams and Kalif Raymond? NFL NOTES Dallas Cowboys wide receiver CeeDee Lamb is rumored in a trade to Kansas City Chiefs. Edge rusher Haason Reddick requests trade from New York Jets. NFL TOP FIVE IMPACT ROOKIES BY YEARS END ON DEFENSE Flannel Sam, Kool-Aid and Broder rank their top 5 impact rookies. Some names may include: Laiatu Latu #Colts Quinyon Mitchell #Eagles Byron Murphy II #Seahawks Chop Robinson #Dolphins Nate Wiggins #Ravens Jared Verse #Rams Edgerrin Cooer #Packers Dallas Turner #Vikings Ennis Rakestraw #Lions Malik Mustapha #49ers OVERRATED, UNDERRATED OR RATED JUST RIGHT WUW Crew debates: Allen Iverson #76ers Braylon Edwards #MichiganFootball #Browns #Jets Derek Jeter #Yankees Steve Yzerman #LGRW COLLEGE FOOTBALL The AP Top 25 has been released… Michigan Football ranked 9th, the lowest ranking ever for a defending NCAA Champion. Should Penn State Football be ranked over Michigan? Top 10 include: Georgia Football, Ohio State Football, Oregon Football, Texas Football, Alabama Football, Ole Miss Football, Notre Dame Football and Florida State Football.

What is an exit strategy, when do we need one, and do we even need one at all? We put our heads together with Bruce & Steven, and our mind amalgamation provided a rich conversation filled with plenty of questions, a few answers, and just an overall good time. A good time that would never touch on anything too personal, or even think about hitting a little too close to home for any of us, in any possible way... Topics of discussion include: Choice produce, popped screens, S&S acquiring Broder, DTF/DTG fulfillment, defining exit plans, choosing whether or not your business makes a profit, life outside of your business, reverse engineering an exit plan, merging shops, succession, divesting, therapy, and burning your business down.

Bresh es probablemente la fiesta mas exitosa a nivel mundial ya que es celebrada en muchísimas ciudades del mundo. Broder es uno de los fundadores de Bresh y cuenta como nació este fenómeno. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we dive back into one of our most informative discussions from the archives. Join Susan and leading family law attorney Eric Broder as they explore the essentials of child support. Whether you are just beginning your divorce journey or are revisiting child support arrangements, this episode provides crucial insights and advice. Episode Highlights: Understanding Child Support: Eric clarifies common misconceptions about what child support actually covers. Calculating Child Support: Discover how child support is determined based on income rather than cost of living. Modifiability of Child Support: Learn why and how child support agreements should be adaptable to changes in circumstances. The Role of Co-Parenting: Eric discusses the benefits of cooperative co-parenting in managing child support and additional expenses like extracurricular activities and educational costs. Legal Expertise: Gain insights from Eric Broder, a highly respected family law attorney with a track record of providing accessible and effective legal guidance. Special Guest: Eric J. Broder, Co-Founding Member and Partner at Broder Orland Murray & DeMattie LLC, renowned for his expertise in family law and his dedication to client advocacy. Resources Mentioned: Book a Business Strategy Session with Susan Guthrie  The Nightmare of Shared Expenses for Co-Parents Visit Eric Broder's Firm: https://ctfamilylaw.com Note to Listeners: Since this is a replay of an archive episode, some links may be outdated. For current resources and support, please visit our website at divorceandbeyondpod.com or contact us at divorceandbeyondpod@gmail.com. Watch the Video Version: Check out the video format of our episodes on The Divorce & Beyond YouTube Channel. Don't forget to LIKE and SUBSCRIBE to stay updated! *************************** SPONSORSHIP OPPORTUNITIES ARE AVAILABLE!  https://divorcebeyond.com/Sponsorship-Info ******************************************************************* MEET OUR CREATOR AND HOST: SUSAN GUTHRIE®, ESQ., the creator and host of The Divorce and Beyond® Podcast, is nationally recognized as one of the top family law and divorce mediation attorneys in the country.  Susan is the Vice Chair of the American Bar Association Section of Dispute Resolution and is a sought-after keynote speaker, business and practice consultant, coach and trainer. You can find out more about Susan and her services here:  https://neon.page/susanguthrie Internationally renowned as one of the leading experts in online mediation, Susan created her Learn to Mediate Online® program and has trained more than 25,000 professionals in how to transition their practice online.  Susan recently partnered with legal and mediation legend, Forrest "Woody" Mosten to create the Mosten Guthrie Academy which provides gold-standard, fully online training for mediation and collaborative professionals at all stages of their careers.   Follow Susan Guthrie and THE DIVORCE AND BEYOND PODCAST on social media for updates and inside tips and information: Susan on LinkedIn: https://www.linkedin.com/in/susaneguthrie/ Susan on Instagram @susanguthrieesq ********************************************************************* We'd really appreciate it if you would give us a 5 Star Rating and tell us what you like about the show in a review - your feedback really matters to us!  You can get in touch with Susan at divorceandbeyondpod@gmail.com.  Don't forget to visit the webpage www.divorceandbeyondpod.com and sign up for the free NEWSLETTER to receive a special welcome video from Susan and more!! ********************************************************************* DISCLAIMER:  THE COMMENTARY AND OPINIONS AVAILABLE ON THIS PODCAST ARE FOR INFORMATIONAL AND ENTERTAINMENT PURPOSES ONLY AND NOT FOR THE PURPOSE OF PROVIDING LEGAL ADVICE.  YOU SHOULD CONTACT AN ATTORNEY IN YOUR STATE TO OBTAIN LEGAL ADVICE WITH RESPECT TO ANY PARTICULAR ISSUE OR PROBLEM. ======================================  

It's an EmMajority Report Thursday! She speaks with Joanna Wuest, assistant professor of politics at Mount Holyoke College and author of the book Born This Way: Science, Citizenship, and Inequality in the American LGBTQ+ Movement, to discuss her recent piece in Jacobin entitled "The Best Way to Secure LGBTQ Rights: Unions." Then, she speaks with David Broder, historian and Europe editor at Jacobin, author of Mussolini's Grandchildren: Fascism in Contemporary Italy, to discuss the recent EU elections, and the upcoming elections in the UK and France. First, Emma runs through updates on stalling ceasefire talks, Israel's continuing aggression in Gaza and elsewhere, some surprisingly solid SCOTUS decisions, Congressional action, RFK's floundering candidacy, serious global warming, growing union support in the US, and Louisiana's Ten Commandments-Commandment for school classrooms, also parsing through the recent UNHRC report on the crimes of war, crimes against humanity, and crimes of extermination, gender and sexual-based violence, and use of starvation and collective punishment. Professor Joanna Wuest then joins, diving right into the inspiring queer advocacy work coming from the new generation of union leaders, before stepping back to tackle the (multi-decades) long standing relationship between labor and queer rights, with unions providing much stronger protections from discrimination and important economic security where the US government failed to do so. After touching on the deep history of the relationship between anti-LGBTQ scapegoating of educators, and where Ron DeSantis' “Don't Say Gay” policy stands within that context, Professor Wuest and Emma wrap up with the important role queer folks have played in the major Starbucks unionization push over the last few years. David Broder then walks Emma through what the EU Parliament actually is and does (not much), and contextualizes the broader results of the recent round of elections, before parsing through the more worrying results out of France and Germany, which saw strong gains from the far-right RN (of Marine Le Pen) and AfD. Expanding on the France of it all, Broder tackles French PM Macron's absurd decision to respond to the right-wing gains by calling a snap national election, what it tells us about liberals' continued preference of the far-right over the progressive left, and what it could mean for the future of Le Pen's party, using Italy's Giorgia Meloni as a parallel to Le Pen's seeming liberal-appeasing-pivot to more conventional, pro-establishment politics. After discussing the more radical brand of fascism coming out of Germany's AfD, Emma and Broder wrap up with a brief assessment of the state of the left in Europe, and the ongoing failure of the retreat to the center (as seen in the UK). And in the Fun Half: Emma is joined by Matt Binder and Brandon Sutton as they admire some timely crowd work, watch Tim Pool complaint about Nick Fuentes tainting white nationalism with his anti-Israel views, and listen to Glenn Greenwald and Tucker Carlson pretend to be the first people ever to point out the absurdity of anti-BDS laws. Kerry from New York on Tim Pool, Miguel from Philly on Joe Biden, and the Burgumentum continues! Lilith from Washington on the role of Zionism in a two-state solution, plus, your calls and IMs! Check out Joanna's piece here: https://jacobin.com/2024/06/lgbtq-rights-unions-labor Check out David's book here: https://www.plutobooks.com/9780745348025/mussolinis-grandchildren/ Become a member at JoinTheMajorityReport.com: https://fans.fm/majority/join Check out all volunteering opportunities ahead of Rep. Jamaal Bowman's primary on Tuesday 6/25!: https://www.mobilize.us/jamaalbowman/ Check out this canvassing event for Rep. Jamaal Bowman and volunteer if you can!: https://actionnetwork.org/forms/new-york-canvassing-event?source=tmr Phone bank for Rep. Jamaal Bowman through the Working Families Party here!: https://www.mobilize.us/workingfamiliespartycoordinated/event/624109/ Phone bank for Rep. Jamaal Bowman through "Jews For Jamaal" here!: https://www.mobilize.us/nea/event/618446/ Find our Rumble stream here!: https://rumble.com/user/majorityreport Join Sam on the Nation Magazine Cruise! 7 days in December 2024!!: https://nationcruise.com/mr/ Check out the "Repair Gaza" campaign courtesy of the Glia Project here: https://www.launchgood.com/campaign/rebuild_gaza_help_repair_and_rebuild_the_lives_and_work_of_our_glia_team#!/ Check out StrikeAid here!; https://strikeaid.com/ Gift a Majority Report subscription here: https://fans.fm/majority/gift Subscribe to the ESVN YouTube channel here: https://www.youtube.com/esvnshow Subscribe to the AMQuickie newsletter here: https://am-quickie.ghost.io/ Join the Majority Report Discord! http://majoritydiscord.com/ Get all your MR merch at our store: https://shop.majorityreportradio.com/ Get the free Majority Report App!: http://majority.fm/app Check out today's sponsors: Liquid IV: Turn your ordinary water into extraordinary hydration with Liquid I.V. Get 20% off your first order of Liquid I.V. when you go to https://LiquidIV.com and use code MAJORITYREP at checkout. That's 20% off your first order when you shop better hydration today using promo code MAJORITYREP at https://LiquidIV.com. Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattLech @BradKAlsop Check out Matt's show, Left Reckoning, on Youtube, and subscribe on Patreon! https://www.patreon.com/leftreckoning Check out Matt Binder's YouTube channel: https://www.youtube.com/mattbinder Subscribe to Brandon's show The Discourse on Patreon! https://www.patreon.com/ExpandTheDiscourse Check out Ava Raiza's music here! https://avaraiza.bandcamp.com/ The Majority Report with Sam Seder - https://majorityreportradio.com/

