Podcast appearances and mentions of chris elliot

This week, the boys return to 1989 for the second time to discuss “The Abyss”, James Cameron's underwater sci-fi thriller that paved the way for much of T2 and Titanic. Starring Ed Harris, May Elizabeth Mastrantonio, and Michael Biehn, the film looks real… because it is! After John kicks things off with a mini-review of “Last Breath”, we set up what was happening in 1989 before diving deep into the film. Jeff had a first-time watch, John and Dave returned to the film. How do they feel it lives on 36 years after its release? Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 6:38 “Last Breath” mini-review; 12:11 Gripes; 17:25 1989 Year in Review; 40:07 Films of 1989: “The Abyss”; 1:22:18 What You Been Watching?; 1:34:56 Next Week's Movie Announcement Additional Cast/Crew: Alvin Silvestri, Mikael Solomon, Chris Elliot, Brad Sullivan, Michael Beach, Woody Harrelson, Simu Liu, Finn Cole, Cliff Curtis, Alex Parkinson, Michell LaFortune, David Brooks, Mark Bonnar. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: The Crusades, Swedish Art, Knights, Death, MGM, Amazon Prime, Marvel, Sony, Wicked, All Quiet on the Western Front, Wicked, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, Sunset Boulevard, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir.   

Welcome Back  Shedheads!This week we dive right in with some feedback on the Post Malone Oreo. Sean has tried it and has some thoughts. Is this the best oreo ever?We're talking movies this week. Did  you ever watch "Without a Paddle"? What about "Four Rooms"? If you saw a picture of Chris Elliot, could you name him?All his and more this week on the Shedtime Podcast!Support the showWant More Shedtime Podcast?Want to Find the Show on your FAVORITE STREAMING SERVICE?Want more EXCLUSIVE CONTENT only available to the Shedheads?Visit the Shed on the web :http://www.shedtimepodcast.comFind the Shedtime Podcast on Instagram : @ShedtimePodcast

Groundhog Day. There are some movies that strike a cord with their audience so much so that they take on a life of their own, becoming beloved classics. In this episode of The 602 Club hosts Matthew Rushing and Christy Morris talk about Groundhog Day. We discuss our first day, Bill Murray, immortal lessons, Andie MacDowell, Chris Elliot, Stephen Tobolowsky, the town as a character, does it hold up and our ratings.  Chapters First Day (00:02:30) Bill Murray (00:06:24) Immortal Lessons (00:16:03) Andie MacDowell (00:28:37) Chris Elliott (00:32:22) Stephan Tobolowsky (00:34:26) The Town as a Character (00:36:35) Does it Hold Up? (00:40:22) Ratings (00:43:35) Host Matthew Rushing Co-Host Christy Morris  Production Matthew Rushing (Editor and Producer) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer)  Social Twitter: @The602Club Instagram: @the602clubtfm

Groundhog Day. There are some movies that strike a cord with their audience so much so that they take on a life of their own, becoming beloved classics. In this episode of The 602 Club hosts Matthew Rushing and Christy Morris talk about Groundhog Day. We discuss our first day, Bill Murray, immortal lessons, Andie MacDowell, Chris Elliot, Stephen Tobolowsky, the town as a character, does it hold up and our ratings. Chapters First Day (00:02:30) Bill Murray (00:06:24) Immortal Lessons (00:16:03) Andie MacDowell (00:28:37) Chris Elliott (00:32:22) Stephan Tobolowsky (00:34:26) The Town as a Character (00:36:35) Does it Hold Up? (00:40:22) Ratings (00:43:35) Host Matthew Rushing Co-Host Christy Morris Production Matthew Rushing (Editor and Producer) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer) Social Twitter: @The602Club Instagram: @the602clubtfm

Enfocado en fortalecer las alianzas estratégicas y fomentar el crecimiento de la red de socios a nivel mundial, Chris Elliot vuelve a Allied Telesis para asumir un rol clave como líder de la estrategia global de expansión de partners, resaltando su destacada experiencia en el sector y su profundo conocimiento del mercado.

The episode starts with Lucy talking to Bobby Edge Partington, Senior Communications Manager at the Institute of Food Science and Technology The IFST celebrates its 60th anniversary in 2024 and the conference serves as a platform for discussing advancements like AI in food production and sustainability and we also talk about future initiatives for the IFST and its membership opportunities.Lucy then shares her thoughts on the morning session as well as asking how attendees were enjoying the morning's talks.Lucy then chats with Max Grell from BlakBear and he tells her about the technology BlakBear has developed; sensors for food packaging that indicate freshness by detecting gases emitted by the food. These electronic labels send data every second and can be read using a smartphone via NFC technology and will play an important role in reducing food waste.The episode continues as she talks with a sponsor of the conference, Tracegains, and discusses how their business transforms supplier management for food and beverage companies, simplifying compliance and quality control through data-driven solutions and learns how their innovative network, likened to LinkedIn, lets suppliers share documents and certifications efficiently with clients like Coca-Cola. Next, she speaks with another of the sponsors, IFIS, and they discuss FSTA, a database of comprehensive literature searching in food science and related fields where you can discover scientific articles, patents and other information across disciplines and from publishers worldwide.Daria Liutcerina, another attendee shares with Lucy her views on the conference and what she has enjoyed so far.Lucy talks with Susan Arkley, a seasoned product development consultant and long-time member of the Institute of Food Science & Technology (IFST). Susan shares her journey from being an IFST member as a student to becoming more engaged as a self-employed consultant. They discuss the misconception that IFST is not for product developers and delve into the value it brings, particularly through initiatives like the innovation special interest group. Susan recounts her long-standing membership, starting from her student days, and explains how her involvement deepened after becoming a self-employed consultant. She also interviews Ruth Dolby, the joint chair of the Midlands branch of the IFST. Ruth shares her experiences and the significant role she plays within the organisation. From her accidental foray into conference organisation to her proactive involvement in the IFST, Ruth highlights the importance of engaging within professional organisations. They discuss the value of cross-disciplinary work in the food industry and the benefits that active participation in the IFST can offer, from networking opportunities to exceptional educational talks.The last part of this special episode moves onto the talks from conference with experts from speakers Chris Elliot and Nik Watson.Chris Elliott is the founder of the Institute for Global Food Security at Queen's University Belfast and is an Honorary Professor there. He is also Professor of Food Security at Thammassat University in Thailand. He discusses the pressing issues reshaping the global food landscape including the critical forces impacting food security including climate change, geopolitical shifts and economic pressures causing the price of food to rise.The episode concludes with a talk from Nik Watson, Professor of AI in Food at the University of Leeds. He explores how AI is revolutionising the food sector, focusing on health, sustainability, and resilience. We hope you found this episode from Lucy's visit to the IFST conference insightful and we look forward to bringing you more “on the road” episodes in the future. To find out more about the conference click here https://www.ifst.org/ac24.Time Stamps0:00 Intro to Episode1:20 OFFS Music Intro2:02 Bobby Intro11:28 Lucy talking about morning session12:08 ROQUETTE on conference13:41 Max Grell from Blakbear16:58 Tracegains 25:14 Sponsor talking26:49 Daria on conference29:14 Susan Arkley31:15 Ruth Dolby33:19 Mezze Ad33:41 Lucy intro to Chris Elliot34:39 Chris Elliot Talk49:00 Lucy intro to Nik Watson49:17 Nik Watson on conference51:05 Nik Watson Talk1:07:00 Lucy End of EpisodeLinks and Resources:Website Link: https://ohforfoodssake.co.uk/FB Link: https://www.facebook.com/ohforfoodssakepodcast/LinkedIn: https://www.linkedin.com/company/oh-for-food-s-sake/You can follow us here on Instagram: https://www.instagram.com/oh_forfoodssake/For industry consulting from Lucy, connect with her on Instagram or LinkedIn.Find her on Instagram or LinkedIn for further support with industry coaching and facilitation from Amy.See you next time!

¿Podrán Stream, Time Cut y Carved sobrevivir a la guillotina? Acompáñame a descubrirlo en esta nueva emisión de Planeta Terror Podcast.  Stream (2024)  Una simple escapada de fin de semana familiar se convierte en unas vacaciones para morirse, cuando cuatro asesinos trastornados que juegan a un juego sádico cierran el hotel y compiten por conseguir los asesinatos más creativos de todos los huéspedes. Stream es una película de terror estadounidense de 2024 coproducida, coescrita y dirigida por Michael Leavy, y protagonizada por Jeffrey Combs, Charles Edwin Powell y Danielle Harris.  Time Cut (2024)  Una estudiante de secundaria viaja accidentalmente al año 2003 y decide detener al asesino en serie que acabó con la vida de su hermana. Time Cut es una película slasher de ciencia ficción estadounidense dirigida por Hannah MacPherson, quien coescribió el guión con Michael Kennedy (It's a Wonderful Knife).  Carved (2024) En Halloween de 1993, dos años después de un derrame nuclear mortal, el personal de una histórica atracción de un pueblo deberá trabajar en conjunto para sobrevivir al ataque de una calabaza mutante.  Carved es una película de terror juvenil basada en el corto de 2018 del mismo nombre, dirigida por Justin Harding y protagonizada por Peyton Elizabeth Lee, DJ Qualls y Chris Elliot.  Episodio disponible en tu plataforma de podcast favorita.  PLANETA TERROR es un podcast semanal en español dedicado al cine de horror/slasher/gore. Reseñas, noticias, rankings y discusión general desde el punto de vista de alguien cuyo “goal” en la vida es mudarse a Woodsboro, vivir en Elm Street y asistir al Campamento Crystal Lake. Apple Podcast https://podcasts.apple.com/ca/podcast/planeta-terror-podcast/id1539867451 Instagram https://www.instagram.com/planetaterrorpod/ X https://x.com/planetaterrorpd?s=21&t=jiQBxnyCEsmbvNpY8pNnmg TikTok  https://www.tiktok.com/@planetaterrorpodcast?_t=8mVo66trbrJ&_r=1

Jon Beckerman joins me to discuss watching the UK "Friday Night Dinner" and adapting it for the US; Three's Company; writing farce; Michael Watkins; casting Carol Kane; Dayenu scene; playing full contact Jeopardy; Julia Louis Dreyfus gives helpful note on the DL; growing up near Mr. Rogers; writing for the Harvard Lampoon; getting on as an artist; writing on a pilot called Dirty Laundry; writing Harvard Education in a Book; Michael Ian Black; being Paul Sims guest for the Late Night 10th Anniversary special and writing there in less than six months; getting his packet to Steve O'Donnell; being a fan of Chris Elliot; moving to Brooklyn and working in 30 Rock; skating with Bill Murray; Buttafuoco jokes; Clinton's pasty white thighs; being portrayed by Tony Randall in a sketch; becoming head writer with Donick Cary; winning an Emmy; creating Fun with Rupert; groomsmen parody it in a video for wedding; Madonna; eating fast food with Zsa Zsa in L.A.; Dave works Taco Bell; saving Rupert; Manny the Hippie; Mo, the Bad Ass Meat Slicing Man; making Dave the "Bar" a Boston University star; Dave hosts Oscars and his pilot for a sitcom called Adam & Eve

Our exit today has us trying to repress our chaotic alter ego. This week we are talking about Nutty Professor II: The Klumps, directed by Peter Segal and starring Eddie Murphy, Eddie Murphy, Eddie Murphy, Eddie Murphy, Eddie Murphy, Eddie Murphy, Eddie Murphy, and Eddie Murphy. Along the way, we discuss Eddie Murphy, the portrayal of obesity in films, Anne Bancroft, Poetic Justice, the problems with sequels, and whether or not Chris Elliot actually has a role in this film or not. Plus, Ross almost sets an A Tripp Through Comedy record with his choice for Unfunniest Moment! Thememusic by Jonworthymusic. Powered by RiversideFM. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CFF Films⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ with Ross and friends. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Movies We've Covered on the Show⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Letterboxd. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Movies Recommended on the Show⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Letterboxd.

Today on the Travel Guys, Mark and Tom talk about two airlines uniting, share smarter traveler tips, & interview Chris Elliot.

