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For Valentine's, our adorable actors read six brand-new original short stories of love, lust & losing it - featuring medical dating, sexual surveillance, spies in (forbidden) love, banging in bookshops, tomcatting around & 24 ways to leave your lover. Heart's desire or hearts on fire, fall in love with our fiction ... DESIRE & DESPAIR STORIES: RUNNING ORDER "Gorgeous" by Al Crow, read by Patsy Prince "A Covert Affair" by Bronia Flett, read by David Vickery "24 Ways to Leave your Lover" by Andreas Paraskevaides, read by Carrie Cohen *INTERVAL & BOOK QUIZ* "We Have Nothing to Hide" by Jennifer Gaboury, read by Clareine Cronin "He Brings me Birds" by Cheryl Powell, read by Grace Cookey-Gam "By Appointment" by Lauren Van Schaik, read by Lizzie Muncey Directed, hosted & recorded by Katy Darby
Tala Ashe has captivated audiences on screen as a time-traveling hacker in Legends of Tomorrow and on stage in the Pulitzer Prize-winning play English. Now making her Broadway debut, she brings a deeply personal perspective to her role, exploring themes of language, identity, and cultural assimilation. In this conversation, Tala opens up about her own experiences growing up in Ohio after emigrating from Iran, the complexities of representation in Hollywood, and the emotional weight of performing English on Broadway. She shares the challenges of switching between accents on stage, how her family's journey shaped her artistic path, and why she's fiercely selective about the roles she takes. With humor, insight, and vulnerability, Tala offers a thoughtful perspective on storytelling, advocacy, and what it truly means to find your voice. Tala Ashe is an Iranian-American actress best known for her role as Zari Tomaz/Zari Tarazi in DC's Legends of Tomorrow. She has also appeared in Smash, American Odyssey, Covert Affairs, Law & Order: Criminal Intent, and As the World Turns. On stage, she received critical acclaim for her performance in English, Sanaz Toossi's Pulitzer Prize-winning play, and is now making her Broadway debut in its transfer. A graduate of Boston University's School of Theatre, she has built a career focused on complex, fully realized characters that challenge stereotypes and expand representation. Connect with Tala:
Peter Gallagher has delivered critically acclaimed performances in film, television and theatre. He has starred in many films, including: sex, lies and videotape, American Beauty (SAG Award), The Player, Short Cuts (Golden Globe), The Idolmaker, Dreamchild, While You Were Sleeping, The Underneath, To Gillian on her 37th Birthday, Center Stage, Mr. Deeds, Palm Springs and the upcoming Humane. Gallagher's recent television work includes: “Truth Be Told,” “Zoey's Extraordinary Playlist” as Mitch, “Grace and Frankie” as Nick, “Grey's Anatomy” as Dr. Hamilton, “Law & Order SVU” as Chief Dodds, “Covert Affairs” as Arthur Campbell and Schmidt's dad on “New Girl,” “Togetherness,” “Californication,” “Rescue Me” and “The OC” as Sandy Cohen. His Broadway credits include: Guys and Dolls (Drama Desk nomination), Long Day's Journey Into Night (with Jack Lemmon, receiving a Tony Award Nomination), The Real Thing (The Clarence Derwent Award), The Corn Is Green (Theatre World Award), A Doll's Life, Noises Off , The Country Girl, Grease (Original production) On The Twentieth Century and Left On Tenth. Gallagher was honored with a Light on the Hill Award and a Jumbo Award from Tufts University, the Steve Chase Humanitarian Award, the Inspire Award from AARP for his Alzheimer's advocacy, a Jewish Image Award for his portrayal of Sandy Cohen and the Elsa Rose Fabares Award from The Alzheimer's Association. He continues to support The Alzheimer's Association, The Entertainment Community Fund and Broadway Cares Equity Fights AIDS. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Ken Girotti has had a hand in the creation of hundreds of hours of television episodes, pilots, television movies and film and received multiple award nominations. His television movie MAYERTHORPE garnered the best director award from the Director's Guild of Canada.Recently Ken has been Executive Producer/Director on FBI MOST WANTED (CBS). He served the same role on ANNE WITH AN E (Netflix). He Executive Produced and Directed bothseasons of PURE (Hulu/WGN) and was a Producer and Director on the CBC miniseries FORTUNATE SON. He directed half the episodes of the first three seasons of VIKINGS (History Channel), episodes of DAREDEVIL (Netflix), LAW & ORDER ORGANIZEDCRIME (NBC), ORPHAN BLACK (BBC America), FRONTIER (Netflix), THE STRAIN (FX Networks), THE CROSSING (ABC), COPPER (BBC America), DAMAGES (FX Networks), RESCUE ME (FX Networks). Pilots and movies for television he's shot include CRA$H & BURN, SABBATICAL, THE DEALERSHIP, and BEFRIEND & BETRAY.Currently Ken has numerous projects in development with Scott Einbinder's 5X MediaHe splits his time between New York City, Madrid and Toronto.In this episode, we talk about:• Started in theater and craft services before assisting directing (which wasn't the right fit for him)• Working on the famous “The Ides of March” episode onXena: Warrior Princess with Lucy Lawless• Gigging on various shows vs working a few episodes of one show or what he calls “a tonic”• Tips for actors on their self tapes• His approach to a new script and how much time he has for prep• How do you add producing to your role as a director of an episode of a show• What it means to be a creative gatekeeper of a show likeFBI: Most Wanted• How he handles show runners, producers, and writers “meddling” while maintaining his creative vision as a director• Tips for directors in training• Lightning round with his thoughts on shows he's worked on including:24 with Kiefer Sutherland, Season 1 ofSupernatural,New Amsterdam,White Collar,Covert Affairs,Rescue Me,La Femme Nikita,Nikita,Vikings,Pure,Orphan Black,Anne with an Ewith co-showrunner Moira Walley-Beckett(about to doFourth Wingseries), andFBI: Most Wanted• What episodes Ken directs of FBI: Most Wanted and how does he choose who directs other episodesGuest:IMDbWikipediaHost:Instagram:@MentorsontheMic@MichelleSimoneMillerTwitter:@MentorsontheMic@MichelleSimoneMFacebook page: https://www.facebook.com/mentorsonthemicWebsite: www.michellesimonemiller.com andwww.mentorsonthemic.comYoutube:https://www.youtube.com/user/24mmichelleIf you like this episode, check outLinda Mendoza - From page to Comedy TV/Film Director of Scrubs, The Good Place, and moreJason Ensler - From PSAs to Executive Producer/Director of HULU's "Love, Victor"Becoming... Film/TV Director Rosemary Rodriguez "The Walking Dead" "Law & Order SVU" "Acts of Worship"