Ran Broder, CEO of Bird Israel, discusses the transformative world of urban mobility, including the evolution of micro-mobility options and the challenges of maintaining and scaling these systems. He emphasizes the potential of innovative transportation solutions to alleviate congestion and enhance commuter freedom, and highlights the role of infrastructure and regulation in shaping the future of mobility.

This episode of Reading With Your Kids focused on promoting children's mental health and well-being. Guest Alison McGrath discussed her picture book "Walter and the Worry Test," which teaches kids skills from cognitive behavioral therapy to manage worries and anxiety. She explained that negative thoughts can impact feelings and behaviors if left unchallenged. While childhood anxiety is rising, many schools still lack resources like counselors to help kids develop social-emotional skills and feel safe. Author and librarian Robert Broder shared the inspiration for his book "Reading Together," looking back on transitioning from early readers to chapter books with his daughter. This experience of sharing stories together was formative for building their relationship. Broder went on to co-found the children's publisher Ripple Grove Press with his wife after brainstorming the idea while traveling for work. Both Robert and Jed praised public libraries as invaluable community hubs providing far more than books. They offer technology access, workshops, and a safe space for all. While libraries have evolved with technology, their role serving people of all backgrounds remains essential.  Click here to visit our website - www.readingwithyourkids.com 

Zum großen Finale des Eurovision Song Contests 2024 (und von The Gayze – Boys with Eyes) haben wir ein absolutes Highlight für euch: Zusammen mit Geeo und Max bespricht niemand geringeres als Broder die Show vom 11. Mai und deren Ergebnisse. Die geballte ESC-Expertenpower in einer Podcast-Folge! Was sind die Meinungen zu der Top 12? Wie überraschend kam die deutsche Platzierung? Für welches Land gingen die meisten eigenen Anrufe drauf und wer sollte am Ende den Pokal gewinnen? Die letzte reguläre Folge von The Gayze verspricht Unterhaltung der Extraklasse. Wir sagen Dankeschön Broder für's dabei sein und Dankeschön ESC 2024 für's Vorbeisein.

"Button things up early" is the message from Seth Broder, President at Broder Law Group. In this episode of Behind The Numbers, Seth explains why having a buy-sell agreement in placeis prudent protection; what to consider if entertaining an earn-out provision in the sale of a business; the importance of protecting intellectual property, and more. Seth is the founding member of Broder Law Group, P.C. Throughout his legal career, Seth has been successful in negotiating both transactions and legal settlements for clients, while maintaining professionalism through aggressive representation, yet always seeking pragmatic solutions. From the formation of a business entity, to the handling of all transactions relevant to the business, culminating with transition planning, Seth has been an integral part of his clients' success. About the Host: Dave Bookbinder is the person that clients reach out to when they need to know what their most important assets are worth. He's a corporate finance executive with a focus on business and intellectual property valuation. Known as a collaborative adviser, Dave has served thousands of client companies of all sizes and industries.  Dave is the author of two #1 best-selling books about the impact of human capital (PEOPLE!) on the valuation of a business enterprise called The NEW ROI: Return On Individuals & The NEW ROI: Going Behind The Numbers.  He's on a mission to change the conversation about how the accounting world recognizes the value of people's contributions to a business enterprise, and to quantify what every CEO on the planet claims: “Our people are this company's most valuable asset.”

Strap on your gas mask, crack open that sketch pad, and astrally project yourself into The Further as we continue our James Wan mini-series with an assessment of Wan's 2010 Insidious. With a script by key collaborator Leigh Whannell and a cast featuring Patrick Wilson, Rose Byrne, Barbara Hershey, and the ethereal Lin Shaye, this is the Insidious that started them all. Joining us at the séance table is Allison Broder, host of the Who's There? podcast. Intro, Debate Society, To Sir With Love (spoiler-free): 00:00-28:58Honor Roll and Detention (spoiler-heavy): 28:59-1:04:02Superlatives (spoiler-heavier): 1:04:03-1:21:19 Director James WanScreenplay Leigh WhannellFeaturing Joseph Bishara, Rose Byrne, Barbara Hershey, Angus Sampson, Lin Shaye, Ty Simpkins, Leigh Whannell, Patrick Wilson Allison Broder has been the host of the Who's There? podcast since 2020; on the pod she interviews horror fans and creatives about why they love the genre.  Our theme music is by Sir Cubworth, with embellishments by Edward Elgar.  Music from Insidious by Joseph Bishara. For more information on this film, writing by your hosts (on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠our blog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), and other assorted bric-a-brac, visit our website, ⁠⁠⁠scareupod.com⁠⁠⁠. Please subscribe to this podcast via Apple Podcasts, Spotify, or wherever you get yours. If you like what you hear, please leave us a 5-star rating. Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook group⁠⁠⁠⁠. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Wake up Woodward! LIVE Monday thru Friday from 8-10 a.m. EST. Today we discuss: WAKE UP ITS DARFT DAY FAM AROUND THE CITY Do the St. Brown/Sewell extensions impact the Lions draft strategy at all? Broder's Big Mock at 9 O'clock 8.0 - the Finale Reactions to Chat Members Mock Drafts GUEST John “Doc” Maakaron (Sports Illustrated's All Lions Editor) joins the show WHAT'S TRENDING WITH JB! JBSMOOOOOV Mail bag and were taking calls

Supporta BLMP genom att bli en patron! Spana in de olika alternativen på http://www.patreon.com/blmetalpodcast B.L. spottar sanningar likt aset rätt ut i www. Mycket missnöje! Plåtar till Malmö Massacre 2024 skaffar du prick här: https://secure.tickster.com/sv/j43rpy2jy5mf4y3/products Playlist: Broder - Kraniekløversken Cult Leader - I Am Healed Podridão - Bacterial Growth Septage - Intolerant Spree of Infesting Forms (Septic Worship) Traveler - Take the Wheel Lifvsleda - Sönderfall I samarbete med Medborgarskolan.