Up next for review in movie challenge 6, aka the season of Bob, is "There's Something About Mary", a 1998 romantic comedy starring Cameron Diaz, Ben Stiller, and Matt Dillon. High school dork Ted (Ben Stiller) blows his big shot with Mary (Cameron Diaz) due to a wardrobe malfunction on prom night. Years later, he hires a private detective Pat Healy (Matt Dillon) to find her. However, Pat quickly falls in love with Mary and the two men are now competing for Mary's affection.  Support the Show.Catch new episodes of the Where to Stick It Podcast every Tuesday and Thursday. If you like the show, please consider supporting us on Patreon where we upload exclusive content each month for only $3 a month.

Today on the Travel Guys, Mark and Tom talk about best practices while reading online reviews, and catch up with Chris Elliot about climate change in Switzerland. Finally, Mark shares some highlights from his trip to Fort Bragg.

Chris Elliott, vice president of mergers and acquisitions at America's Group, joins the show to kick off our series on "M&A + Auto Auctions." Chris and Cherokee Media Group senior editor Joe Overby discuss the company's growth strategy and M&A targets as well as overall buy-sell growth/consolidation in the auto auction industry.

Joe and Tom welcome Bronwen O'Keefe, Head of Global Brand Marketing and Content at the Harlem Globetrotters. Bronwen walks through her unique path to get to the Harlem Globetrotters. She discusses how she led in the accelerated world of content distribution and media and delivering entertainment value. Bronwen discusses Nickelodeon's jump into sports developing content and engaging in sports partnerships with leagues to get more youth fan engagement, and the importance of the NFL doing this to get confidence high in the league. Bronwen discusses the success of the brand of the Harlem Globetrotters and moving the company into a full entertainment company. She speaks more on the importance of the players and diversity in their vision. Finally, she talks about her connection to Bob and Chris Elliot. The CUSP Show is a production by the faculty of Sports Management at Columbia University. You can contact the program on Twitter @CU_SPS_Sports and Instagram @cu_sps_sportsmanagement. The CUSP Show is hosted by Joe Favorito (@Joefav) and Tom Richardson (@ConvergenceTR). The show is produced by Mike Schretter'25 (@mikeschrett1), LJ Holmgren (@LJ_Holmgren), and Danny Hagenlocher (@DhColumbiaSPS), with Mike Schretter'25 and Lissa Ruiz managing social media efforts.   Links:  https://www.linkedin.com/in/bronwenokeefe/

Joe and Tom welcome Bronwen O'Keefe, Head of Global Brand Marketing and Content at the Harlem Globetrotters. Bronwen walks through her unique path to get to the Harlem Globetrotters. She discusses how she led in the accelerated world of content distribution and media and delivering entertainment value. Bronwen discusses Nikeloden's jump into sports developing content and engaging in sports partnerships with leagues to get more youth fan engagement, and the importance of the NFL doing this to get confidence high in the league. Bronwen discusses the success of the brand of the Harlem Globetrotters and moving the company into a full entertainment company. She speaks more on the importance of the players and diversity in their vision. Finally, she talks about her connection to Bob and Chris Elliot. The CUSP Show is a production by the faculty of Sports Management at Columbia University. You can contact the program on Twitter @CU_SPS_Sports and Instagram @cu_sps_sportsmanagement. The CUSP Show is hosted by Joe Favorito (@Joefav) and Tom Richardson (@ConvergenceTR). The show is produced by Mike Schretter'25 (@mikeschrett1), LJ Holmgren (@LJ_Holmgren), and Danny Hagenlocher (@DhColumbiaSPS), with Mike Schretter'25 and Lissa Ruiz managing social media efforts.   Links:  https://www.linkedin.com/in/bronwenokeefe/

"Groundhog Day," released in 1993 and directed by Harold Ramis, is more than just a comedy; it's a timeless exploration of human nature, personal growth, and the possibility of redemption. At the heart of this film is Bill Murray's iconic portrayal of Phil Connors, a cynical and egotistical weatherman who finds himself inexplicably trapped in a time loop, reliving the same day repeatedly. This seemingly simple premise blossoms into a rich narrative that balances humour with profound philosophical questions, making "Groundhog Day" a film that resonates on multiple levels and remains relevant more than three decades after its release.CinematographyThe cinematography by John Bailey is subtle yet effective, capturing the small-town charm of Punxsutawney, Pennsylvania, while enhancing the film's repetitive structure. The film cleverly uses visual cues to signify the passage of the same day, such as the recurring shot of the alarm clock flipping to 6:00 AM, accompanied by Sonny & Cher's "I Got You Babe." This repetitive visual motif reinforces the loop and creates a sense of claustrophobia and familiarity, making Phil's frustration palpable to the audience. Tight framing and repetitive angles help to convey Phil's initial sense of entrapment, while the gradual introduction of more dynamic shots mirrors his evolving perspective on his predicament.StorytellingAt its core, "Groundhog Day" is a masterclass in storytelling. The script, co-written by Ramis and Danny Rubin, expertly balances the comedic and the existential. The film begins with a focus on Phil's narcissism and the comedic potential of his situation. His initial attempts to exploit the time loop for personal gain provide some of the film's most humorous moments, from binge-eating and reckless driving to seducing women. However, as the days continue to repeat, the narrative shifts to a deeper exploration of Phil's character.One of the most compelling aspects of "Groundhog Day" is its structure. The repetitive nature of the plot allows for a unique form of character development. Phil's journey from cynicism to enlightenment is not a straightforward path but a series of trials and errors, successes and failures. This cyclical progression mirrors real-life growth, where change occurs incrementally and through repeated effort. The film's pacing is meticulously crafted, ensuring the repetitive sequences remain engaging and progressively reveal more about Phil's inner transformation.Character DevelopmentBill Murray's performance as Phil Connors is nothing short of brilliant. He brings a nuanced blend of sarcasm, vulnerability, and, eventually, sincerity to the role. Initially, Phil is the epitome of a self-centred jerk, treating those around him with disdain and seeing Punxsutawney as a backwater trap. However, as the loop forces him to confront his own flaws and the impact of his actions on others, we witness a profound change. Murray's portrayal of this transformation is both believable and moving. His comedic timing is impeccable, but his ability to convey the subtler moments of despair and introspection truly anchors the film.Supporting Murray is Andie MacDowell as Rita, Phil's producer and the object of his initially superficial affections. MacDowell's performance adds a layer of warmth and earnestness to the film. Rita serves as a moral compass for Phil, embodying the virtues of kindness, patience, and genuine human connection that he initially lacks. As the bumbling cameraman Larry, Chris Elliott provides additional comic relief while also serving as a foil to Phil's arrogance.Historical and Cultural Significance"Groundhog Day" has achieved a rare status in popular culture, becoming a reference point for discussions about time loops and repetitive experiences. The film's impact extends beyond its comedic roots, influencing various genres and spawning countless homages and parodies. Its humour and existential inquiry blend has resonated with audiences and critics alike, cementing its place as a modern classic.The film also taps into universal themes of self-improvement and the search for meaning. Phil's journey is emblematic of the human condition—the struggle to overcome one's flaws, find purpose, and connect authentically with others. This timeless message ensures that "Groundhog Day" remains relevant across different generations and cultures.Relevance to Pop Culture"Groundhog Day" has left an indelible mark on pop culture, becoming a shorthand for any situation involving repetition or feeling stuck in a rut. Its influence can be seen in various films, TV shows, and even video games that explore similar themes of time loops and self-improvement. The concept of reliving the same day has been adapted in diverse genres, from the horror-thriller "Happy Death Day" to the action-packed "Edge of Tomorrow."The film's enduring popularity is also reflected in its continued relevance in discussions on personal growth and resilience. In a world where many people feel trapped by routines and unfulfilled aspirations, "Groundhog Day" offers hope and transformation. Phil's eventual realisation that he can change his circumstances by changing himself is a powerful reminder of the potential for personal redemption and the importance of empathy and kindness.In conclusion, "Groundhog Day" is a film that transcends its comedic premise to offer a profound exploration of human nature and the possibility of change. Its clever cinematography, masterful storytelling, and stellar performances combine to create an entertaining and thought-provoking narrative. As Phil Connors discovers the value of selflessness and genuine human connection, the audience is invited to reflect on their lives and how they can break free from their metaphorical time loops. For these reasons, "Groundhog Day" remains a beloved and culturally significant film that continues to inspire and entertain audiences worldwide.

On today's episode, the guys review 1994's Cabin Boy starring Chris Elliott, Ritch Brinkley, James Gammon, Brian Doyle-Murray, and Brion James. Nathaniel Mayweather is a Fancy Lad of the highest order, but his world is turned upside down when he accidentally boards the wrong ship in an attempt to return to his pampered lifestyle. Now aboard a ship named "The Filthy Whore", Nathaniel must chip in his fair share of the workload as their vessel cruises through the fierce and unpredictable conditions of Hell's Bucket!Support the Show.Catch new episodes of the Where to Stick It Podcast every Tuesday and Thursday. If you like the show, please consider supporting us on Patreon where we upload exclusive content each month for only $3 a month.

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Today the Travel Guys talk about seat swapping on planes, catch up with Chris Elliot, and talk about the eclipse with Clayton.

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Sometimes when we are reviewing pilots we stumble on fake pilots. Things that are listed as pilots on the internet and then they turn out to be Cinemax Comedy Experiments. What do you do? Do you stay true to to the format that you've chosen, no of coarse who the hell cares! Especially when we are talking about Chris Elliot, and the thing is absolutely the most incredible inventive hilarious over the top masterpiece ever made! Sometimes he's a hard-boiled detective, and sometimes he's a wacky sitcom dad, and you can tell based on the film quality. We loved every minute of it! So much so that we want to bring it to the attention of our listeners again! Dominic and Breyanne join us as we rewatch the greatest father son fist fight involving a hot dog of all time! From 1986, it's Action Family!

Today on the Travel Guys, Mark shares a few baseball spring training tips in the Smarter Traveler Segment. In an interview, Tom and Mark talk a wide variety of travel issues with Chris Elliot, including Exit Envy on Planes. Finally, the Odds and Ends segment includes some tips on 'tips' and summer travel.

An altogether brand new show is coming your way from the team here at Cinema Degeneration and it is simply entitled 'Cinema Degeneration Presents'! This podcast aims to be an all encompassing show that doesn't limit itself to one topic or genre. We'll be covering all sorts of movies, books, music and more. There will be solo reviews and group chats with multiple different guest hosts and interviews.  Sometimes there will be themed segments such as "How The Hell Did That Get Made", "Independent Film Highlights", "Why Is That Not Eric Roberts?" and iterations of past shows like Old Not Obsolete and This Is Your Brain On Film.  For our first episode and to celebrate an early Spring, we're covering an all time comedy classic with 1993's "GROUNDHOG DAY" directed by Harold Ramis and starring Bill Murray, Andie MacDowell, Chris Elliot, and Stephen Tobolowsky. This is the timeless classic tale of a meteorologist caught in a perpetual time loop repeating the same day over and over again.  Our deep dive discussion is brought to you by our hosts author/filmmaker Cameron Scott and poet Aaron Paschke. Take a ride with Punxsutawney Phil where if you don't like how your day is going, don't worry because you'll always get another crack at things. " Too early for flapjacks?"

Markus Jennings and I discuss our mutual love for Saturday Night Live; Chris Farley; Jim Downey; getting tickets; my episode backstage; Chris Elliot; how he can't have a favorite episode; my favorite episodes; favorite cast; impressionists JAJ, Dana, Phil, and Joe Piscopo's versions of the same people; favorite musical guests; cast members; and trivia

New Year, New Season. The beginning and the end of Chris Elliot's movie career, the start of Mark Walberg's IRL war franchise, and the stupid show that gave us an even stupider president. 