Here is the full video interview on YouTube: https://www.youtube.com/watch?v=865tkGrSld4 BUY THE BOOK: A FEW SHORT PLAYS TO SAVE THE WORLD https://amzn.to/3xFSmoh STEVE HARPER's TV writing includes Co-Executive Producer duties on Tracker and D.C.'s Stargirl and wrote episodes of God Friended Me, Tell Me Your Secrets, American Crime and Covert Affairs. His web series SEND ME earned a 2016 Emmy Nomination for series lead Tracie Thoms. Through his company Your Creative Life he coaches writers, posts advice on YouTube and co-hosts The Secret Writer Podcast - heard in 21 countries. He graduated from Yale, the A.R.T. Institute at Harvard and the Juilliard playwriting program. MORE VIDEOS WITH STEVE HARPER https://tinyurl.com/fex8fj6w CONNECT WITH STEVE HARPER https://www.harpercreates.com https://www.yourcreativelife.com https://www.imdb.com/name/nm1829800 https://x.com/harpercreates https://x.com/yourcreatvlife https://www.youtube.com/@TVsteve65 https://www.instagram.com/creating4good https://www.buzzsprout.com/2086784 VIEWERS ALSO WATCHED 39 Steps To Better Screenwriting - https://youtu.be/x0QB4w4z7F4 Writing Your Story In 90 Days - https://youtu.be/IhVXWGVNguQ I've Written 4 Novels... Here's Everything I've Learned - https://youtu.be/jWd0E5mzYIo How To Tell A Better Story - https://youtu.be/dy2QpplPxiU Crack the Secret of Successful Screenwriting - https://youtu.be/dcFKlaChuS0 CONNECT WITH FILM COURAGE http://www.FilmCourage.com http://twitter.com/#!/FilmCourage https://www.facebook.com/filmcourage https://www.instagram.com/filmcourage http://filmcourage.tumblr.com http://pinterest.com/filmcourage SUBSCRIBE TO THE FILM COURAGE YOUTUBE CHANNEL http://bit.ly/18DPN37 PERSONALLY SPONSOR FILM COURAGE https://ko-fi.com/filmcourage SUPPORT FILM COURAGE BY BECOMING A MEMBER https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join SUPPORT FILM COURAGE BY BECOMING A PATRON https://www.patreon.com/filmcourage LISTEN TO THE FILM COURAGE PODCAST https://soundcloud.com/filmcourage-com (Affiliates) ►BOOKS WE RECOMMEND: THE NUTSHELL TECHNIQUE: Crack the Secret of Successful Screenwriting https://amzn.to/2X3Vx5F THE STORY SOLUTION: 23 Actions All Great Heroes Must Take http://amzn.to/2gYsuMf SAVE THE CAT! The Last Book on Screenwriting You'll Ever Need https://amzn.to/3dNg2HQ THE ANATOMY OF STORY: 22 Steps To Becoming A Master Storyteller http://amzn.to/2h6W3va THE ART OF DRAMATIC WRITING - Lajos Egri https://amzn.to/3jh3b5f ON WRITING: A Memoir of the Craft https://amzn.to/3XgPtCN THE WAR OF ART: Break Through the Blocks and Win Your Inner Creative Battles http://amzn.to/1KeW9ob ►FILMMAKER STARTER KIT BLACKMAGIC Design Pocket Cinema Camera 4K - https://amzn.to/4gDU0s9 ZOOM H4essential 4-Track Handy Recorder - https://amzn.to/3TIon6X SENNHEISER Professional Shotgun Microphone - https://amzn.to/3TEnLiE NEEWER CB300B 320W LED Video Light - https://amzn.to/3XEMK6F NEEWER 160 LED CN-160 Dimmable Ultra High Power - https://amzn.to/3XX57VK ►WE USE THIS CAMERA (B&H) – https://buff.ly/3rWqrra ►WE USE THIS SOUND RECORDER (AMAZON) – http://amzn.to/2tbFlM9 ►Stuff we use: LENS - Most people ask us what camera we use, no one ever asks about the lens which filmmakers always tell us is more important. This lens was a big investment for us and one we wish we could have made sooner. Started using this lens at the end of 2013 - http://amzn.to/2tbtmOq *Disclaimer: This video and description contains affiliate links, which means that if you click on one of the product links, we'll receive a small commission. This helps support the channel and allows us to continue to make videos like this. Thank you for your support!