Wake up Woodward! LIVE Monday thru Friday from 8-10 a.m. EST. Today we discuss: Tigers 1-0 win on opening Day at White Sox Tigers questions from opening day Lions: officially announce uniform reveal on April 18 WOULD YOU RATHER WITH KG! Broder's Big Mock at 9 O'Clock GUEST Tracy Smith, University of Michigan Baseball Head Coach joins us Mail bag and were taking calls

For some fans, the story of jazz saxophone begins with John Coltrane.   This episode, the boys interview Owen Broder, who gives propers to Coltrane's old boss, Johnny Hodges.  Mainstay of the Duke Ellington band and lover of lettuce and tomato sandwiches, the Rabbit (as he was known) possessed the most sumptuous sound ever heard from an alto saxophone and knew every microtone of the territory between each note of the scale.  Owen talks about his Hodges Front and Center duology, other projects in the pipeline and his influences on alto and baritone sax among other topics in this interview.  Owen Broader:  HODGES FRONT AND CENTER:  VOLUMES 1 & 2.  

All Lions This week -- Guest Matt Broder from Woodward Sports joins the podcast to react to the news that Cam Sutton was issued an arrest warrant in Florida! Plus: Evaluating Brad Holmes' free agency strategy, Broder tries to sell Doc that the Lions offensive line will not fall off in 2024. 

Über den "Kampf gegen rechts", ausgerufen von der Bundesinnenministerin Nancy Faser und ihrem Verfassungsschutzpräsidenten Thomas Haldenwang, sowie über das von Jan Böhmermann geforderte "Keulen von Nazis" spricht Gerd Buurmann mit dem Journalisten Peter Grimm und dem Gründer der Achse des Guten, Henryk M. Broder.

First up, Johnson speaks with San Diego–based Alana Quintana Albertson about her latest novel, Kiss Me, Mi Amor. Albertson discusses how the Golden State's diverse settings provide endless inspiration for her many romance novels. “I really use setting as a character, and I was contrasting La Jolla and Barrio Logan and different communities,” says Albertson. Albertson also shares a few sneak peaks of her upcoming works and names some of her top San Diego County spots for coffee, tacos, and books.  Next, Johnson is joined by Melissa Broder, author of the mystical desert tale Death Valley. The Los Angeles author and poet recounts how a traumatic personal experience in the California desert inspired her latest novel. “I was just going to Zabriskie Point where nobody—it's a very touristy area—nobody ever gets lost there. I got completely lost and did everything you're not supposed to do,” Broder recalls.  She tops off the conversation by sharing her favorite local boutiques, restaurants, and hiking trails.   Lastly, Johnson talks with South Lake Tahoe–based memoirist and poet Suzanne Roberts. The Almost Somewhere author recounts her experience hiking the John Muir Trail: “Those 28 days taught me that there is more than one view of nature, that nature is a place where we should be connecting and not conquering.” The experienced outdoorswoman also builds an itinerary for both a laid-back and action-packed winter weekend in her hometown.

A new 'Craftwork' episode, about how meditation can inform creative writing. My guest is Melissa Broder, author of the novel Death Valley (Scribner). Broder's other books include the novels Milk Fed andThe Pisces, the essay collection So Sad Today, and five poetry collections, including Superdoom and Last Sext. She has written for The New York Times, Elle, and New York magazine's The Cut. She lives in Los Angeles. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch Twitter Instagram  TikTok Bluesky Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's a Top 10 Thursday on this Pearl Harbor Day as Ryan, Bray, and Maz welcome guests WSN Lions Reporter Matt Broder who will be live from Allen Park HQ, and also welcome Chicago Bears Sideline Reporter Jason McKie. We will go around the NFL, and discuss some Pistons and Red Wings as well

Struggling to boost your business on social media?   Look no further because today, Michelle is joined by social media expert, Amber Broder. They share unfiltered takes on navigating the ever-changing world of social media with a positive and realistic mindset. You'll learn the importance of quality visual assets, the most common social media misconceptions, and things business owners should have in their back pockets before outsourcing their socials.   Amber is a full-time social media manager and full-time horse girl, balancing supporting clients through Instagram, Pinterest, and email marketing while traveling around the country for showjumping competitions. She started ABC Social Media Management in her junior year of college - a hard right turn from her original career path of going into politics - and after landing her first few clients, decided to niche down to interior designers. Over the last two years, ABC Social Media Management has helped make social media feel as easy as 123 for almost 70 clients, supporting them with IG audits, strategy sessions, and full management.   ------------------------- In today's episode, we cover the following: ABC Social Media Management's services, from basic social media audits to VIP managing services Creating meaty content in a specialized industry The pressures of one-person marketing teams The value of business mindset and other non-negotiables for prospective clients Navigating client expectations and the constant changes in social media Don't chase high-follower numbers on Instagram Amber's philosophy on the influencer market Use Pinterest for inspiration, NOT for content theft Common social media misconceptions debunked   -----------------------   RESOURCES: Snag Amber's IG VIP Weeks for only $797 (available for the first 3 who book!) Grab Amber's social media freebies Episode 127: Common Branding Mistakes Episode 120: Canva and Pinterest with Brodi-Rose Newsome   ----------------------- Guest info: To learn more about ABC Social Media Management and the services they offer, you can follow them on Instagram, TikTok, and Facebook @ABCSocialMediaManagement, or visit their website, abcsocialmediamanagement.com.   ----------------------- WORK WITH MKW CREATIVE CO.   Connect on social with Michelle at: Kiss My Aesthetic Facebook Group Instagram Tik Tok   ---------------------- Did you know that the fuel of the POD and the KMA Team runs on coffee? ;) If you love the content shared in the KMA podcast, you're welcome to invite us to a cup of coffee any time - Buy Me a Coffee!   ----------------------- This episode of the Kiss My Aesthetic Podcast is brought to you by Audible. Get your first month free at www.audible.com/kma.   This episode was edited by Berta Wired Theme music by: Eliza Rosevera and Nathan Menard

“Shift in perception is a miracle”   Death Valley by Melissa Broder is part desert survival story, part examination of grief — mixing the absurd with the profoundly human in a feat of imagination. Broder joins us to talk about the realities of anticipatory grief, incorporating fantastical elements into the real world, including humor in her work and more with guest host, Jenna Seery.     This episode of Poured Over was hosted by Jenna Seery and mixed by Harry Liang.               Follow us here for new episodes Tuesdays and Thursdays (with occasional Saturdays).         Featured Books (Episode):  Death Valley by Melissa Broder  The Pisces by Melissa Broder  Milk Fed by Melissa Broder  The Babysitter at Rest by Jen George  Open Throat by Henry Hoke  Mrs. Caliban by Rachel Ingalls  Leave Society by Tao Lin  The Passion According to G.H. by Clarice Lispector  Desert Solitaire by Edward Abbey  Correction by Thomas Bernhard  Journal of a Solitude by May Sarton 

RCKRBX is the first real estate SaaS platform that puts the voice of the renter at the Multifamily developer's and investor's fingertips, including across key investment, development, marketing, leasing, and management decision points. The platform delivers actionable intelligence around the preferences, priorities, attitudes, and viewpoints that drive renter decision-making combined with predictive analytics to understand how these factors will impact asset performance and value over time, to what extent and why. Michael and James are applying their lessons from Political campaigning to the Real Estate world in a unique way.(1:13) - State of Multifamily(8:43) - Return to work impact on Multifamily(11:45) - What Multifamily can learn from political campaigns(16:44) - Demand side insights: What renters are looking for(25:00) - Canvassing renter insights to power investment decisions(32:23) - What Multifamily developers are missing(40:42) - What moves the rent needle beyond typical amenities(45:07) - Collaboration Superpower: Henry Ford

VASTUM return with their fifth full-length album Inward To Gethsemane on November 10th via 20 Buck Spin Records. Guitarist and vocalist Leila Abdul-Rauf joins this episode to discuss how the new record came together, releasing an eight-minute single, and where the Bay Area-based death metal act is headed.Music by:BroderVastumAutopsyIntro music by:Hot ZonePatreon: https://www.patreon.com/GettingitoutpodcastEmail: dan@gettingitout.netWebsite: http://gettingitout.net/Instagram: @getting_it_out_podcastFacebook: www.facebook.com/gettingitoutpodcastX: @GettingItOutPod Get bonus content on PatreonSupport this show http://supporter.acast.com/getting-it-out. Hosted on Acast. See acast.com/privacy for more information.