Want to make 2024 a year of transformative growth for your painting company? In this 2024 Gameplan: Panel of Champions, Brandon speaks with some of the most successful painting company owners in the United States about how to achieve big growth in 2024!! This power-packed session covers everything you need to know NOW. Topics discussed include: - What to expect for the 2024 economy and its impact on the painting industry - How to turn today's economic downturn to your advantage - Hiring the right team for breakthrough growth in 2024 - Techniques to attract and retain good painters - How to charge premium prices while keeping a high close rate - Best 2024 marketing channels for big growth - How to offset rising inflationary costs to improve profitability - And much more!!! We are so excited to have hosted an amazing lineup of painting business owners for this once-in-a-lifetime panel. Esteemed guests included: - Chris Elliott, Owner of ONiT Painting - Corrie Leister, Owner of Inspired By U Coatings - Jason Paris, Partner of Paris Painting/Aleph Holdings - Jason Phillips, Owner of Phillips Home Improvements/Contractor Freedom - Juan Vasquez, Owner of Illusions Painting - Maggie Kuyper, Owner of Harpeth Painting - Will Reyes, Owner of Battle Born Painting If you are looking to make 2024 a year of transformation and growth for your painting company, you cannot afford to miss this! Check out all of our podcast episodes at https://paintermarketingpros.com/painter-marketing-mastermind-podcast/

We're shutting down another year at PCY. Capping off our 2023 and our month of 1998 is the classic comedy There's Something About Mary. Directed by the Farrelly Brothers and starring Ben Stiller, Cameron Diaz, Matt Damon, Chris Elliot, and more this film was a juggernaut that took the country by storm. We break down every hilarious moment for you.For our draft we considered Cameron Diaz, but did you know realize she basically retired from acting almost 10 years ago? We discuss that and then draft the best of Ben Stiller instead. His IMDB page is overwhelming. Listen to hear what we liked best.If you enjoy the show, please rate and review us on the iTunes/Apple Podcasts app or wherever you listen. Or better yet, tell a friend to listen!Want to support our show and become a PCY Classmate? Click here!Follow us on your preferred social media:TwitterFacebookInstagramSupport the show

We're shutting down another year at PCY. Capping off our 2023 and our month of 1998 is the classic comedy There's Something About Mary. Directed by the Farrelly Brothers and starring Ben Stiller, Cameron Diaz, Matt Damon, Chris Elliot, and more this film was a juggernaut that took the country by storm. We break down every hilarious moment for you.For our draft we considered Cameron Diaz, but did you know realize she basically retired from acting almost 10 years ago? We discuss that and then draft the best of Ben Stiller instead. His IMDB page is overwhelming. Listen to hear what we liked best.If you enjoy the show, please rate and review us on the iTunes/Apple Podcasts app or wherever you listen. Or better yet, tell a friend to listen!Want to support our show and become a PCY Classmate? Click here!Follow us on your preferred social media:TwitterFacebookInstagramSupport the show

Is Goundhog Day, the 1993 film starring Bill Murray and Andie MacDowell, a rom com? Countless top rom com lists and Google seem to think so, but we weren't so sure.  We decided to watch this classic time-loop tale to decide for ourselves, and you get the joy of hearing our thoughts on it! Check out Groundhog Day on Netflix today. And if you know of a movie, rom com or otherwise, where Andie MacDowell really shines, please tell us. We're very curious to watch something where she gets to act.  Email us at MadeMePodcast@gmail.comFind us on:Facebook: www.facebook.com/MadeMePodcastInstagram: https://www.instagram.com/myhusbandmademedoit/ Podcast artwork by Anna Eggleton of Treehouse Lettering & Design: https://www.treehouseletteringanddesign.com/

AlabamaGovernor Ivey sets date of special election for House District 10 seatState senator Chris Elliot is seriously concerned about W. AL Corridor projectDr. Jordan Vaughn of Med Help gets spotlight from media on clot treatmentMobile city council to vote on new 5 year contract with Carnival Cruise lineNationalJoe Biden commemorates 9/11 in Alaska with another false claimAttorney for Trump file to have DC judge removed from case for bias5th Circuit court rules against Biden admin and Big Tech in landmark caseGovernor of Virginia pardons father who confronted school over rape caseNM governor causes protest after issuing 30 day firearm banCriminology professor fired from FL University for falsifying crime data

In an alternate timeline, Tim Burton directed this 1994 starring vehicle for Chris Elliot, it went on to make millions, and it cemented Elliot as a true comedic voice of his generation. Instead it was directed by Adam Resnick, it tanked, and killed their careers a bit.

This week on Miami Vice: The conclusion of Down For the Count. Switek is still reeling from Zito's death which everybody knows is a murder, except IAD and they want more conclusive evidence before they can change their minds. Guzman's gator skin book gets decoded by one of Crockett's old war buddies (Chris Elliot in a great cameo) and it turns out Guzman has been milking a Vegas hot shot in his little book cooking scheme. He comes to Miami and Vice takes this time as a way to pit these two against each other. The FBI warns Crockett that Giulinni, the Vegas mafioso who was also in One Eyed Jack (Michael Mann casting!) - is not pleased with them or their affiliation with Guzman but, Crockett brushes it off. This all culminates when both sides put hits out on each other in Miami, will Vice be there in time? This depends on Switek, who is out for revenge after what happened to Larry. Other topics include: wait, how old is Crockett? (editor's note: this will be it's own episode) Show Notes Gallery S3E13 (https://imgur.com/a/YAZ1KhF) For more Vice and Easy Tiktok: @viceandeasypodcast Instagram: @viceandeasypodcast (https://www.instagram.com/viceandeasypodcast/?hl=en) YouTube: Vice and Easy Podcast (https://www.youtube.com/channel/UCm2ci7Vb75Tgf1uGMOjfvNQ)