The disastrous Star Wars Holiday Special aired exactly once, on November 17th 1978. For decades, George Lucas attempted to erase all trace of it from pop culture, and very nearly succeeded. So here's an exhaustive history of how and why it happened. If you want to support the show, we now have a Patreon! You can subscribe for bonus episodes, plug-free versions of the show and my eternal love and gratitude. Just don't do it through the iOS app. You can follow the show on twitter or tumblr @goingroguepod, or for slightly less hinged content, follow @tansyclipboard on twitter or @tansyg.bsky.social on Bluesky. If you want to get in touch, you can email goingroguetansy@gmail.com CLIPS USED: Meet Boba Fett: Initial 1978 Costume Test The Star Wars Holiday Special (1978) The Donny and Marie Show: Star Wars Special (1977) Bob Hope's Scar Wars (from the Bob Hoope All Stars Comedy Special 1977) George Lucas Video l Robot Chicken MUSIC USED: John Williams - Cantina Band The Doors - The Alabama Song “Leaving Home”, “Covert Affair”, “Backed Vibes Clean”, “Thinking Music”, “Cool Rock”, “The Hall of the Mountain King”, “Chill Wave”, “Holiday Weasel”, “Rock Hybrid”, “Malicious”, “Tango de Manzana”, “Prelude and Action”, “Peaceful Desolation”, “Bossa Antigua”, “On The Ground”, “Loopster”, “Rollin at 5”, “Rising”, “Odyssey”, “Deadly Roulette”, “Morgana Rides”, “Floating Cities”, “Monkeys Spinning Monkeys”, “Study and Relax”, “The Path of the Goblin King”, “Groove Grove”, “Moonlight Hall”, &“Frost Waltz” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License: http://creativecommons.org/licenses/by/4.0/ “Suspended Animation” & “Synapse” by Shane Ivers - https://www.silvermansound.com
We dive into the Motive movies for a fun double feature minisode! How do these indie DTV Neo-Noir film handle cop action, steaminess thrills & twisted mystery? Does this give Vivica A. Fox, Shemar Moore, Brian J. White (The Shield) and Sean Blakemore (Greenleaf) enough to do in this ensemble of characters? Does it rise above expectations or fall prey to lower standards? All that and more devil in the details case work! SONGS USED: "Night on the Docks - Sax" by Kevin MacLeod https://incompetech.com/ License: CC BY 3.0 "Just As Soon" by Kevin MacLeod https://incompetech.com/ License: CC BY 3.0 https://goo.gl/Yibru5 "Bass Walker" by Kevin MacLeod https://incompetech.com/ License: CC BY 3.0 "Covert Affair" by Kevin MacLeod https://incompetech.com/ License: CC BY 3.0 "Noire #1" by Music By Pedro MAIN LINKS: LinkTree: https://linktr.ee/JURSPodcast Facebook Page: https://www.facebook.com/JackedUpReviewShow/ Facebook Group: https://www.facebook.com/groups/2452329545040913 Twitter: https://twitter.com/JackedUpReview Instagram: https://www.instagram.com/jacked_up_podcast/ Blind Knowledge Podcast Network: https://www.blindknowledge.com/ SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/ Podbean: https://jackedupreviewshow.podbean.com Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218 RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz Anchor: https://anchor.fm/s/a46297c/podcast/rss PocketCasts: https://pca.st/0ncd5qp4 CastBox: https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222 Discord: https://discord.com/channels/796154005914779678/796154006358851586 #MovieReview #FilmTwitter #PodFamily #PodcastersOfInstagram #Movies #Film #Cinema #Music #Reviews #Retrospect #Podcasts #MutantFam #MutantFamily #actionmystery #bmovies #scifihorror #truecrime #historydramas #warmovies #podcastcollabs #hottakes #edgy #cultmovies #nsfw #HorrorFam #badass
Zack Snyder has a reputation as a Director's Cut director: but what does that actually mean? And what happens when he's given the chance to simultaneously make a Directors Cut and a ‘theatrical' cut that will never go to theatres? CONTENT WARNING: This episode discusses fictional depictions of sexual assault and sexual violence from 44:55 - 47:28 If you want to support the show, we now have a Patreon! You can subscribe for bonus episodes, plug-free versions of the show and also to give me the ability to see Megalopolis on the big big screen. You can follow the show on twitter or tumblr @goingroguepod, or for slightly less hinged content, follow @tansyclipboard on twitter or @tansyg.bsky.social on Bluesky. If you want to get in touch, you can email goingroguetansy@gmail.com CLIPS USED: Rebel Moon Part One - A Child of Fire (dir. Zack Snyder, 2023) Rebel Moon Part Two - The Scargiver (dir. Zack Snyder, 2024) Rebel Moon Chapter One - Chalice of Blood (dir. Zack Snyder, 2024) Rebel Moon Chapter Two - Curse of Forgiveness (dir. Zack Snyder, 2024) Rebel Moon: Part One - A Child of Fire with Zack Snyder and Louis Leterrier (The Director's Cut Podcast Ep. 464) Zack Snyder