Melissa Broder is the author of Milk Fed, the ''sensuous and delightfully delirious tale'' (O, The Oprah Magazine) of a calorie-obsessed lapsed Jewish woman who falls under the spell of a zaftig Orthodox frozen yogurt store employee. Her other work includes the novel The Pisces, an essay collection titled So Sad Today, and four collections of poetry. Her poems have appeared in a multitude of publications, including Tin House and Guernica, and she is the recipient of a Pushcart Prize. In Death Valley, Broder weaves the tale of a woman who finds refuge from her sorrows through a mystical cactus in the high California desert. Hilary Leichter's novel Temporary, longlisted for the PEN/Hemingway Award and a finalist for The Center for Fiction First Novel Prize and the New York Public Library Young Lions Fiction Prize, tells the tale of a young woman who fills increasingly bizarre temp job positions. It was named one of 2020's best books by NPR, Vulture, and Elle, and was a New York Times Editors' Choice. A creative writing professor at Columbia University, Leichter has earned fellowships from Yaddo, the Folger Shakespeare Library, and the New York Foundation for the Arts. Her work has appeared in The New Yorker, n+1, The New York Times, and Harper's Magazine, among other places. Her latest novel, Terrace Story, tells the story of a family living in a cramped apartment who finds a miraculous and inexplicable terrace in their closet. Because you love Author Events, please make a donation to keep our podcasts free for everyone. THANK YOU! (recorded 10/25/2023)