Stephen Engel is an Emmy Nominated Showrunner of Dream On. He's known for The Big Bang Theory, A.N.T. Farm, Mad About You, and Just Shoot Me! Join Michael and Stephen as they discuss how Stephen broke in, what it takes to make it in Hollywood, and how he approaches story.Show NotesStephen Engel on IMDB - https://www.imdb.com/name/nm0257145/Stephen Engel on Wikipedia - https://en.wikipedia.org/wiki/Stephen_EngelFree 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/watchlistAuto-Generated TranscriptsMichael Jamin:You're listening to Screenwriters Need to hear this with Michael Jamin.Hey everyone, this is Michael Jamin. Welcome back to another episode of Screenwriters. Need to hear this. My next guest is a great dude and one of the first dudes I've ever worked with in Hollywood as a TV writer, Mr. Stephen Engel. And his credits are, well, geez man. These guys come fantastic credits. Dream on which you ran. He was the showrunner of Dream on. I did. We're going to talk about that because that was one of my favorite shows. Mad about You. All right. Already. Which you created. You co right? You co-created it orStephen Engel:You created I didn't create it. I ran it though. You ran it? Executive. I supervised an executive who the pilot and then ran the series. Co-ran the series.Michael Jamin:All right. Okay. Just shoot me, which we worked on together. Work With Me. Which that were you cr Wait,Stephen Engel:Did you create That? I created, that I createdMichael Jamin:Now was it work with Me or Work With Me? ItStephen Engel:Was work with me. It was work with me. It was Work with meMichael Jamin:Inside Schwartz, which I know you created and I, yes. Remember I helped out for a day or a day and a half. Yeah. I think I gave you a three hours worth of work in a day and a half.Stephen Engel:It was very appreciated.Michael Jamin:The big house. Yeah. Quintuplets, the war at Home, big Bang Theory. Ant Farm, mighty Med Sigman and the Sea Monsters. Yeah. Yeah. You got a lot of credits, dude. Now I,Stephen Engel:I've been around. I've been around. You'veMichael Jamin:Been around. Tell me, well, let's first begin with the beginning. Okay. Because I know you started as a lawyer.Stephen Engel:That is correct.Michael Jamin:And how long were you lawyering?Stephen Engel:It felt like forever, but it was really only three years maybe. AndMichael Jamin:This is in New York, right out of law school.Stephen Engel:I went to law school, which was a very big mistake. I knew within a month that I'd made a terrible mistake, maybe sooner.Michael Jamin:But why?Stephen Engel:I just got there. I went straight from college. Really? Cause I didn't know what else to do. And back then I didn't know I lived in New York. I grew up in a town away from you. And I didn't know what the TV was. I didn't know anything about. And so I was good at going to school. So I went to law school, I applied, I got into a good law school. I went and I just got there and it was like just stultifying, if that's the word it was. ButMichael Jamin:I thought, what I've heard is that law school is interesting. It's being a lawyer. That's not fun.Stephen Engel:No, I had all through college, I wasn't really do a lot of creative writing. I didn't take creative writing courses. But I was actually looking back at some, I found some of my old economics papers and I reread them and I wrote them as if they were Woody Allen vignettes for the new they, they had these big tee ups that were comedic. And then I would get into the substance, but it was with examples that were funny. And then I would sort of sum them up at the end and my professor would always be like, thank you. After reading 25 papers, there's a pleasure to read something that was entertaining. Oh,Michael Jamin:That's nice. SoStephen Engel:When you get to law school, there was no leeway for that. It was, everything was just completely dry. So intellectually it was kind of interesting, but it was very creatively stifling.Michael Jamin:But as a kid you didn't do any creative. No. You were in the theater, you weren't doing anything like that?Stephen Engel:No, not really. I mean, I was interested in comedy. If I look backwards, I could see all of these things that I did. I did a TV show in college, a game show that I wrote and hosted. I taught a class on 20th century humor and satire. So all of the things were there. In retrospect, you could see a path that was leading to writing comedy. But I didn't know that it was a job. And it wasn't really until law school that I started exploring doing comedy. I started doing standup a little bit. Really?Michael Jamin:I didn't know that.Stephen Engel:Yeah.Michael Jamin:But then how did you realize it was a job? At what point?Stephen Engel:At the time, I had a friend who was doing from college who was doing standup also. We, our girlfriends were best friends and he was a year behind me. He was applied to law school, didn't go and decided he wanted to try to break into writing. And we were both doing standup. And then we said, we just started talking and said we should write a movie. We're like, okay. So we kind of got together one weekend. He was living in la I was in NYU law school. I interviewed for law at law firms in California. So they would fly me out so that we could get together and talk about movie ideas.Michael Jamin:OhStephen Engel:Wow. Yeah. So we came up with an idea. We started writing separately and we knew nothing. We literally knew nothing about writing screenplays. We just had seen movies and you knows. And so we were like started writing this idea that we thought it was really great. We had about 50 pages that we thought were fantastic. So we ended up through, a friend of a friend had lunch with a guy who was a professional screenwriter and he told us, you know, should read this book screenplay by Sid Field, which everyone should read. They're trying to write. So we read this book and we're like, oh no, you're doing it wrong. We dunno anything. And we realized that the 50 pages that we wrote that we thought were gold should have been five pages. Nothing was happening. It was just character development, character development, joke, joke, joke, joke, joke, funny scenes. So we took those 50 pages, compressed them down to five pages and came up with a proper structure. And then we were writing this whole movie. Well, he was pursuing his career and I was a lawyer guy guy's name by the way is Rob Burnett, who we were writing partners. And he went on to great success at David Letterman. And he was executiveMichael Jamin:Producer of le. But was he the head writer or executiveStephen Engel:Producer? Head writer, executive producer. And basically president of Worldwide Pants. And we wrote five movies together for studios, various studios. And ultimately I got a job on Dream On and moved out to LA to write by myself because he was writing a Letterman by himself. And at that point we didn't need to collaborate because we both had individual careers.Michael Jamin:You skipped a step. How did you get hired on Dream On?Stephen Engel:Okay. He and I were writing this movie. I got a law job when I graduated. They, I'd worked there for the summer. They offered me a job when I graduated. And I did the first risky thing I'd ever done in my life. I had never done anything remotely rebellious. And I decided that I was going to take probably the first gap year that anyone ever took. Oh wow. I asked the firm if I could defer my job for a year because I was trying to write. They're like, okay, yeah, no problem. You'll have a job waiting for you in a year. So during that year we kept working on this screenplay and trying to finish it and hone it. And he was still working at Letterman and he at that point had had risen from an intern to work in the talent department to being a writer.So he worked with a woman, we finished a screenplay and he worked with a woman. He shared an office in the talent department with a woman who had been there a long time and decided to leave to become a manager. And her only client at that point was I think Chris Elliot who had been on Letterman. So he knew, she knew that we had this movie because Rob had mentioned, she's like, let me see it when you're done. I'll see if I could do anything with it. So she read it and she sent it out and got us hired to write a movie for 20th Century Fox. Oh wow. A week before I started my law job. And I didn't want to not start the law job because we were a writing team. It was like guild minimum. I thought this may be the only writing job I ever have and I have a pretty high paying law job. Let me try to do both and keep both paths open as long as I can. So I did that essentially for three years. I practiced law while I was writing the entire time writing movies for studios.Michael Jamin:And Wait, and you were practicing law out here in la?Stephen Engel:I was in New York. YouMichael Jamin:Were still in New York?Stephen Engel:I was still in New York. And essentially the law didn't know what I was doing. So I had this double life where I was treating my law job, this very prestigious law job. I was a bartender gig writing movies at the same time. And eventually I couldn't keep all the balls up in the air. The law firm said, you know what? We want you to go, we got a great treat for you. We're going to send you back to law school at night to get your master's in tax law. I'm like, that's fantastic. And I didn't tell them was, now I had two jobs and I was going to school at nightMichael Jamin:And you couldn't turn down. You couldn't turn on their offer.Stephen Engel:I couldn't tell them. And eventually I couldn't do it anymore. I was getting too much work at the law firm. I had school screenplays, deadlines. I just finally kind of went into work one day and just kind of said, I no moss.Michael Jamin:How'd that go over?Stephen Engel:They were like, you know what, this makes so much sense because we were all, you seem really smart and you're really good at what you do, but it just didn't feel like your heart was in it. Yeah, right. So they could tell and it answered a lot of questions for them. So then I quit and decided to write full time panicked that I had just thrown my entire life away. So we ended up getting, because by the way, that manager was Lori David. She went out to marry Lori Leonard who went out to marry Larry David and divorce Larry. David and then produce an Inconvenient Truth as she won an Oscar for that.Michael Jamin:But then she submit you to get, how did you your Hands fund forStephen Engel:Dream On? For Dream on. So I had, eventually what happened was we got a second screenplay deal to write another movie and she said, by the way, I am not allowed to negotiate your deal cause I'm a manager, so I'm going to bring an agent in to negotiate your deal. And we kind of said, well then I guess maybe we should look for an agent rather than just have this guy come in and do the deal and I'm not sure we really need a manager and an agent. Back then you didn't. We ended up getting an agent at icm. Right. A feature agent. And we then did a couple of other projects and eventually I started between drafts of a movie I was writing. Rob by the way, was at this point a writer at Letterman and I quit my law job. So I was like, well if he has a day job while we're writing movies at night, I need my own career as an individual.So I wrote a movie by myself, gave it to my agent, he shopped it around. I got a lot of meetings and stuff. And then I wrote a just a TV spec on the whim between drafts of this movie because I felt like taking a break from it. And I gave that to my feature agent. He gave it to a TV agent at ICM who loved it and started submitting me around. And I ended up meeting with Kaufman and Crane for a show, not Dream On, they had Dream on. And they had another pilot that was going to series on nbc.Michael Jamin:What show was that? AndStephen Engel:It was a show called The Powers that nobody saw. It was with John Forsyth and Right. David Hyde had an amazing cast. So I go to meet with them and my agent had sent me episodes of Dream On and had sent me the pilot of the show. So they come in and they go, what'd you think of the pilot? I go, yeah, it was pretty good, but I really like Dream on. I'd never seen it before. And I kept talking about Dream On and how much I loved it. And we had a really good meeting. And then when I get back, my agent calls me and says, just so you know, when you go up for a show and someone says, how'd you like the pilot? And that's the show you're up for. Yeah. You loved the pilot and it gets the show you want to work on. Right. They're not hiring for Dream on right now and they don't want to hire you on this pilot cause you didn't seem interested, interested. I'm like, okay. Yeah. And then a month later they were hiring for Dream On and they remembered me and they hired me for that instead. So I did. And in fact, I ended up back backing into this job that I much preferred.Michael Jamin:How, but how many years were you dream on before they bumped you to showrunner? Okay,Stephen Engel:So I was a stor. I went as staff writer, not had not worked a day in television. Really? Andy Gordon was Andy and Eileen. It was their first day right writer named Howard Morris. It was his first day. We were all three staff writers, but I had written five movies. So I had a pretty good understanding of story structure and if you can write a movie, you can write a tv. So I did the first season Astor as staff writer. The next season I was a story editor and then the showrunners left and they needed to find a new showrunner and they couldn't find anyone they liked. And eventually they just said, I think Stephen can do it. So I literally went from being my second year, I was a story editor or executive story editor, maybe I got a bump at the end to showrunner.Michael Jamin:That's crazy.Stephen Engel:So I was, I didn't know if I was ready at all. I was just, the only reason to say no would've been out of fear. And I realized worst case scenario, if I completely flame out then so they bring someone in over me and I'm still in the same position.Michael Jamin:And then what were they? Or they fire you, but they getStephen Engel:Rid of you. Well, I don't think they probably would've just kept me around because I was the only one who knew the show.Michael Jamin:And how many years did you run it for?Stephen Engel:I ran for the next two seasons, the last and then the show ended.Michael Jamin:And why do you think they left? Why did they leave the show? Their own show. They had a deal somewhere.Stephen Engel:Har and Crane created the show, ran it for three seasons. They were getting paid like a dollar to do this. They had never done anything. It was insane how little money they were making. And they got a deal at Warner Brothers. So between season two and three, they had created a show before Friends called Family Album. And I went and worked on that between Seasons of Friends, between Seasons of Dream On. And then I went back to Dream on as the showrunner. So the season, the second season, two other writers who had been on, who had been producers, Jeff Greens son and Jeff Straus rose to showrunner, then they left and took a deal at Universal. So there was nobody, because they weren't paying a lot, so people were going to more lucrative jobs. So they needed a showrunner and nobody had else had worked on the show. And they were like, we could bring in someone else who doesn't know the show or we could let Steven try.Michael Jamin:And I mean, you were not intimidated by, I mean, IStephen Engel:Was scared shitless.Michael Jamin:Right. I mean,Stephen Engel:I didn't know what I was doing. I had no idea. I learned, fortunately I learned from really good people,Michael Jamin:But I remember when we worked together and just shoot me the first six episodes. First season, yeah. I was, was useless. And I didn't know what to say. And I would look at you guys, the more senior writers. I'm like, how did they know what to say? How did they know? I mean it was real. I was so lost. Yeah.Stephen Engel:I think part of it had been that I was a little older than you were. I had already been a lawyer for, so I was like 30 when I had my staff writer job. So maybe I was a little bit more confident just in Gen general. You were like 25, 23.Michael Jamin:I was 26. I was 26. Ok. But ok.Stephen Engel:So I had gotten my first writing job when I was 26 writing a movie. And I, so I done a bunch of movies, I understood structure, I had a confidence in that I knew how to tell a story. So I guess I kind of, the first day of Dream On, I remember pitching something where they were telling a story that had a fairly conventional ending where everything worked out really well. And I pitched this subversive twist on it where the character looks like the character was going to win. And then at the end it all got pulled out from under him. And they were all, I think that's better because I had just not really been around network television or even any kind of television. So I was pitching kind of a lot of, I don't know, movie, more movie-like ideas I guess.Michael Jamin:That's so interesting because I really remember, I remember on jhu Me, you would stand at the board a lot. I remember, to be honest, we often disagree with Levitan. And you made such a compelling case and you're always at the board. You had immaculate handwriting and you're always standing at the board breaking the story and you'd make an argument. And it was so compelling. I'm like, maybe we should be listening to this guy. It was dooms. If we don't what's going to happen, of course there's many ways you could do it, but of course I was like, of course. I was like, wow, what's going to happen if we don't do it that way?Stephen Engel:It's very funny. I remember the first season of Dream on Howard Morris who I love. He's a great guy, very emotional guy. And I was very logical in a lot of ways. And he had written a script and he had this whole run that he really was in love with. And the script was long. We needed cuts. And I was like, I think we can cut from here to two pages later. And you really, the story actually, not only would you not miss it, but the story would actually be working better and be more tight. And he was like, you can't do that. You can't possibly do that. This is the greatest thing that's ever been written. It is really good. But I think we need cuts. And I don't think it's actually, and one by one, everybody in the room was like, I think he's right. And he was losing his mind. He was like, right, don't listen to him using his logic on you. He's a magician. And we ended up cutting it and it ended up working better. So it's funny that I guess the legal training came in, I guess to some useMichael Jamin:Well, yeah, I, but I also remember you saying, I quote you as this saying this, that I have to get this right. Your worst day as a writer was still better than your best day as a lawyer.Stephen Engel:It was probably, I'm not sure that's true anymore.Michael Jamin:I believe thatStephen Engel:For a long time that was true. I would say there have been some dark days. But whatMichael Jamin:Do dark days look like then for you? Yeah. What isStephen Engel:It? Well, the day your show gets canceled, right? There were days, there was a, one show got canceled where I was like, oh, thank God. Right? Because I had a deal behind it and it was like a nightmare. And I hated going there every minute. And I was like, I had to go into the room and pretend like I got really bad news. Everyone, the show's been canceled. I was like, this is the best thing that's ever happened to me. There are sometimes when it's so bad you're like, just end it. Just fucking euthanize me. So that there are days where it show you isn't going badly, gets canceled and then it's kind of heartbreaking.Michael Jamin:Now do you have a preference? Cause you've done a lot. Do you have a preference between working single camera R? Right. Writing.Stephen Engel:I prefer single camera. Why? I think it comes from my feature writing career. It was funny, I made such a conversion when I worked on that show family album with Kauffman and Crane. We went in and there was some joke in my script and it was a good joke I thought. And we go to the table read and it doesn't do great at the table. This is my first time I've ever had been to a multi cam table read ever my first multi cam script. And everyone in the room is kind of like, yeah, I think we maybe want to punch this joke. And David Crane to his credit was like, no, I believe in this joke. And there's a really good smart joke. So we go to the run through first run through, it dies. And again, everyone's like, maybe we want to pitch on this. And David's like, no, no, I really, let's give it one more day. I don't think, I feel like they didn't do a great job on it. Let's give it one more day. By the third day it dies again. And same thing. And David's like, let's give it another day. He goes, I think it's rye. I'm at this point I'm completely converted. I'm like, fuck rye. Rye is fucking crickets.We could pitch 20 more jokes. It took me three days to realize that, you know, can't get away with clever. You need to get real laughs.Michael Jamin:Right.Stephen Engel:And I'd like, I like it. I just like the storytelling in Multicam a little bit better. OrMichael Jamin:Just you, the storytelling multicam better.Stephen Engel:No, no. In single Camm a bit better. Yeah. Frankly, I used to think a perfect job for me would be you write the scripts and then you send them out magazines. You don't actually have to produce them. Oh yeah. That was always where the hard,Michael Jamin:It's never as funny as it is. It's never asStephen Engel:Funny. Sometimes it is. It depends on your cast. But other times it's the rewriting and the endless rewriting. It's just have them read it and let them imagine what it might look like.Michael Jamin:It's called a book.Stephen Engel:It's called a book. Yeah.Michael Jamin:There was a episode, I think it was, not sure if you were there then, but I, I was fighting, I fought with Sievert, my partner about a joke that I wanted in the script. I go, this joke is going to kill. And he's like, this joke is terrible. I'm like, it's going in, it's going. And we got blows over it. We put it in the script, we go to the table and the joke just dies. It gets nothing. And then I start laughing hysterically. He goes like, cause how could I have been so wrong and so arrogant? And I'm laughing hysterically Now everyone's looking at seabird because they're like, it's his joke. You're laughing atStephen Engel:Him. And now I'mMichael Jamin:Laughing even more. I'm like, yeah, it's his fucking trouble.Stephen Engel:There's nothing more humbling than watching your jokes die on a stage. Like after a while you get used to it. But the great thing about single cam on, dream on, we'd write it, we'd go out and film it. And if no one's laughing, you never know.Michael Jamin:You never know. Right. But did you can't believe in it. But you did table reads for Dream on, I'm sure, right? DidStephen Engel:Not do table reads.Michael Jamin:That's so interesting. How did you get away away with that?Stephen Engel:They had no, they didn't. They gave no notes. H B O gave no notes. I remember getting one note one time and being like, I can't work like this. This joke is, I'm not changing this joke. And I was like, indignant a playwright. Eugene O'Neal had beenMichael Jamin:MarriedStephen Engel:To change a stage direction. And then I got to network and it was like, oh, okay.Michael Jamin:Yeah. Now these are notes. This is how it works. When you were, now you've done also a lot of kit shows. I mean, you get a lot of notes on Kit shows more or less. Oh myStephen Engel:God. Yeah. You'd get tons of notesMichael Jamin:More than networks.Stephen Engel:I did. Oftentimes you get a note, it's like, I please take some of these jokes out. I we doesn't need to be this funny,Michael Jamin:Real, what's the problem with, all right,Stephen Engel:I can get you the best punch down. Writers in. Yeah,Michael Jamin:Bring them in. But really they don't want fun. Is that what kind of notes they give you in these show? I did aStephen Engel:Show, did a show this, show this Sigma and the Sea Monsters reboot, which wasMichael Jamin:Very scaryStephen Engel:For Amazon. And the first thing we turned in there, it was very funny. And they were like, we don't really do this. It's like, we don't want this to be funny. As nearly as funny as this script is, it's just don't feel compelled to put a joke on every page. I'm like a joke. You don't want one joke on it on every page. And they're like, no, if it's warm and fuzzy and they just were afraid that it was going to feel too Disney or tooMichael Jamin:NoStephen Engel:Jokey networky or jokey or whatever.Michael Jamin:Because when you look back at sitcoms from the sixties and seventies family affair, there weren't a lot of jokes in Family Affair. I mean,Stephen Engel:No, I think that's what they were going for. They were going for just kind of poignant and sort of warm. They, I feel they felt like jokes would alienate people and be too controversial. Or they kept referring to their viewers as customers,Michael Jamin:Buyers. TheyStephen Engel:Want buyers.Michael Jamin:Buyers,Stephen Engel:Our buyers, our customers don't really want that. I'm like, okay, all right.Michael Jamin:That's so good. I wonder if that's, that's really how they saw them is like, yeah, what else were they going to about?Stephen Engel:Yeah, yeah. It was,Michael Jamin:Oh my God. Did that make the hours easier since you didn't have to punch upStephen Engel:Or doing a sort of family shows?Michael Jamin:Are you getting out earlier?Stephen Engel:Yeah. Yeah. I think so. For the most part. We never phoned it in. We were always trying to do, and we never wrote down the shows that I worked on. We made them as funny as we could and as bendy and weird as we could, oftentimes we would get notes saying, this is too, I think you're, you kids aren't going to get this. But what they don't get, they'll ask their parents or their older siblings and let's not underestimate the audience watching Bugs Bunny cartoons. You're going to still laugh and you may not get every level. So we were kind of writing it for the adults.Michael Jamin:You were able to push back on that.Stephen Engel:Yeah, yeah. I mean, I guess their recourse was ultimately to cancel you if you weren't doing what they wanted you to do.Michael Jamin:Well, do they have different ways of I they must, different ways of measuring. We haven't done too many streaming shows, but measuring when people are dropping off, what kind of stuff they like more statistics. Do they share that with you?Stephen Engel:No,Michael Jamin:No, never.Stephen Engel:I only did mean the Amazon was the only streaming show and they never really wanted this show. I don't think to begin with. I think it was inherited from the previous regime or something. It was like the whole thing was driven by puppets and they were, if we had our druthers, we wouldn't even have the puppets in it. Well, well the main character is a puppet, so you're kind of stuck.Michael Jamin:So, oh man, that's Hollywood man. Yeah. Now do you, but you must get more obviously opportunities in the children's businesses.Stephen Engel:I don't. I don't. Don't. And I don't pursue them. I didn't really want to do it. Right. I basically did it. I only did it because it was a show writing opportunity and I didn't want work on someone else's show at that point. And I also leveraged it into, I wanted, I said, I'll do it if I can direct.Michael Jamin:Okay.Stephen Engel:So I ended up getting in the DGA and directing a handful of episodes.Michael Jamin:And they were single camera?Stephen Engel:No, they were multiMichael Jamin:Camera, multi and so interesting.Stephen Engel:And it was kind of fun. I mean, I had just sort of aged out of coaching my kids little league and basketball teams and stuff. So they were now just had just more or less finished that. So working on a show, that was almost like being a coach or a camp counselor in a weird way. You'd go to the stage, the kids would be thrilled to see you, you'd get down on one knee and get eye level with them and give them a compliment sandwich. Do you know that from coaching?Michael Jamin:No. What is that?Stephen Engel:A compliment sandwich is basically in baseball you would literally get down on a knee and you'd say you're doing tee-ball. And in tee-ball what happens invariably is a kid hits the ball to left field and every kid on the field runs to get the ball from every position, or at least a handful of them do. So you get down on the knee and you go, I love your hustle and great enthusiasm. Then you put the criticism in the middle and you're like, but you know, need to stay where your position is so that everybody has their own spot. And if the balls it to you, the ball, you know, field it. If the balls it to left field, they field it. But again, great energy and keep up that enthusiasm. So you put the constructive criticism in between two compliments. IMichael Jamin:Would think that they would remember the first thing and the last thing they heard.Stephen Engel:Well, that's great job. We did a joke like that. We did a joke like that where a character on an forum was giving a note to somebody. They were doing a musical performance or something, and the main character said to this other character, I really like your enthusiasm. Try to hit at least any of the notes if possible because your singing's not good at all. But again, great energy. And the character goes, thanks. Hey, thanks.Michael Jamin:Yeah, that's what I would, so that's so interesting. And were you dealing with a lot of parents on adult momager orStephen Engel:Whatever? Yeah, there was a lot of that. It was fun, but creatively it was like, I'm done. This I just want to do, I'd rather not work and just write stuff I want to write than write on a kid show at this point. Because I also felt like they weren't really looking for you to do anything smart and that smart or that funny. It's changed. I think they're trying to be more creative and more inventive now, but at the time it just felt like, I don't really feel like doing this anymore. It's just not like someone would say, what are you working on? I'm like, it's not important. Don't worry about it. You're not going to watch it. It's fine.Michael Jamin:WellStephen Engel:Fine for what? But I don't watch it. You're not going to watch it.Michael Jamin:But when you say working on your own stuff now, so whatever, you'll just write stuff on spec and hope toStephen Engel:Sell. Yeah, I'll pitch stuff. I'll write stuff on spec. I've written a bunch of specs recently where I've tried every possible way to skin a cat in this business. I'm like, it's all I'm going to write spec scripts. That way they'll totally see what the show is. And then I would have a bible behind it to pitch all of these things. And I've had a couple of things where I had studios say, let's go out with this, but let's pitch it. You