On this week's episode, Writer Adam Pava (Boxtrolls, Lego Movie, Glenn Martin DDS and many many more) talks about his writing career, and why sometimes when he writes features, he doesn't always get credited. Tune in for much more!Show NotesAdam Pava on Twitter: https://twitter.com/adampava?lang=enAdam Pava on IMDB: https://www.imdb.com/name/nm1106082/Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptAdam Pava:I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can. I think that's the first thing, but to get those open writing assignments, I think it's just a cool errand to even try because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things and then they'll seen you've done it. You're listening to Screenwriters Need to Hear This with Michael Jenman.Hey everyone, it's Michael Jamin. Welcome back for another episode. I may be retitling the name of my podcast. So I'm, I'm going to be vague for everyone, but I'm here with my next guest, Adam Pava, who's a very talented writer I worked with many years ago on show called Glen Martin, d d s, and he works. We'll talk. I'll let you speak in a second. Pava, you just relax. I'm going to bring you on with a proper introduction because you've worked a lot, lot of features, a lot of animation. So I'm going to run through some of your many credits. Some of them are credited and some of them just are not so credited. We're going to talk about that even though you've done the work. So I think you started early on on shows like Clone High, Johnny Bravo, I'm going to skip around.You worked with us on Glen Martin d d s, but then you've also done Monsters versus Aliens Dragons. I'm going to jump around, but wait, hold on. I'm skipping a lot of your credits, Pavo, a lot of the box trolls you've done, you work a lot with Lord and Miller on all their stuff, all the Lego movies, goblins. You have something in the works with Leica, which is one of the big animation studios which you're attached to direct as well, and then also some other shows. Let's mention My Little Pony dreamland. What else should we talk about? A bunch of the label, it's hard to talk about the credits because so many of 'em are things that are either in production or development that they're not supposed to talk about yet, or they're things that I was uncredited on. And so it's a weird thing.And why are you uncredited? How does that work? It's super different from TV and movies. So back when I worked in tv, I did tv. I mean, back when we worked together it was like what, 10, 15 years ago? Something like that. But I did TV for the first decade of my career and everything you work on, you're credited, even if you're just like the staff writer in the corner who says three words and doesn't make, get a joke into the script. You're one of the credited writers. Movies are a different situation. It's like one of these dirty secrets of Hollywood where they always want to credit one writer or a team of writers. Sometimes it'll be two writers that get the credit if both of 'em did a huge chunk of the work. But the thing that usually happens these days on big studio movies anyway is they will go through three or four writers over the course of the years and years of it being in development and all those writers who worked on it before the final writer or sometimes just the first writer and the last writer will get credit and all the ones in the middle won't get credit.Or it's like the W G A has these arbitration rules where it's like, unless you did a certain percentage of the final shooting script, you're not going to get credit at all. So even though the guy who brings catering gets credit and every person on, so will you arbitrate for credit or do you go into these projects knowing that you're not going to get credit? Usually I go in knowing that I'm not going to get credit or I will. Sometimes there'll be a situation. I did about a year's worth of work on the Lego movie, the first Lego movie, and Phil and Chris, Phil Lauren and Chris Miller who directed that and wrote the first draft of the script and the final draft of the script. They're buddies of mine and so I'm not going to arbitrate against 'em and I want them to hire me in the future and I love them and they really wanted, they're written and directed by title, and so of course I'm not going to arbitrate in that sort of situation.And also to be fair, I don't think I would win that arbitration because they wrote the first draft and it was already the idea and it was brilliant and it came out of their minds and it was awesome. And then they had me do four or five drafts in the middle of there where I was just addressing all the studio notes and all the notes from the Lego Corporation and all the notes from Lucasville and all that kind of stuff while they're off shooting 21 Jump Street and then they come back. So you were just doing it to move it closer and then they knew they were, yeah, exactly. They knew they were coming back onto it and they were going to direct it and they would do another pass. They would do multiple passes once it goes into storyboarding once it's green lit. So I was just trying to get it to the green lit stage, so they had written a draft and then I did a bunch of drafts addressing all these notes and then we got a green lit off of my drafts and then they came back on and they started the storyboard process and directing process.And the story changes so dramatically during that process anyway that the final product is so far removed from the drafts I did anyway, but it was a valuable, my work was needed to get it to that point to where they can jump back onto it. But very little of that final movie is anything that I can take credit for and I wouldn't want to take credit away from them on that. So I do a lot of that kind of work. Did they have other writers that worked on Legos movie as well, or just you? On the first one, it was them and me. There was these two brothers, the Hagerman brothers who had done a very early treatment, but that had set up the original idea for the movie of Allego man sort of becoming alive. So they got a story by credit, and then they definitely always have a stable of writers that they bring in to do punch up work and to just watch the animatic and give notes and stuff like that.So there's a whole bunch of people that are contributing along the way. Funny, they come from tv, so they really run it. They run it as if they're still on TV a hundred percent. They have their writers. And so I've gotten to work on a lot of their projects as one of their staff writer type people basically is the idea. So it's all uncredited work, but it's great work. They're such great guys and you're working on really cool things every time. And so now there's a new, in the last few years, the W G A started this new thing called additional literary Material credit. And so if Lego were to have come out now, I think I would've gotten that credit on it, but at the time, that didn't exist, so I got a special thanks. And how did you, oh, really? Okay. And how did you meet these guys?They gave me my first ever job before I knew you. I mean, I had written a movie script that was an animated movie. This is like 99 or 2000. I was just out of grad. I wrote it while I was in grad school. And Wait, hold on. I didn't even know you went to grad school. Did you study screenwriting in grad school? Yeah, I went to U S C screenwriting. Oh, I did not. I hide it from you. Why do you hide it? For me? I don't know. It's a weird thing where I feel like a, it's like I was in this weird secondary program that wasn't part of the film school. It was the master's of professional writing and screenwriting. And so people would get confused and I didn't want to lead them on, but also I just feel like it got me to a place and then I was like, I didn't want be part of a good old boys club where people are just hiring U S C people or whatever.That's the whole point of going to USC for Yeah, people ask me, should I go to film school, get an M F A, and my standard answer is, no one will ever ask for your degree. No one caress about your degree. The only thing they care about is can you put the words on the page that are good a hundred? But why did you, but what it did offer me, and I'll get back to how I met Phil and Chris in a little bit, but this is a good side conversation. It gave me an opportunity to do some internships on a couple of TV shows. And that was super, super valuable. So when I was at U SS C, it was 99 and 2000, and so I interned my first year on a little show called Friends, which was still on the air. I was on the air at the time.I was just the stage intern. So I was moving the chairs around during the rehearsals and fetching coffees and getting frozen yogurt for cast members or whatever, just shitting my pants, trying to be a normal human being around all these superstars and was not, I wouldn't say it was the best experience of my life. It was definitely one of those things where I was like, everybody was super intimidating and everybody was really busy and the cast were in the middle of a renegotiation, so they're all showing up late. It just felt like everyone was angry the whole time. And I was like, dunno if I want to work in tv. But there was one writer's assistant who was just like, yeah, because on the stage you're a writer, you need to be in a writer's room, you should be an intern in a writer's room.And I was like, oh. And then so I was able to get an internship on Malcolm In the Middle, which had just sold, it was in his first year, so it was a summer show. So I jumped onto that in the summer and was able to do that. And then in that writer's room, I was like, oh, these are my people. These are actual, wait, you were an intern. They let you sit in the writer's room one. It was like for doing all, getting the lunches and making the coffee and all that stuff. Linwood was nice enough to let me just observe in the room for one day a week just to, well, if I didn't have other stuff I needed to get done. So it was super nice as long as I didn't pitch or say anything and I was just, I never would.But it was cool to, that experience showed me that show was so well written and it was so tight and those writers were all geniuses or I thought they were all geniuses. And then I'd go in the room first, I would read the scripts and I would think, oh my God, I'd never be able to do this. And then I got in the room and I'm like, oh no, they're just working really, really hard and banging their head against the wall until they come up with a perfect joke. And then by the time it's done, it seems like it's genius. But it all was just really hard work, really long hours to get to that place. So that taught me like, oh, maybe I can be one of those people. If I'm just one cog in this room, I could do that. And so that gave sort of the confidence to do that.So I had done those. Getting back, I can loop back into the Phil and Chris thing now because this actually connects really well. I had done those internships. I graduated U Ss C and I had this script that I'd written as my final project or whatever, and it was an animated movie, and I thought you could just sell an animated movie, but I didn't know, they didn't teach me this in grad school that at the time they developed 'em all. It was like only Disney and Dreamworks were doing 'em at the time. This is 2000. And they just hire directors and sort of were an artist in-house to sort of create the stories or back then that's how they would do it. And so I sent it to some agents and the response was always like, Hey, you're a really funny writer. This is really good.I can't sell this. I don't know anybody that buys animated movies, but you should write a live action movie if you can write it as good as this. And so I wrote another movie that was Live Action, but it was silly. It seemed like it might as well have been an, I go back and read it now and I'm like, it's basically an animated movie, but it didn't say it was animated, it was live action human beings. And I submitted it to a small boutique agency at the time called Broder. I don't know if you remember them, Broder Crow, we were there. Yeah. And so Matt Rice was an agent there at the time, and he had on his desk, his assistant was Bill Zody. I dunno if you know him, he's a big name agent now, but he was an assistant at the time.He read that script that I wrote and was like, oh, you know who this reminds me of these other clients that Matt has, Phil and Chris. And so he passed it on to those guys and they were looking for a writer's assistant on Clone High because they had just sold their first TV show. They were a young hotshot writers that were just deal. And so I met with Phil and Chris, and they hired me as the writer's assistant on Clone High, which was like, they were the same age as me. They were just like, we don't know what we're doing. But they're like, you've been in a writer's room, you've been knock on the middle and I friends and you, I didn't know anything. I didn't know what I was doing at all, but it said on my resume that I had had these experiences.So they thought I would be a good writer's assistant for that reason. But they were the coolest dudes from the very beginning. They were just like, you're the writer's assistant, but also you should pitch in the room. You should act like you're another writer. We have a really small staff, we have seven writers, and you're going to get episode eight. I mean, it was crazy. They were just like, they gave me a lance and that never happens anymore. How did they get an overall deal when they