didn't write itMichael Jamin:Right yet.Stephen Engel:I'm like, well, why would you do that? Because I've got it right here. AndMichael Jamin:Because they want to put their thumbprints on, theyStephen Engel:Want to put their imprimatur on it. So the way I put it is, if you give, give someone a baked fully baked cake, they'll be like, this is a, it's a good cake, but I've got this recipe for a cake. Yeah, that's going to be the best cake that's ever been made and we're going to put in all these different ingredients and make it even better. And then that gets turned in and they're like, it's a cake. There's always that unknown potential of what a pitch is going to be. Whereas a spec, they'll go, well, there's this one thing I'm not sure about or this other thing and they want to get involved.Michael Jamin:But have you ever sold anything on spec? BecauseStephen Engel:When you, honestly, I don't think I have. IMichael Jamin:Know haven't written a few.Stephen Engel:I have a project, I have a project right now that it, we're going back and forth on negotiations, negotiating an option for them to, to option the script. And they're trying to decide whether we should go out with the script or go out or whether I should reverse engineer the pitch.Michael Jamin:ButStephen Engel:We have an option. They have an option for a year within a purchase with a purchase price to buy the script. What would happen is if we pitch it, they would basically go, okay, just wait three months and then turn in the script that you've already written because we left the script. But again, it's unclear as to what my feeling is. We should send out the script because the idea and it's in and of itself is not necessarily that unique. It's the execution of the idea. That's unique. Of course. And I think that's what got you interested. If I had just pitched you this idea, you probably would've said, well, I don't know. It seems like there's stuff out there like that. But it was my script that got you excited.Michael Jamin:Right, right. I remember early on, I wonder if you still feel this way. I remember I just shoot me, you telling me, yeah, because you were ready to leave, move on. And you're like, yeah, I want to go back to running a show. And then you did couple many shows. Yeah. But do you still feel that way? Do you care so much whether you're running it or,Stephen Engel:No, I've had good experiences and bad experiences doing both for a while after the big house, which was a good experience. My kids were at that point, maybe, how old were they? Eight and six. And I was running a show was very all consuming. And you, yeah, you never go home. I mean, yeah, even when you're home, you're like, you've got outlines to read, you've got cuts to watch, you've got the weight of the show on your shoulders at all times. You can't get away from it. And I was like, I really want to be more present. I want to be able to go to my kids' games. I want to be come home and be able to relax. So I'm like, I want to go on be someone else's, like consigliere, I'll be the number two. Yeah. I'll go, here's what I would do. Do it. Don't do it whatever you want. And then go home and be like, I'm done for the day. And I did that for a while. And I think in retrospect it sort of took me off of the showrunner showrunner's list for doing that for three or four years. I think people were necessarily remembering or thinking me necessarily when they were looking for showrunners because I was all of a sudden now someone's number two. But I don't regret it because I got to spend the time with my family.Michael Jamin:But now I now want to go back to running. I mean, it is a lot of work,Stephen Engel:My kid, well, right now, honestly, nobody, you know me, but anyone under the age of 40 doesn't, has never worked with me and doesn't know who I am. So for me to get a job on another show, because I, it's been a while since I've worked on a show where with people who would be young enough to go, oh, we need to work with this guy. He's really smart and good and funny. If I'm going to get a job, it's because I'm going to create a show myself and run it. And that's the job I'll have. I don't even know if my agent even submits me. I have no idea. So I'm back to just pitching and writing my own stuff and if it sells, of course I'll run it. So look, they both have their perils. I missed my kind of adolescence as a TV writer. I went from being right a second grader to a college student. I never had that. So I got to go and be on someone else's show. And sometimes it was good and sometimes it was bad. I worked in the Big Bang theory and it was not funMichael Jamin:From a lot of people. TheStephen Engel:Most fun place to work, it was delightful show. But I used to not going to work every day. Right. Cause I didn't take the tone of the show, the work environment, I mean the tone of the show, I was fine not dictating the tone of the show, but I was not enjoying the tone of the work environment.Michael Jamin:I got you. I know what you'reStephen Engel:Saying. So it was not a good experience. I dreaded going every day. It was a job. It, I might as well have been a lawyer again.Michael Jamin:Hey, it's Michael. 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.Yeah. You've had many experiences like that though. Were you like you pitting your stomach every morning?Stephen Engel:Not that many once on my own show, just because I had a difficult situation with one of the stars who it's not worth going into, butMichael Jamin:At least on the air.Stephen Engel:What'sMichael Jamin:That? At least? At least not on the air. NotStephen Engel:On the air. But most shows have been, some are better than others. I worked on a show that it was very dysfunctional and I've gone into work on shows where, where I had a deal where they were like, we need you to go help on this show. And it's kind of in shambles. I'm like, I'll go in and help, but I'm going in between the hours of 10 and seven. And if they start at five, I'll be there from five to seven.Michael Jamin:But okay, you can make that deal with the studio. But then the minute the showrunner finds out about that, during I made itStephen Engel:With the show, I made the deal with the showrunner.Michael Jamin:Oh, okay.Stephen Engel:Because they needed the help. And I was like, I'm not going down this sinkhole. I've already, I'm in a deal. I don't, I'm doing this. I'm helping out because I want to be a team player, but I'm going to help out within the hours that are reasonable hours. And it was so dysfunctional, people would show up and play guitars for four hours and play ping pong. And I'm like, are we going to work or not work? So I'm like, let me know when we're starting and I'll be there.Michael Jamin:Yeah, I know. I wonder, I don't know if that happens so much anymore. I think that's something that's been cleaned up a little bit.Stephen Engel:I don't know. I don't know mean, look, some shows, some showrunners are not, some creators become writers, become creators are not prepared to be a showrunner. They don't know how to manage a business. That'sMichael Jamin:Exactly right.Stephen Engel:And it's a different skillset being a talented writer and being a manager or a C E o or different skillsets. And some people are lucky enough to have both skills. Some people are good CEOs but not great writers and they need a better team. And some people are great writers and need someone to help them literally get through the day. AndMichael Jamin:People don't realize that because no one goes into comedy writing to become a manager of people. No.Stephen Engel:And if you have the talent, you eventually rise to a level where you're expected to all of a sudden be in charge of 150 people and to show up every day on time and to try to be responsible and actually conduct yourself in a way that's professional. And not everyone can do that.Michael Jamin:And always the trickiest thing. I think as a show runners, no one went to push knowing how far you can push back against a network note or even a difficult actor. Yeah. And what's your thought on that?Stephen Engel:Well, what I used to do is they never would give me a note. The trick to getting and addressing notes is to get them to realize that they're being heard. And you'll say, we're not going to figure this out right now together. I hear you. I know what, I know exactly what to do. And then go off and change it enough that they feel like you've taken their, at least into consideration their thought, their thoughts into consideration. But oftentimes what I would sometimes do is they'd give a note. I'm like, we can do that. But just so you know, here's the ripple effect. If we do that, then this scene here no longer makes sense because this scene that you really love won't make sense because we've already revealed this information. So this scene doesn't play and then this scene doesn't work because whatever this and this and this, we can do it. And I'm have to change those scenes and I'm willing to, but just realize that it's not as simple as making this one change here. There are ripple effects throughout the rest of the script. And they're like, you know what? You're right. Stuff's working great. Don't worry about it.So they don't know. They don't necessarily always see the big picture and understand how pulling one thread could unravel the entire sweater. So I just present it to them and go, would you like me to do that? We can do that. And then they go, no, no. Like I, I hear what you want and I'll massage it without having to do those things. But I hear what you're saying and I'll try to adjust it as best I can without unraveling the whole scriptMichael Jamin:And then working. What about working with difficult actors?Stephen Engel:That's harder. That's harder because you can'tMichael Jamin:Put the words in their mouth. You can't make mistake, you can'tStephen Engel:Make them do it. I mean, had an actor who literally was so he just wanted to take over the show and was, he never should have done it. They backed up a money truck to get him to do it and he didn't want to do it. And he did it reluctantly and didn't wanted it to be his show and not my show. So I think wanted tried to get rid of me and came to table reads with sunglasses on and just looked down the whole time. And which was the best thing that ever happened because the network saw that he was not doing his job. He was doing my job, but he wasn't doing his. But they'reMichael Jamin:Still going to take his side. TheStephen Engel:Show went down, but I didn't get, they were like, you handed yourself really professionally. And that person,Michael Jamin:Were you worried so much about that? Are you worried so much about protecting your reputa reputation like that within the industry? I mean,Stephen Engel:You always have to be a little bit worried. I, I would probably think that just given my, I don't know, I guess I have a, it's maybe it's coming from being a lawyer. I can see, if you tell me, like I mentioned, if we should change this joke or this line or this, do we need this? I can see all of the ramifications all at once. So sometimes I will, by pointing out the flaws in the note, some executives don't want to hear that. They don't want to know. They just want to think that they're right. Or they also want you to basically, I remember in one situation on a show where they were like, we've got great news. The network wants to do a mini room. I'm like, great.Michael Jamin:How's that? Great news? The news?Stephen Engel:I thought the deal was they're either going to pick up the show or not. That's why we went there. It'sMichael Jamin:Great news for us.Stephen Engel:They're like, well, why wouldn't you want to delve into the characters more? And I do, but that's not the deal we negotiated and now you're basically, I have to do all the same work for one 10th of the money. And they didn't want to hear that. So I think sometimes it's just best to be like, and I would also maybe sometimes have a tendency if somebody is lying blatantly to me and I say, wait, I don't understand last, yesterday you said X, Y, and Z, but now you're saying A, B, and C. So I'm confused. And they just want to go. They don't want to be called out on that.Michael Jamin:Right?Stephen Engel:So they're like, look, why are you being difficult? I'm like, I'm not, I'm just asking for clarification. Cause it seems like you're telling me two different things and I don't understand as opposed to just going, okay, I hear you. We'll do it without any. So I think sometimes you just have to swallow your pride and just eat shit and not speak up about it.Michael Jamin:The problem is you're saying, I feel like most of those fights are not winnable.Stephen Engel:They're not winnable. So there's no point in pointing it out. But sometimes I'm just, I don't, don't understand. Just tell me what, what's going on and then we can move forward. But they sometimes they don't even remember what's what they're spinning.Michael Jamin:I don't think I've ever convinced an studio or network executive that I was and they were wrong. I don't think I'veStephen Engel:Ever, it may have been a per victory, but I have.Michael Jamin:You were fired shortly afterwards.Stephen Engel:No, I mean it just may be whatever. Yeah, you're right if you're doing it this way. But in the long run, they just maybe weren't that happy with the direction, generalMichael Jamin:Direction. Right.Stephen Engel:I did the show where this kid show, and it was about a superhero hospital and there were villains and there were heroes and superheroes and super villains. And we wanted the villains and the heroes to have distinct personalities and flaws and be funny. They could be a villain and be funny at the same time. They're like, look, just have them villains. Just be scary and don't give them, they don't have to be funny. But we're writing a comedy and eventually we took a lot of the jokes out, but we didn't want to deliver a show that we didn't believe in. And then ultimately they were like, we did two seasons. And they were like, this is not really what we want to do. So they didn't do a third season. So you either go down with your ship and what you do, the show you want to do and have it not get picked up for another season or do a show for four seasons that you don't believe in.Michael Jamin:Though a lot of people on social media, they say, well, they don't understand. I think all the writers in Hollywood terrible, because if all the shows I'm like, you don't understand how shows are made. It's like, no, no. Sometimes the system is designed to make a show bad and there's really nothing you can do about it other than either,Stephen Engel:I mean, no one's looking to make a show bad. It's just what the creator thinks is good and what the network thinks is good may not be the same thing. There's that famous story about what those guys who did that Stephen Weber show called Cursed,Michael Jamin:I dunno if I know this story. Okay.Stephen Engel:Steven Webber did a show, there was a show starring Stephen Webber, it was called Cursed. It was for n b NBC back in the nineties. And the premise was, Stephen Webber is like this kind of womanizing dating machine who goes on this date and with a I, you shouldn't even say Gypsy, I guess, I dunno if it's derogatory, but a woman who puts a spell on it, he basically ghosts her or doesn't call her or is not nice to her on a date. And turns out she puts a curse on him that he's never going to find love and oh, his romantic life is going to be a disaster. Okay. So the cast, Steven Weber, he's super charming and funny. They decide to pick up the show and they go, we're picking up the show, but we have one elemental change if we'd like to pick. It's a small note. They're like, okay, what is it? He goes, we don't want him to be cursed. They're like all cursed. They're like, well, we can change it. We'll like so. Well, well, the Steven Weber show.Michael Jamin:Okay,Stephen Engel:So now what's the premise about Steven Weber dating?Michael Jamin:Oh, okay. But he is not having a hard time dating. He'sStephen Engel:Just, he either is but there's no curse.Michael Jamin:There's no curse.Stephen Engel:Yeah. Okay. Nig did a show called Inside Schwartz, and the whole idea of it was that you're inside the main character's head. Right. So the idea is that, you know, get to see his internal and hear his internal dialogue with characters he's talking to that only he can see. All right. And at one point about halfway through the series, the president of the network came to run, came to talk to me after a run through and said, look, we really like the main character. He's a great actor, but he's like, we want it to be more of a Michael J. Fox character dives into things without thinking. I'm like, well, the character is written is an overthinker and he's thinking about everything. And we dramatize those in the forms of him talking to these people who only he sees. He goes, well we, no, we don't. We want him to not be an overthinker. We want him to be just to jump into stuff. I'm like, so I'm writing inside Schwartz and you want outside Schwartz, right? And they went exactly perfect. I said, all right, I guess. But at that point it's like, how do you turn a aircraft carrier aroundThrough, and you've got four or five scripts that are ready to go that are all, hold on, I'mMichael Jamin:HollywoodStephen Engel:That are written inside Schwartz, and you want outside Schwartz. And they're like, well come up with new scripts, you know, can take an extra week, a hiatus and change. So we had to basically change course and make an adjustment. So just because they think, what if they changed their minds? They love something when they saw it and then they start to panic that they think it should be this, and they the next day have a completely different idea. But it, it's just, that's the idea they woke up with.Michael Jamin:Or often it's whatever was a hit over the weekend, that's what they want and make it more like that.Stephen Engel:Exactly. Exactly. So that has ramifications and real life ramifications that you've then got to make work. And it's your job, unfortunately sometimes is to try to turn a cat into a monkey. It's just like, all right, that's what I'm going to have to try to do.Michael Jamin:And are you able to do this with a good attitude?Stephen Engel:I to, I think I have probably, I have a better attitude about it now. I'm just more mature and it's like, all right, it is what it is. I understand it. Back then, I think I took everything much more personally and I was agonized more about it. Now I'm just like, I come, it's coming and you just have to deal with it or not deal with it or whatever. I, I've walked away from it. I've walked away from a deal on a show where I was like, I didn't feel right about it.Michael Jamin:What do you mean you didn't feel right about it?Stephen Engel:I just didn't, I don't know, I just wasn't comfortable ultimately with the people I was going to be working with. As I got to know them better, the deal wasn't the greatest deal and I was like, I don't think this is worth it. I think this is going to be a nightmare. And I just said, I turned wouldn't, they didn't come up. I just said, you know what, no mean, at the time I was running a different show, so this was development behind it, so I didn't need the job, but I was like, I see the writing on the wall here and if I can't, you can't meet my numbers and this is going to be unpleasant. And I can already tell. AndMichael Jamin:How do you think they took it when you did that? No one likes to hear thatStephen Engel:They were really not happy. I mean, yeah, really. I said, look, I'm just not comfortable with it. And I just, things had changed. It was an idea that it's not worth going into. It was easier to just say, forget, don't rather not do it than go into what I know is going to be a shit stormMichael Jamin:Right now. Not enough money. The industry has changed so much even in the past maybe 10 years or so. But I dunno, what are your thoughts on it? What are your thoughts on where it's going? Look,Stephen Engel:I'm one of those people who, whatever, everyone who's not in the industry says, oh, must be so great now, all these different streaming networks and some to sell shows. I'm like, it's not great. First of all, these places are, you know, do all the same work and you're doing six episodes or eight episodes or 10 episodes, and that's exactly when the curve starts to get, there's a very steep curve getting a show off the ground. And then it's like, now I get the show and now it's sort of the, it's heavy lifting at the beginning and then it sort of tapers off and it's always heavy lifting, but you start to figure it out. And then for the back nine it's like, it's not as hard if you stay on top of it and you get stories broken on time. So you're doing all of the heavy lifting without any of the economies of scale and you're only getting paid by the episode and you're working 40 weeks to do seven episodes or eight episodes instead of 40 weeks to do 22 episodes.Michael Jamin:Okay. So in, cause they make, that's not the case on many of the shows we're doing. Maybe they're lower budget, they just usually bring you on thete, the writing staff in pre-production. And so then you're the showStephen Engel:Runners. But as a showrunner, you've got to do, you're there for whatever the eight saying you're doing eight episodes, you're going to do eight weeks of pre-production and writing. You're going to do eight weeks or more of production, then you're going to do eight to 10 weeks of post. And yeah, you're working 35 weeks to do those eight episodes. Whereas if you're working on a network show for 22 episodes, you work 40 weeks and you do, you get 22 fees. So the writers who come in and do their six or 12 weeks get paid for their eight episodes and not, that said they work there eight weeks and they do their 12, their eight episodes. Do youMichael Jamin:Feel this affects the quality of writers that you're able to hire now because they have less training?Stephen Engel:I think so. They're not around production. They don't understand or understand production as well. It, it's tricky. I also think that to some extent, I may be alone in this. I think that some of the storytelling and streaming, it feels like a lot of shows feel like they, someone took a movie and they probably didn't sell this movie, and they said, I got an idea for a series and it would be a great movie. But what they end up doing is they, it's those chest spreaders if you were to have a heart bypass or something, it's like they put a chest spreader into the screenplay and they open it up and they jam six episodes of filler in the middle. And the beginning is the first half of a good movie. And the last two episodes, this is the second half of a pretty good movie, and the middle is just treading water. And you're just like, yeah, each episode becomes a chapter in a book. So a lot of writers are not learning how to tell an episode that has a beginning, middle, and end because it's all middle.Michael Jamin:Right?Stephen Engel:Episode one is a beginning, episode eight is the ending, and everything in the middle is middle. No. Those episodes don't have a beginning, middle, and end. They're picking up from the middle and ending somewhere else in the middle. They're moving the ball down the field. But you don't have a kickoff and you don't, I think a lot of writers maybe don't know how to tell a complete story anymore because there aren't any freestanding episodes.Michael Jamin:How do you think these new writers are breaking in today? It's very different than when we were breaking in. How are they getting in?Stephen Engel:I teach a course at UCLA and I always, they always ask the same question. How do you get an agent? How do you break in? I guess it's not that different other than the fact that there are maybe fewer barriers to entry. You want to write a web series and shoot it on your phone and send it out to a million people on. Now the trick is it's getting people to see it, but no one was going to read your screenplay. If you're a new writer and you say, Hey, will you read my script and you're in my class? They're like, Hey, can I send you a new script I just wrote? I'm like, no. Yeah, I'm not going to read that. But if they send me, Hey, I wrote a one minute episode, you want to, would you watch it? I'm like, okay. I mean, I could watch a one minute episode of something.Right? And if it's interesting, then you could go, that's really kind of interesting. Let's talk about it. So there are ways to get in. I hired a writer on an farm I was writing with a guy named Dan Sinner. Sinner, great guy, funny writer. And we were looking for an assistant. So we met this woman and she came in and she had no experience as an assistant, but she had just graduated from Harvard six months earlier. But she mentioned she had a Twitter feed and that she had written a couple of jokes that somehow Maude Aow had found. And she was like 12. And she tweeted it, retweeted it, and then because Judd Aow followed her and saw the jokes, he started following her and retweeted it. And then a lot of his followers were started following her. So all of a sudden I had 10,000 followers.So anyway, we finished interviewing her. I really liked her. And I'm like, what's the feed? What's the Twitter feed? She told me And I went and I read it and there were, I read the first 10 jokes. Eight of them were a plus jokes. And I said to Dan, I'm like, let's hire her as our assistant. If we need jokes, we, she's really good at joke writing and we're still looking for a last staff writer. And she was our assistant for a day. I'm like, do you have a spec? You've written? Like, I wrote a 30 Rock. So I read it and it was green, but first five pages, five great jokes. So finally Dan and I were like, let's hire her today because in three years we're going to be looking for her to hire us because she was that talented.Michael Jamin:Have had three years passed.Stephen Engel:She very quickly became very successful and has over a million Twitter, Twitter dollars.Michael Jamin:But is she working as a writer?Stephen Engel:She ended up working on Silicon Valley and Oh wow. Parks and Rec and she ended up working on The Simpsons. And soMichael Jamin:You were right. The good place.Stephen Engel:Yeah. I mean she was really talent. It was undeniable. So I always tell writers, write Jo, if you could write jokes, you'll work to, you're 90. To the extent shows like to have jokes anymore, which a lot of them don't. Right. I always think about that joke. I dunno if you remember this from the Emmys, maybe like four or five, six years ago, Michael Chay and Colin Jost hosted the Emmys. And I always tell this to my class, Colin, Joe says that the opening monologue, he says, tonight we give awards for the best comedies and dramas in television. And for those of you who don't know, a drama, a comedy is a drama that's 30 minutes long.Michael Jamin:Yeah.Stephen Engel:There's just so many shows now that are not really that funnyMichael Jamin:That I ain't going for it. What is this club, what's the class called that you're teaching at U ucla?Stephen Engel:It's in the professional program through the school of the Film School write writing a half hour pilot.Michael Jamin:So a graduate. So they have a grad, graduateStephen Engel:Program. It's not a M ffa and it's not undergrad. It's like a professional program where you can apply, it's a one year program. You take three quarters, 10 weeks each, and you go from basically Idea to finish script in 10 weeks.Michael Jamin:And it's at, you say, so it's not used to extension, it's something else.Stephen Engel:No, it's not Extension. It's a, it's through the School of Television, film and theater. Wow. That's theater, film and television, I guess it's called. Yeah. So eight to 10 people. And you're kind of, wow. I kind of act as the showrunner, but I want to hear, get everybody's input. Everyone gets input from each other about their ideas. So it's like a writing class group.Michael Jamin:They'd be lucky to get in your class. For sure.Stephen Engel:Yeah. I tend to give them a lot of, I think, very thorough notes and hopefully it's helpful. And I don't mince words. I mean, I'm gentle with it. I'll always, I'll do my notes and then I'll go back and soften them. I'll be like, instead of this, I don't think this is working. I would say, I wonder if some readers might think this is a bit confusing as opposed to, this is confusing. Or I remember confusing.Michael Jamin:I remember. And just shouldn't be turning to you. I can't remember. It was a script. Levi 10 was running the show, and I think we had a problem with the scene. And I seem to remember you helping us. You pulled you aside, Hey, how do you think this scene should work? Because we were lost and you were very helpful.Stephen Engel:Well, I had at that point already run Dreman for several years and and had some showing experience. And look, Ste, Steve was a great showrunner and one of his, he's smart enough and secure enough to know that I will benefit by having other experienced showrunners on working with me and other very experienced writers. Cause I may not have the answer all the time.Michael Jamin:Oh, I also remember thinking that I don't want to bother the boss. I'll bother someone who's not the boss.Stephen Engel:Yeah. But again, was you were your first job and you're want to make sure you don't do any. I've worked on shows where staff writers are told, don't even say a word.Michael Jamin:Oh, really?Stephen Engel:More or less. It's just you're there to generate jokes on your own and just keep quiet. Which is to me is if I can get a joke from a pa, I'll take it. I don't care where the joke comes from. If it helps make the script better. If a PA comes in and delivers a pizza and goes, what'd be funny? I'm like, that is funny. Right. I'll put that in.Michael Jamin:Right. Yeah. You whatever gets you home earlier. Yeah. Yeah.Stephen Engel:And makes the script better. And hopefully makes the script better. It's all going to make you look better as a showrunner.Michael Jamin:Yeah, it was. And you're right, dude. I mean that show that it was really top heavy, just shoot me. It's top heavy. And it was, that's probably what was so intimidating to me was everyone was so funny. And I remember even turning to Marsh after several weeks. It was like, Marsha, I, I'm laughing too much. I'm not pitching enough. I'm enjoying myself too much. Right. What do I do? Because I'm not here to observe.Stephen Engel:I can see how it would be intimidating. I was lucky enough that on my first job it was Kauffman and Crane were the showrunners. Greenstone and Strass were like the producer, co-producer, exec producer, kind of supervising producer level. And then we had three staff writers who were all pretty new. So it felt democratic. But you come into a Topheavy show and you're, you were the only staff writers. Yeah. There.Michael Jamin:And there's Tom Martin. There's Tom Martin. Oh,Stephen Engel:Tom. Right

Well, it's Groundhog Day...again.  We're breaking down the last great Harold Ramis-Bill Murray collaboration. Also starring Andie McDowell, Chris Elliot, Brian Doyle-Murray and more, this is one of the best comedies (maybe one the best movies) of the 90s. It has a little bit everything and we cover it all.Following the movie discussion, we switch gears to draft of favorite TV of 1993. It was the end of the Cheers era and the takeoff of Seinfeld. Listen to see who got the best list.If you enjoy the show, please rate and review us on the iTunes/Apple Podcasts app or wherever you listen. Or better yet, tell a friend to listen!Want to support our show and become a PCY Classmate? Click here!Follow us on your preferred social media:TwitterFacebookInstagramSupport the show

On this special AgCast Extra, our microphone is in Montgomery after Gov. Kay Ivey signed into law reforms to the peanut checkoff program. Brian Hardin, External Affairs director,  sits down with Sen Josh Carnley, who sponsored the bill in the Senate and represents portions of Coffee, Covington, Dale and Pike Counties. Brian also speaks with peanut farmer and Alabama Peanut Producers Association treasurer, Jerry Byrd.Russ Durrance, state legislative programs director, spends a few moments with Representative Jennifer Fidler of District 94.As a bonus, Preston Roberts, director of agriculture legislation, has a conversation with Senator Chris Elliot, of Baldwin County, on how changes made to police jurisdiction municipal ordinances are working since it's passage two years ago.