came? Oh, it's the craziest day. So they went to Dartmouth, they made each other at Dartmouth and then they were doing cartoons while they were there studying animation. And one of Phil's, I think it was Phil, I think it was Phil won the Student Academy Award for a student film that he did. And it was written about in the Dartmouth Alumni magazine.And there was a development exec at Disney whose son went to Dartmouth and read that article and was like, Hey, called them in their dorm room. And we're like, if you guys ever go out to la lemme know. We'll set a meeting. And they literally, the day after they graduate just drove to LA and then called 'em up and we're like, we're ready to get hired. And it worked and they got hired, it worked. They got hired just to do Saturday morning stuff, and they did that for a little bit and everything they were doing was too crazy for Saturday morning, but it was like Disney. But then Disney was like, well, you can start developing stuff for adult Disney or for primetime stuff. And so they came up with the idea for Clone High, and it originally sold to Fox as a pilot to be after the Simpsons or whatever, but then it didn't get picked up and then M T V picked it up and then they had a show.So it's crazy what a trajectory their career has. Yeah, I know. And now they're running Hollywood. Yeah, pretty much. Pretty much. Yeah. They were good guys to meet right away mean honestly, it was like to become friends with them and just to ride their wake and get some of their sloppy seconds and some of the stuff that they don't want to deal with, it's honestly, it was great. Did they call you a lot with stuff like that? Hey, we don't want to do this. It's yours less now than they used to. I mean, there was a point where I was one of their stable guys that they would call. I think they have met a lot of people in the 20 years since then, but early on it was like, I mean, even their first movie was Claudio with a Chance of Meatballs, and they brought me on to help rewrite the third act at one point.And it was just from then on, they would always send me their scripts and just add jokes or to give feedback or whatever, and they've always been like that. And then I've noticed the last maybe six or seven years as they've gotten these huge deals and all their projects are now just these massive things, it's not quite the same relationship where they would just text me or email me and be like, Hey, read this. Now. It's like they have a whole team of people. They have a machine now, but we still are friends. And then things will come up where they'll hire me for things here and there. I wonder, honestly, I don't want to make this differe about them, but it's so interesting. I kind of think, I wonder what it's like to be that busy. It almost feels like, oh my God, I'm too busy.They're so busy. They're the hardest working people I know. It's like people always wonder how this stuff comes out so good. And it's not that, I mean honestly, it's just good because they stay up later than everybody. They never stop tinkering with things. They're never satisfied. They always think the next thing they do is going to ruin their career. And so they run on this fear that propels them that, I mean, they harness it. It's not like it's a secret. They know that this is what makes them great and utilizing all their friends utilizing, they're the kind of people that are the best idea in the room wins. If you could be the PA or the head of the studio and if you have a great idea, they're like, let's try it. And they also try a lot of stuff that doesn't work and they're given the leeway to go down a lot of dead ends and then realize that's not the answer, and then back up and then try it again and try it again and try it again.And that's how a lot of animated movies are done. And so it drives everybody crazy, but also creates amazing product. That's what, because I've interviewed a couple of guys who worked at dreamworks, which John Able who does a lot of the kung movies, and he describes it the same way. I was like, wow, it's so different from writing live. It's so different from writing live action. The whole experience sounds exhausting to me. Do you find it the same? Yeah, I mean when I first started in it, I was like, this is ridiculous. Why don't they just write a script and then shoot the script? And then over the years, I've learned to love the process. I mean, I was frustrated early on when I would realize how much gets thrown out and how much changes and how much. It's just, it's out of the hands of one writer.And I think a lot of it is also just ego thinking that you could do it better than everybody. And then once I embraced, oh no, you have a bunch of really brilliant storyboard artists and you have a bunch of really brilliant character designers and head of story and a director and all these different people who, and layout artists and even the animators themselves, they all add something so vital and valuable to it, and you learn stuff from each of their steps and then you're just given the leeway to be able to keep adjusting and adjusting until you get it right. And that's why animation comes out so much tighter often than live action is just because you've been able to see the movie so many times and keep tweaking and tweaking until you get it right. Now there is a point where sometimes I feel like you can take that too far and then it just becomes like, oh, we had a great version, four drafts to go and now we've lost our way, or we're just spinning our wheels or whatever.See, that's why I get lost sometimes. I've been in shows where you rewrite something to death and then someone says, we should go back to the way it was, and I'm like, what was the way it was? I don't even remember anymore a hundred percent, and I've stopped ever thinking You can do that. I used to think I would hold out hope though they'll realize that the earlier draft was better. They'd never do. It's like everybody forgets it, and then you just have to have the confidence to be like, well, we know we'll come up with something better together that it'll be from the collaborative mind of all of us. And then I think now I've seen actually the last few years, there's a little bit of a tightening of the belt budgetarily, and that leads to faster schedules. And so instead of having seven times that you can throw the story up from beginning to end on the storyboards, like the reels and watch this movie, you can only do it three times or so.That gives you a little bit more of a window of like, okay, we got to get it right in three drafts or whatever, in three storyboard drafts. And who's driving the ship then in animation? Is it not the director in this case, it's Lord Miller, but they're the writers. Well, Lord Miller are often the directors, and so when they're the directors, they're in charge when they're the producers, they're in charge When they're on the Spider Verse movies, for example, they're the writer or Phil writes them and then they hire directors. But Phil and Chris are the producers, but they're sort of like these super directors. They're very unusual. Yeah, it's not, yeah, that's an unusual situation. But other movies somebody do at dreamworks and there's somebody do at Leica Leica, it's like the director and the head of the studio, Travis Knight, who it's his sandbox and it's his money because he's a billionaire that funds the studio.He has the ultimate say, and so the directors are always working with him, but it's always collaborative. It's always like you get in a room. When I'm working at Leica, it's always like me, the director and Travis trying to figure it out, and he's trusted me to be, I feel like he doesn't trust a lot of people. He is kind of closed off in that way, but once you earn his trust, you will be in that room and you'll figure it out together or whatever. But every movie's different, and sometimes I'm on a movie just to help fix it for a little bit, and then I'm just a fix it person that comes in for a little bit. Sometimes I just add jokes. Sometimes I just, there's been movies where it was a mystery animated movie and they're like, can you just rewrite the mystery?I was like, what a weird assignment. But I had three weeks still. But in this case, they're calling you. How are you getting this work? Just reputation, they're calling you out of nowhere? Mostly now it's reputation. I mean, sometimes I'll be submitted to it. I mean, the first time it's always like you have to be submitted. And I mean, I can tell you how I got hired on box rolls. That was a big breakthrough to me. I mean, it was after I'd done, so Lego was obviously just having known and worked with Phil and Chris forever, and then they got hired on Jump Street, and they needed somebody that they trusted to dear the ship for a while while they're gone. And so I was able to do that, and that was a huge big break. It was like, you couldn't ask for that. I just, I'm the luckiest guy in the world.But after that, at Leica, they had a draft of a movie before it was called box Rolls, it was called Here Be Monsters, and it had been in development for years and years and years and gone through a bunch of writers and they hadn't quite figured it out. It was kind of a mess. It was a big sprawling story that had a lot of moving parts to it, and they had heard that on Lego, I was able to harness a lot of the crazy ideas that Phil and Chris had and put it into a structure that made sense. And so they asked me to come in and do the same thing, or before they even did that, I did a punch up. I got hired to do a punch up on that movie, and I knew that it was going to be a huge opportunity to impress them.I really, really wanted to work at Leica because at the time, they had only had Coralline come out and I loved that movie. And then I had seen maybe ParaNorman had come out or it hadn't come out yet, but it was about to, whatever it was, I knew it was a new animation studio doing really unique original stuff, and I got asked to be part of this round table, and it was all these heavy hitter Simpsons writers. It was like J Kogan and Gamo and Pross, all these people that you're like, these are all legends. They've done a million shows and they get hired to do punch up all the time. That's like their bread and butter, right? I'm not so sure anymore, but okay, no, no, but this is in 2011 or whatever.And I was like, I am going to take this script and analyze it and come up with character moments and come up with, I'm not going to be able to compete with those guys with the best joke in the room necessarily. I'll have good jokes to pitch, but I'm going to have like, oh, what if we adjust the character to be more like this? And where those guys were all, not those guys specifically, but the room in general, these were all guys who were maybe reading five pages ahead and then pitching off the top of their head. And I spent a couple of days writing jokes in the margin and ideas in the margin, and I killed in that room. I got a lot of stuff in and to the point where a few months later when they needed a big overhaul, they asked me to come in and do sort of what I had done on Lego, just take this big thing and hone it down into, so it was a rewrite job at the beginning, and then it turned into three years of working with the director in the studio to change that story.We threw everything out and started over basically a couple times over the course of those years end up, but how are you get paid? Are you getting paid on a weekly scale? Because I don't know how that would work. Do you get paid? It starts off with a draft and then it'll be a typical thing like a draft in two rewrites, but you quickly run through those and then they keep needing your work. At least they're not getting free work out of you. They're picking no, then it turns into either a day rate or a weekly rate, and that's where I bought my house.I made so much money on my day rate. They would literally just, Leica would call me and just be like, oh, we're going to record an actor in a few days. Can you just go through all their scenes and write three or four alts for every joke? Just have a bunch of stuff. And I would spend a few days doing that, and then a day rate, you get paid really, really well, that stuff adds up. Or they would be like, we just need one more pass on the third act, or we just need to go through the whole script and remove this character. And so all these little weekly assignments, and then you're just like, that was very lucrative doing it that way.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Adam Pava:You usually, because done so much animation and it sounds like you always set out to do animation, is that I did set out to do it, and then I didn't set out to only do it. I thought I could do both, but you kind of get pigeonholed a little bit. It's hard. I've gotten hired to write a few live action movies, but there were always a live action movie that had an animation element to it. It could be a hybrid movie or be a family movie that they think, oh, because you've done family work, you can do this. But nobody would ever hire me to just do a horror movie or whatever. And I don't know if I'd be the right guy for that either. I think my sensibility tends to be more animation based, but also, I think movies are such a different thing than TV where there's like, they're so expensive.If you're spending $80 million or whatever, you want to hire somebody that's done it before. So it's really, really hard for the studio bosses or even the lower level executives to fight to hire you if you've never done that kind of thing before. And so you get, it's not pigeonholed. I love doing it and I love the work, but it's also, I get why I get hired for certain things and not for other things. But also I feel super lucky because animation is one of the only parts or the only genres of film that has not shrunk over the years. Movies in general, they've stopped making live action comedies almost completely, except for stuff on streamers. They don't make rom-coms anymore. They barely make action comedies. It's like they make superhero movies and Star Wars movies, but then animation movies are evergreen. And so I feel really lucky that I sort of fell into this area that there is still work to be had.So yeah, I mean, you really have put together a really pretty impressive career. And I know not all your credits, not all your work is credited, so what I mean? Yeah, well, it's either uncredited or there's so many projects that died Vine. So it's like you read my, I said you that list of credits and it's like I'm looking at it over earlier today. Oh, it's just a list of debt projects, but that's expected. When you go into it, you go, okay, they're not all going to go. That's expected. It's all right. I was looking at my, I was organizing my, it's a strike, so I have time to do these things, organizing my folders on my computer and putting everything in, and I had over 150 folders of each. One is its own project, and not all of those are work that I've done.Some of them are like, I got sent this thing to pitch on, and then I had one meeting and it went away. And some of 'em I did a few weeks on, or some of 'em I just did day work on, but 150 projects over the years. Some of 'em I'm on for a year or two or three years. So it's insane. And so the hit ratio is super low of, I got really lucky when I transitioned out of TV and went into movies. It was like the first two things. Well, I sold a thing to Dreamworks that didn't get made, but then right after that, it was Lego and box trolls. They both came out in 2014, and I worked on both of 'em, and I was like, oh, this is going to be easy. You work on a movie and then it comes out and then it's cut to 10 years later and it's like nothing else is my name on it has come out.I've worked steadily. I've worked really well. I've been very happy. But it's definitely, it's a different thing than TV where you're just working and getting credited all the time. Well, yeah, but it also sounds like, I don't know, it sounds like to me, maybe I'm wrong. It sounds like you don't need to hustle as much doing what you do. No, I feel like it's the opposite because on TV you can get on a show and you're running for years, but on a movie you always know what's going to add, but they're coming to you. People are coming to you with offers, in other words. Oh yeah, sometimes. I mean, yes, the ones that end up happening, that's true. But there's so many that I'm just on a list at the studio, but I'm in a bake off with six other writers and I don't get it.So you put a lot of work so people don't know what to bake off is. So this is when you have to pitch to get the job and you have to put in several weeks of work. That's the worst. That's just the worst. And that's the majority of my life. Oh, is it? That's like, yeah. Yeah. So there's definitely, I mean, between Phil and Chris and Laika, I have, and a little bit of Dreamworks now. I'm doing my third movie for them right now. So that's pretty good over 10 years, three movies. But other than those places, it's always like you're getting sent stuff, but that doesn't mean they want you. It just means they want to hear a bunch of takes, and so you have to try to fight for the job if you really want it. Or I used to spend months or maybe eight months coming up with the take and having every detail worked out.And then I realized over time, they don't actually want that. They want a big idea and some themes and some ideas of what the set pieces are, and they want to know that you, I mean, honestly, it's, I don't even recommend that young writers go out for them because you're not going to get it anyway, because they're always going to go with somebody that has done it before. Especially, I mean, not always, if you might be the rare exception, but so much. Well, then what do you recommend to young writers to do? Dude, I don't know. I mean, I think you have to write great samples. I mean, I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can.I think that's the first thing. But to get those open writing assignments, I think it's just a fool's errand to even try, because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things, and then they'll see you've done, it's not even try to get these big studio things, get a small indie thing if you can, or make your own thing if you can, or just try to work your way up in a smaller way. I mean, all the big name directors out there all started on small indie movies. And I think that's got to be the same for writers now too. So many fewer movies. Is there anything that you're doing on the side just for the love of it that you're creating for yourself? Or is it, I haven't, in the last few years, I haven't.I've just been busy with work, but during the pandemic, I had plenty of time. Nobody was buying movies, and I am wrapped up on something and I had an idea that I thought was going to be my next big sale, and that it was an idea about a virus that went, it was a comedy thing, but it was this idea where it was sort of based on the idea that Christmas is getting longer and longer every year, where people put up their lights in decorations sooner and sooner, and you start seeing the stuff for sale in October or whatever. And so I was like, oh, it felt like Christmas was a virus that was slowly taking over the world. And I was like, what if it's a zombie movie, but Christmas is the virus? And so it was sort of a Christmas apocalypse thing where Christmas takes over the world and one family didn't get infected and had to fight back.So I was like, this is going to be a big seller. And then I was like, and then Covid hit, and it was like nobody wanted to buy a thing about a virus taking over the world, so I literally spent the pandemic. To answer your question, I wrote it as a novel. Instead, I wrote it as a middle grade novel, a y, a novel. Did you publish it? Not yet. We're trying. So we're out to publishers, and it took a while to figure out literary agents, which are very different world and everything, but the idea is to hopefully sell it as a book and then be able to adapt it as a feature. But yeah, it was so fun to write, and it was so freeing to not be stuck in 110 pages and to, I mean, I already had the whole thing outlined from the pitch when I was going to pitch it, so I knew the structure of it, so I just kept it as the structure of a movie, but I expanded on it and got more into the character's heads and that kind of stuff.But I had such a fun time writing that, and I was just like, man, someday when the work dries up, I am going to look forward to writing novels instead. And oh, yeah. The funny thing is when you describe the literary word going out to publishers, it's not that different from Hollywood. You think It is. It's not. It's the same hell. Oh, absolutely. But you and I haven't had to deal with breaking into Hollywood in a long time. And then in the literary world, they're like, oh, you've written movies. We don't care. We don't care at all. So it's starting over. And U T A tried to help a little bit, but they're like, we don't really know what to do. And then, so it's, I've been, my manager has been introducing me to editors and stuff, literary editors, and they've been really receptive, and it's been good trying to find the right one and the person I jive with. But it's very much like, oh, you're starting from scratch all over again. And for less money, no money. I mean, literally, I don't know how you would make a living off of this. I mean, I think we're spoiled a little bit, but what was the money they were telling you? Can you say, I don't want to say you don't, but it was basically about, it was less than a 10th that I would get paid on a movie.It was about my weekly rate. So I was telling you, I do weekly jobs on movies, and it's like if I do a weekly on a studio movie or I could sell a novel, or you could work five years on a novel, and I'm like, oh, this is not a way to support a family, but it was really fun. Someday when I'm just doing it for fun, I would love to do it. Wow, how interesting. Wow. So your best advice, because you're not an animator, you're not even an artist, are you? No, I don't draw or anything. I just love animation. I just always loved animation. So I don't know. I think when I was in seventh grade when the Simpsons started, and that blew my mind, and I was like, I remember telling my dad, I think I want to write on this. It was the first time I recognized, oh, people are writing these jokes. It was very, I think, more self-aware than most comedy was. And I was in junior high and I was just like, I want to be a writer on a show like this. I never was a writer on that show, but a bunch of other stuff.Now, as far as directing, because I know you're attached to possibly direct this project, where does your confidence come from that to direct? I mean, I don't know if I have confidence in it. I mean, I would want to co-direct it. In animation, you often get paired with another, if you're a writer, you'd get paired with an experienced animation director who comes from the visual side. So either an animator or a store wear artist or visual development artist. And I just feel like some of the projects I've been doing, you sort of act as more than just a writer anyway. You're sort of meeting with the creative heads all the time, making these big decisions that affect the projects. And at a certain point, I'm like, well, if I write something, that project that I, that's at life that I was attached to, it probably won't even happen at this point.It's been a few years, and it's kind of sitting there waiting for Travis to decide if he wants to make it. But it was a personal project to me, and it was like this would be the one that I was like, I would really want to see this all the way through. And I'm sure at that studio at this point, he's, Travis himself who runs the studio, is kind of directing all the latest projects anyway, so I would be co-directing with him. And so he would really be in charge, and I would just be, they're up in Seattle, right? Portland? Yeah, Portland or in Portland, yeah. So do you go up there a lot for Yeah, when I'm on a project, so usually it's like if I'm just writing it before it's green lit, which is most of the time I'll just fly up there for meetings just to get launched or whatever, and then go back up after I turn it in to get notes. But if it's in production on box trolls, and then there's another upcoming one that I did a bunch of production work on, they'll fly me up there to work with the board artists and stuff. And that's a crazy, that place is so nice.It's like a wonderland. I mean, it's like this giant warehouse downstairs that they have all the stages and they're all covered with black velvet rope, I mean black velvet curtains. So to keep all the light out and everything. And that's where they're moving all the puppets and everything, the stop motion. And then upstairs it's like the offices, and it just feels like a corporate office building with cubicles and stuff. It's very weird. But you go downstairs and it's like there's people animating, there's this huge warehouse where they're building all the props and they're like armature section where they're adding all the skeletal armature to the You never went with us to, because Kapa was like that in a cup of coffee in Toronto when we did Glen Martin. Yeah, it was amazing though. Similar. But Kapa is doing it on a budget, and these guys are spending so much money, it's not a viable way to make money to make these animated stop motion animated movies.They don't do it to make money. He does it. He loves it. Oh, really? Oh my gosh. Yeah, because Travis Knight is the son of Phil Knight who've gone to Nike, so he's got sort of a lot of money, and it's his hobby shoe money. He's got shoe money, but he is a brilliant animator. He is a super smart, interesting dude who wants to make things that are different than anybody else. And so it's an amazing place to work because nowhere else do you ever have the conversation of like, oh, we could do this if we wanted to do it, where more people would see it, or we could do it this way, which is cool and we want to do this. It's fun and weird.Not that he doesn't care about an audience, he does care about an audience, but it's not most important to him is making something that's awesome to him for the art. And so it's a very different way of looking at things. But I've been in situations there where it's like we're doing upstairs, doing a rewrite with me and the director changing the whole third act or whatever, and then I go downstairs and just tour the stages and the workshops, and I'll meet a puppeteer who's like building this giant puppet who's telling me this is the biggest puppet that's ever been created in Stop motion, and here's the 17 different places where I can articulate it. And I'm just thinking like, dude, we cut that yesterday upstairs. Oh no. And he's been working on it for a month. Oh, no. But I can't say anything. I'm just sort of like, oh, yeah, that's awesome.It's so great. You're doing great work. Anyway, I'm going to get back