John Pollock & Wai Ting are joined by Chris Elliot to discuss Netflix's Formula 1: Drive to Survive Season 5, Episodes 1-3. A free preview from the POST Wrestling Café.Is DTS truly more akin to Top Gun than a documentary? They discuss criticisms lauded at the show for its over-dramatization and possible influence on the controversial conclusion of the 2021 season.Episodes 1-3 introduce us to Charles Leclerc's campaign for Max Verstappen's crown despite questionable team strategies from Ferrari. Lewis Hamilton and Mercedes encounter the debilitating effects of ‘porpoising', leading to a public outburst from Team Principal Toto Wolff. Haas' Guenther Steiner worries about his next call to Gene.Plus, a look ahead to the start of the 2023 season and Sunday's Bahrain Grand Prix.Join the POST F1 Fantasy League: https://fantasy.formula1.com/en/leagues/join/C5SBWHOTQ04Chat F1 in the POST Discord: https://postwrestling.com/discordDTS Season 5 Trailer: https://www.youtube.com/watch?v=PSLTXPefVGEWatch Drive to Survive on Netflix: https://www.netflix.com/title/80204890Subscribe: https://postwrestling.com/subscribePatreon: http://postwrestlingcafe.comForum: https://forum.postwrestling.comMerch: https://store.postwrestling.comTwitter/Facebook/Instagram/YouTube: @POSTwrestlingAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Welcome to another episode of the PWYFA Play Where Your Feet Are™ podcast! In a nutshell, this podcast is all about learning to live a life full of living by playing where your feet are, doing your best and being your best -- no matter what, no matter where. On this episode, we are joined by Grace Ball, former collegiate athlete who played tennis at the University of Kansas City. Grace is the podcast host of More than an Athlete, where if you look back far enough, you'll find an episode with yours truly (linked below)! Fun fact, Grace and I first were connected through Chris Elliot, the last podcast guest! His 365-Day Devotional written by athletes for athletes feature both Grace and me, and we immediately hit it off once introduced. Soon after, I appeared on her podcast, and now I am thrilled to welcome her to mine! Grace impacted so many lives through her collegiate career and continues to do so through her podcast and current job with Watermark Church in Dallas, Texas, where she is in their 10-month church leadership program before diving into full-time ministry! Today, Grace shares what can happen when you really do let go and let God take control. She speaks on suffering well, sharing your testimony, and shining the light of Christ, all by playing where your feet are! Enjoy Season 2, Episode 10! If you have not already, please submit a review of the podcast on Apple Podcasts! We would love to hear your thoughts! https://podcasts.apple.com/us/podcast/pwyfa-play-where-your-feet-are/id1585687661 ... BUY THE BOOK: https://www.amazon.com/PWYFA-Play-Where-Your-AreTM/dp/B0BMFLZWNF/ref=sr_1_1?crid=1ZWG1XVQZMZOO&keywords=pwyfa+play+where+your+feet+are&qid=1670815503&sprefix=%2Caps%2C88&sr=8-1 BUY THE MERCH: https://pwyfaplaywhereyourfeetare.myshopify.com/ ... SOCIALS Podcast Instagram: https://www.instagram.com/playwhereyourfeetare/ Podcast Linktree (Find all other platforms here): https://linktr.ee/PWYFA Cameron's Instagram: https://www.instagram.com/cam.dobbs/ Grace's Instagram: https://www.instagram.com/gracekball/ More than an Athlete's Instagram: https://www.instagram.com/morethan.an.athlete/ ... DISCOUNT CODES :) He Would Love First: CAMERON20 for 20% off https://hewouldlovefirst.myshopify.com/discount/CAMERON20 UNDRDG Athletix: CAMERONDOBBS for 15% off https://undrdogx.com/ FRE Skin: CAMDOBBS for 15% off https://www.freskincare.com/collections/fre-products?utm_source=micro&utm_medium=ambassador_CAMDOBBS&rfsn=6160972.e2ad50