upstairs. That's so heartbreaking. But they burn through so much money just doing it all by hand. It's so crazy. But it's so beautiful, so I love it. And so you were literally upstairs, they gave you a small office and you just start typing? Yeah, that's literally, I mean, usually when I'm there, it's like they just put me in some random cubicle that nobody else is using or it's not a cubicle, a little office that is or whatever, somebody office. And you'll stay there for a few days or a few weeks or what? Yeah, exactly. Depending on how much they need me. So it either be a few days or a few weeks. And then on box rolls, I was up there. I would be up there for a week, relining some stuff, and then I'd come back home for two weeks and write those pages up.And I mean, I'd be writing in the evenings after the meetings and stuff too, while I was up there. But when we are rewriting, it's a train that's moving and it's like the track is you're running on a track and you got to keep pressure. What did you think of staying there in Portland? Did you like it? I did it. It's hard because my family's here and life is here, but if that movie had gone that I was attached to Coder Act, we were planning on moving there for that for three or four years. That's how it would take. Interesting. Would you have sold your house here or just rented it out? I'd have rented it out, I think. Interesting. Yeah, you, it was like we were having all these conversations, and then it's the longer it goes, we're like, that's probably not going to happen.We don't have to think about this right now. How interesting. That's so key. It really takes that long, man. Oh yeah. They're so long. And then also, it's like there is this weird thing in animation where it's not uncommon for a movie to go through two or three directors over the course of its many years in production. So it's like, why? I know. Just because they're beasts. And sometimes in the same way that you're changing the story so many times over the years, sometimes you make such a drastic change that it's no longer the vision of that director, and it's just not a right fit anymore. And I've seen that happen on a lot of movies that I've been on. I mean, Boxtrolls didn't end up with the same two directors that it started with. One of the two stayed on it, but the other one didn't.Oh, no, this sounds very frustrating to me. It sounds It does. And then other movies up there have gone through different directors, and so I was like, even if I had gotten hired as the director, I was in the back of my head. I always knew this might not last even if I'll do my best and I'll try to make it work. But you haven't even started and you're finding I'm being fired. Yeah, totally. But I mean, it's a weird thing. It's not TV where you're on a show for a year and then hopefully you get the second year if you get one. It's like in movies, they fire and hire different writers all the time, and so directors less, but writers, it really is pretty common. I've been on both sides of it where it's like, I used to take it really harder, fired off a movie.You're like, oh my God, did they not like the draft? I did. And usually it's like, no, we liked it, but now there's a director on it and they want to take a different direction. Or Oh, the director has a friend that they want to work with that they work with as a writer. Or other times I've been that guy that a director has brought on to rewrite somebody else, and I always try to be super nice about it. Now that I've seen both sides of it, I always try to reach out to the previous writer and be like, Hey, I just want you to know it's in good hands. Or sometimes if I'm the one that's fired, I reach out, be like, Hey, if you want to know where the skeletons are buried, happy to get in lunch with you. Just to be like, here's the pitfalls to look out for.This is where people don't realize that people on the outside just don't realize what it's actually like when you're the writer. You're a successful working writer. And I think they have a very different vision of the reality of a hundred percent. I didn't know the job was, I thought the job was going to be writing the whole time. Most of the job is it's playing politics with the studio and the executives and the director and Well, what do you mean politics, getting navigating the notes? What do you mean? Yeah, yeah. I mean, it's like the notes, but also the personalities. It's like a lot of the job I feel like is to go in and to make everybody feel comfortable with where you're taking it. Because you walk into a room and sometimes you could feel like, oh, the director thinks they're making a very different movie than the head of development thinks.Then that's different than what the producer thinks. And that's different than what the head of the studio thinks. It's like I've been in a room where it's like Jeffrey Katzenberg is just like, guys, guys, guys, you're all thinking about this all wrong. And you just have to be like, okay, how can I find solutions that makes everybody happy, that make everybody happy? And that's a huge part of the job. I mean, honestly, when I did the Lego rewriting with Phil and Chris, that's what the whole job was, was just like, how do I make Warner Brothers who didn't know what they had? They thought it was a toy commercial. They were very skeptical of the whole thing, Phil and Chris, who wanted to make some beautiful art. And it was cool with cool ideas. And Lego Corporation who wanted to make a toy commercial and Lucasfilm who didn't want their characters to be in it, and DC who didn't know whether they should be or not.And you're just like, how do I get in a room? And and usually if you come up with a great gag or great joke that articulates the, that illuminates the tone of the thing. So they all go, oh, okay. That's the thing. So the round of notes, like you're saying, oh, it's incredible, but for everybody and everyone's got conflicting. I don't even know walking into that job, and all I care about is I don't want my friends, Phil and Chris to think I fucked up their movie because they're trusting me just so I keep it moving. But I would think even for them, it's like, how do I get this movie made when I have so many competing notes and to their credit account, great, but still that is a hundred percent to their credit, they have a genius ability to, not only are they great writers and great directors, I think more than that, they have this sense of how to make everybody in a room think that the ideas came from them.It's like, yeah, they're great at, they'll go into a room, I think sometimes having some ideas in their pocket, but it feels like the room came up with the ideas together, and then everybody's like, yes, we did it. Pat ourselves on the back. And everybody, the executives' seem happy. But sometimes it actually does come out that, I mean, those brainstorm sessions really do create a new idea, and sometimes it's them trusting the process that that's going to work out. And sometimes I think they literally are like, well, we can go this way or this way, but I know it'll be easier if they think they had the idea. So let's go this way for now. And then later they know it's going to change a thousand times anyway in the storyboards, and then they could figure it out for real later. Because all these see people like that.They're very well paid, but in my opinion, they're earning every penny of this a hundred percent. They're earning every, it's not that easy. This job, I feel like I've gotten better over the years where I've taken my ego out of it. I used to have a much bigger ego, you might remember, but I feel like I can be, now, I can just go in a room and be like, I'm just going to try to help. I'm just going to be like, how could I make everybody feel comfortable? How can I make everybody feel like we're on the right page together and create this thing? I know that it's like the process is going to take years and years, and the relationship is more important than the individual story note or whatever. It's like that's what's going to matter over the long term of this project.It's that we all trust each other and that we can make something great together. And that's more important than fighting for a joke or fighting for a story moment or a take, or even exactly, either. It's about fighting the relationship, and I've said this before, it's about the relationship is the most important thing, and sometimes you have to sacrifice what you think is the best story, the best moment for the greater good of the relationship. A hundred percent. A hundred percent. Wow. I feel like this has been eyeopening even for me, and I feel like my eyes are fucking opened. You know what I'm saying?We've done some movie work, but obviously we work mostly in tv, but the movie side, the movie side was never really appealing. I remember because we shared the same agent for our futures, and I remember he gave us a conversation. I was like, I dunno if I want to work in movies again. It's weird. It sounds hard. It's different because in TV you're the boss, right? I mean, when you're the showrunner, you're the boss. Yeah. You've been there for a long time. And in movies, you're never the boss. I mean, I gave up on, I mean, before I worked with you, there was one TV show I ran and I co ran with my friend Tim, and we were the bosses, and I hated it. I did not enjoy it. It was like all the meetings and all the decisions and the budgets and the interpersonal relationships and all that stuff.I was like, I was not good at it back then, and I don't know if I'd be better now, and I just was like, you know what? I just want to be part of a team and I want to be a writer. And it's like in movies, that's what you are. You're just part of this big team in a different way. I mean, I guess when you're a staff writer or coming up through the ranks and tv, you're part of a team too, but you can be like, you're also a much more integral part of the team, the one writer on it at the time. Or in movies, you're like, when you're the writer, you're the writer and they all look to you for that one job. Or if you're on a staff when I'm on a show with you or whatever, you might look to me for one type of, it's very different. I'm a cog in this room.It's never, you never have to be a hundred percent on your A game every day for you can showing it in a little bit coast. Wow. Adam Paval, what an interesting conversation. This is enlightening for me. Very enlightening. Yeah, man. Are you having everybody on from the old days, Brian? Well, I had Alex Berger on a while ago. We talked a little bit about that script that you guys wrote together. Well, there's two things on Glen Martin. You were always pestering me to do a musical. Yeah, I think, I don't know how to write a musical. And you're like, this is why I've work in animated features. I've written three musicals since I, so lemme let you do the movie. I was like, dude, I don't know how to do so go ahead and knock yourself out. That was fun. And then you guys came back with that Christmas episode. I thought you guys both hit it out of the park. I was like, let's shoot it, let's shoot it.I think it took, because that was all second year stuff and it took a little bit of time to figure out tonally what we were doing and then just to get a little crazier. And then, I mean, those episodes were like, yeah, I could be a little bit more myself of writing the weird stuff that I wanted. I mean, the other one I remember fondly is that weird Funshine episode. Was that the musical one or was that, I don't remember. Dude, fun cine was, it was like the planned community in Florida that was basically celebration Florida and they all realized that everybody was on being drugged and were lactating out of their breast and all that. Oh, that's right. Now I remember the guy, there was a scene where there's a pregnant man or something. It was fucking nuts. And I was like, oh, now we're writing the show that I could write.The first year, I think it was a little bit more like I was a little square pa in a round hole where it was like I didn't have a family at the time and it was a family show. It was about a dad and a mom trying to navigate their crazy kids and I was like, I don't know what the fuck. Crazy in that show. It's a shame. We didn't do more seasons. We weren't nuts. It was fun. It was a fun time. For sure. I got some of the puppies right over there, so see, yeah, I got the one you gave me of me that one from the college episode. Oh right, the college episode. That's right. We put you in. You ran the gauntlet I think, didn't you? I think that, yeah, that's exactly right. Funny. Yeah, funny. Adam, Papa, where can people, is there anything want, we can plug people, find you.Are you on social media? Is there anything? I'm not super active. I'm on Twitter. You can find me on Twitter. Adam Papa or Adam or whatever it's called now. X X, I'm on X, but don't really, I'm not super active on it. I don't have anything to plug. Everything's going to come out in four years. Yeah, right. Yeah. Look for Adam Papa in four years when something drops to the movies. That's the process. Dude, thank you again so much for doing this. This was a really interesting conversation. I haven't talked yet, spoken to anybody about this kind of stuff. You are a wealth of information. Alright. Yeah, it's fine. Everyone, thank you so much. Until the next episode drops, which will be next week. Keep writing.Phil Hudson:This has been an episode of Screenwriters Need to Hear this with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.