Welcome to another episode of the PWYFA Play Where Your Feet Are™ podcast! In a nutshell, this podcast is all about learning to live a life full of living by playing where your feet are, doing your best and being your best -- no matter what, no matter where. On this episode, we are joined by Chris Elliot, former collegiate basketball player and current athletic trainer for GCU's men's basketball team. In this episode, you will hear Chris speak on identity, finding purpose, "Beyond the Game" -- his soon-to-be-published, 365-day devotional written by 365 different athletes, and his career in athletic training impacting the athletes with which he works. He is a true example of PWYFA! Enjoy Season 2, Episode 9! If you have not already, please submit a review of the podcast on Apple Podcasts! We would love to hear your thoughts! https://podcasts.apple.com/us/podcast/pwyfa-play-where-your-feet-are/id1585687661 ... BUY THE BOOK: https://www.amazon.com/PWYFA-Play-Where-Your-AreTM/dp/B0BMFLZWNF/ref=sr_1_1?crid=1ZWG1XVQZMZOO&keywords=pwyfa+play+where+your+feet+are&qid=1670815503&sprefix=%2Caps%2C88&sr=8-1 BUY THE MERCH: https://pwyfaplaywhereyourfeetare.myshopify.com/ ... SOCIALS Podcast Instagram: https://www.instagram.com/playwhereyourfeetare/ Podcast Linktree (Find all other platforms here): https://linktr.ee/PWYFA Cameron's Instagram: https://www.instagram.com/cam.dobbs/ Chris's Instagram: https://www.instagram.com/chriselliott_12/ Beyond the Game's Instagram: https://www.instagram.com/beyondthegame365/ ... DISCOUNT CODES :) He Would Love First: CAMERON20 for 20% off https://hewouldlovefirst.myshopify.com/discount/CAMERON20 UNDRDG Athletix: CAMERONDOBBS for 15% off https://undrdogx.com/ FRE Skin: CAMDOBBS for 15% off https://www.freskincare.com/collections/fre-products?utm_source=micro&utm_medium=ambassador_CAMDOBBS&rfsn=6160972.e2ad50

Wild Leap Brew Co. launched their brewery in LaGrange, Georgia.  A town of, give or take, 5,000 people.  It wasn't a small brewery either.  Their building was an old tire shop and service station.  A big building with great, vintage architecture.  Despite the location Wild Leap took off quickly.  People were soon searching for their beers across the state.  When you make great beer people will find it. Fast forward 5ish years and WIld Leap has recently opened a taproom in Atlanta just across a walking bridge from Mercedes Benz stadium.  They'll be a great pre-game location for Atlanta United and Falcons games.  Their expansion into spirts and canned cocktails, knows as RTD (Ready to Drink) cocktails, has helped fuel their growth. Chris Elliot and Rob Goldstein from Wild Leap joined us in the studio this week to talk about their growth and a few other random topics, like Watermelon Hard Mt. Dew. If you want to see what the buzz is about stop by the LaGrange or Atlanta location.  Atlanta's Grand Opening party is set for Feb. 26, 2023.  It's gonna be a great time.See omnystudio.com/listener for privacy information.

Filmmaker John Grammatico returns to the podcast to talk spots, treatments, agency briefs and story. John has directed over 300 films for brands like M&Ms, Visa, Burger King and Ford. He's worked with numerous celebs and athletes including Chris Elliot, Anna Faris, NFL Hall-of-Famer Calvin Johnson and Duchess Meghan Markle (Behind-The-Scenes). Check out his production company, Little Saint […]

Filmmaker John Grammatico returns to the podcast to talk spots, treatments, agency briefs and story. John has directed over 300 films for brands like M&Ms, Visa, Burger King and Ford. He's worked with numerous celebs and athletes including Chris Elliot, Anna Faris, NFL Hall-of-Famer Calvin Johnson and Duchess Meghan Markle (Behind-The-Scenes). I've posted some work at jordanbrady.com but you can also check out his production company, Little Saint Media for all his great work. Some agencies John has directed for are BBDO, Saatchi, DDB, Leo Burnett, McCann, Doner, Grabarz & Partners, John St. and Buzzman. John also currently serves as a mentor for the AICP BIPOC Mentoring Program, helping to usher in a next generation of diverse directors. EVENTS & COURSES My next Commercial Directing Bootcamp is April 22nd, 2023 in Los Angeles is SOLD OUT. Check out my Masterclass or Commercial Directing Shadow online courses. (Note this link to the Shadow course is the one I mention in the show.) All my courses come with a free 1:1 mentorship call with yours truly. Taking the Shadow course is the only way to win a chance to shadow me on a real shoot! DM for details.   So excited for our Second Annual Filmmaker Retreat in Joshua Tree. Join us Sept. 28th to Oct. 1st in the desert for a transformational experience. "Define Your Voice is our theme and you'll emerge knowing what you want and how better to achieve it.   How To Pitch Ad Agencies and Director's Treatments Unmasked are now bundled together with a free filmmaker consultation call, just like my other courses. Serious about making spots? The Commercial Director Mega Bundle for serious one-on-one mentoring and career growth.   Amazon Prime!! Jeannette Godoy's hilarious romcom “Diamond In The Rough” streams on the Amazon Prime! Please support my wife filmmaker Jeannette Godoy's romcom debut. It's “Mean Girls” meets “Happy Gilmore” and crowds love it. Here's the trailer.   Thanks,   Jordan    This episode is 66 minutes.   My cult classic mockumentary, “Dill Scallion” is online so I'm giving 100% of the money to St. Jude Children's Hospital. I've decided to donate the LIFETIME earnings every December, so the the donation will grow and grow. Thank you.

December 4-10, 1982 This week Ken welcomes writer and creator/host of The Bastard Tapes Podcast, Tim Harrod. Ken and Tim discuss the unique spite of people from New England, video games, Atari, walking to the arcade, Charlottesville, pinball companies trying to take on video games, how Nintendo temporarily killed arcades, Dragon's Lair, Saturday Supercade, Q*Bert, Steve Allen, stand up on TV, the influence of MTV, Solid Gold, Tim Thomerson, the weird MTV influenced syndicated sketch comedy show, Laugh Tracks, Gallagher, Gallagher II, Cinemax Comedy Experiment, Martin Mull, Rich Hall, Joe Piscapo and his mysterious Halloween Special, Dead Heat, Disney's Christmas Gift, Life's Most Embarrassing Moments, Foul Ups, Bleeps and Blunders, the influence of Letterman, Dennis Wolfberg, how you rarely saw Burt Reynolds and Tom Selleck together, Fridays, being conscripted into Circus of the Stars, Charlie Brown Christmas, Doctor Who,  The Year Without a Santa Claus, Joanie Loves Chachi, the missing Cunningham, RapCity Kids Christmas, M*A*S*H, Three's Company, Dolly Parton's Sister, Jane Curtain's Cousin, Newhart, Real People, Christmas Eve on Sesame Street, Follow that Bird, Family Ties, Cheers, Facts of Life, Diff'rent Strokes, always going for comedy, fake bands on real TV shows, The Urkel, The Guys Next Door, Chip and Pepper's Comedy Madness, Meatballs and Spaghetti, the fame of Nelson, Taxi, Too Close for Comfort, Sneak Previews, Siskel and Ebert's dog vs skunk, The Toy, Richard Pryor, a good story about Jackie Gleason, Chris Elliot, Action Family, The Powers of Matthew Star, Yes Virginia There is a Santa Claus, Mr. Magoo's Christmas Special, Sledge Hammer, losing the car horn, Wonder Bug and Schlep car, and the changes of the Incredible Hulk. 

Part 3 Iconic Bassist Talks "The Dream Is Free" His Second Solo Album #bassplayer #bassguitar #soloalbum #newmusic #reminiscing Original Crack The Sky Bassist Joe Macre To Release Second Solo Album “The Dream Is Free”Hot on the heels of his critically acclaimed first solo album. Bassist Joe Macre will be releasing his second album “The Dream Is Free” on August 1st on Cuppa Joe Records. Joe is known as the original bassist for the progressive rock band Crack The Sky best known for achieving “debut album of the year” in Rolling Stone Magazine and still included in the top 50 albums of all time. Joe was a member of Crack The Sky from 1975–1980 and 2004-2009. Joe has also worked with The B. E. Taylor Group, Wild Cherry, King Friday, Jim Croce, David Sanborn, The Brecker Brothers, Marie Osmond, Keith Green, Clint Brown, and others.In 2018 Joe began work on Joe Mac's American Garage with the debut album, “Bullet Train” released in 2021 with a cast of musicians and superstars including Grammy Award Artists Oliver Wakeman (Yes), and Andy Timmons (Danger Danger), Robert Schindler (Johnny Nash), Madukwu Chinwah (Erikah Badu), Chris Elliot and Jerry Oxendyne (86 Bullets), Pete Hewllett (Billy Joel), John Palumbo, Rick Witkowski, Bobby Hird and Joey D'Amico (Crack The Sky).Joe's latest effort, “The Dream Is Free” was written immediately after the “Bullet Train” release and features him on all instruments and voices, with guest appearances by Crack The Sky's Rick Witkowski and Al Macre (keys) and solos by Chris Elliott. It's a collection of 10 songs with Bonus tracks. The first single is a light commercial song entitled “I Need You.”Says Joe, “‘The Dream Is Free' album is a reflection on my life experiences as a musician. The Dream Is Free BUT the pain's sold separately. It takes some talent to get in but there are consequences if you have no idea of the BUSINESS of music. So, I guess it's a loosely concept album but also a collection that was written during the covid times. I write all the songs and play all the instruments and vocals with the exception of some solos by Chris Elliott, Rick Witkowski and Al Macre. Two incredible soloists and a classical keyboardist who played on a few songs. My former bandmate Rick Witkowski co-wrote two songs with me on this album. My musical inspirations are The Beatles, Yes, Genesis, King Crimson, Strawbs. I grew up playing Funk as a bassist. These early years were filled with Motown, James Brown and anything with a cool rhythm. The context for my songs is positive, giving the listener the chance to explore what I'm saying. Most are based on my musical experiences and years on the road.”Joe Macre's Award-winning Post Production mixing credits in films include Monster in Law, House of D and Fire Down Below. His “Cuppa Joe Music” Library and Sound Design are chosen for many national spots, including the award-winning Super Bowl Tabasco's “Mosquito”, Corona's “Ship in a Bottle”, Nickelodeon, Showtime, Ford, McDonald's, Corona, and Hyundai.Website: https://www.joemacre.com/Facebook: https://www.facebook.com/joe.macreThanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://trut

AlabamaState senator Chris Elliot weighs on on the AHSAA and religious athlete policy10 amendments will be on the ballot this November for AlabamiansGeneva county man arrested for pointing laser at military aircraftNascar driver Jordan Anderson suffers 2n degree burns after spin out2nd school official in Trussville placed on paid absence re: student "death list"Part 2 of interview with Pat Ellis of Eagle Forum re: sex ed curriculum in schoolsNationalDeath toll is at 49 following Hurricane  Ian in Fl, GA, SC and NC.VP Kamala Harris causes confusion by tying  hurricane relief to race and ethnicityBiden praises hero Coast Guard swimmer days from leaving due to vaccine mandatePA family speaks out about recent FBI raid due to "push" at an abortion clinicFormer congressman in PA sentenced to prison for years of election fraud

It's time for us to become… DISH BY DISH: A Hannibal Rewatch Project and we're transforming in front of your very eyes! We've reached the home stretch of Season 3 as we start The Great Red Dragon and discuss the many versions of Francis Dolarhyde, how much Anthony Hopkins deflated the balloon of his version of Hannibal, and surprise Chris Elliot cameos! All this, plus sexy Tolkien dwarfs, too many back muscles, and filling out “My Big Book of Heinous Murders.” Dinner is served, people!!Our TeePublic shop for killer merch is right here: https://www.teepublic.com/stores/kill-by-kill-podcast?utm_campaign=18042&utm_medium=affiliate&utm_source=Kill%2BBy%2BKill%2Bpodcast%2BHave something to say? Find us on Twitter @KillByKillPod Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast Check out the films we've covered & what might come soon on Letterboxd! Get even more episodes exclusively on Patreon!  Follow our station on vurbl: https://vurbl.com/station/2bdTISeI3X/ Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today!

Time to dive in again, maniacs! We're still swimming down the Underwater Uneasiness theme for this month with James Cameron's sci-fi flick The Abyss! Tune in as we discuss other topics such as Cabin Boy himself Chris Elliot popping up in a cameo role, our loving nickname for Micheal Biehn's wacko character, and an important question: did this movie introduce the world to the Nintendo Power Glove?