Sarah Clarke is an actress and producer best known for her work in film and television. Her career started on FOX TV's 24 where she played CTU double agent, Nina Myers for its first three seasons. Some of her other starring roles include; MEN OF A CERTAIN AGE, TRUST ME, COVERT AFFAIRS, THE BOOTH AT THE END, and BOSCH. Film credits include; THIRTEEN (Catherine Hardwick), HAPPY ENDINGS (Don Roos), THE TWILIGHT SAGA franchise, WOMEN IN TROUBLE, PUNK'S DEAD, and STARING AT THE SUN. In 2018 Sarah shifted her focus to behind the camera and teamed up with filmmaker, Daniel Glick to co-found THUNDERHEART FILMS, a non-profit film company aimed to create content to foster healing, tolerance and unity. Together they developed 3 projects with the Blackfeet Tribe in northern Montana about their connection to the American bison. INISKIM was the first short from their collaboration, about a troubled young girl from the Blackfeet reserve who finds hope and connection while volunteering on a Buffalo Drive. The film screened in various film festivals nationwide, aired on PBS and was nominated for 3 Emmy awards, winning one for photography. Currently, Sarah and THUNDERHEART FILMS have teamed up with two filmmakers, Ivy and Ivan MacDonald from the Blackfeet Tribe to make BRING THEM HOME, a feature documentary about the Blackfeet's mission to restore American Bison in their ancestral home. We chat about her new doco, moving to Maine, view of success, instincts, rejection, insights from Italy, 24, NCIS, her unique mindset, moving forward and plenty more. The video footage of this entire chat is now out as well (one day after release)! So check them out on YouTube under Michael Kahan Check Sarah out on: Instagram: https://www.instagram.com/sarahbeingsarahclarke/?hl=en Website/ Thunderheart Films: https://www.thunderheartfilms.com/ Insta page: https://www.instagram.com/thunderheartfilms/ ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan
Previously, on Toonhounds..."We can't do superheroes again, we just did superheroes."We now return...to ToonhoundsWe talked about superheroes again. But this time, they're made of LEGO! Yeah we really just can't help ourselves, can we? This week we watched The Lego Movie, and The Lego Batman Movie, in (suprising nobody) one of our most tangent heavy episodes yet. We also read emails! --- Patreon.com/toonhounds Merch - https://www.redbubble.com/shop/ap/154165113 Rich Masters - @MastersRich on twitter, @richmasters.bsky.social Spivzy - @spivzy.bsky.social music by VidaZen https://vidazen.carrd.co/ --- Film noir music used:Covert Affair by Kevin MacLeod https://incompetech.com/ Promoted by MrSnooze • Film Noir Background Music for Videos... License: CC BY 3.0 https://goo.gl/Yibru5
The bride-to-be is dead. Can Detective Pulpwood catch the killer before it's too late? Or will his past catch up with him first? Thank you for joining us for this wild ride! The response to this arc has been incredible - and we're so excited to share the mysteries we have coming up next! SUPPORT THE SHOW: ko-fi.com/murdermuseum WE HAVE MERCH: murdermuseumpod.threadless.com Donate or review for a chance to have a character named after you! (like Lolo Bunny!) WE WROTE A RIDDLE BOOK: aureliuswhitlock.gumroad.com CREDITS Hosts: Marcus Richardson and Nathan Hicken Music and Editing by Marcus Richardson Additional Voices by Jared Richardson Additional music in this episode: https://motionarray.com/browse/royalty-free-music/ Covert Affair by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/ I Knew a Guy by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/ Backed Vibes Clean by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/ Dances and Dames by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/
Detective Rick Pulpwood hits the streets... and gets dirty. Join us for the penultimate episode of this twisted noir mystery! SUPPORT THE SHOW: ko-fi.com/murdermuseum WE HAVE MERCH: murdermuseumpod.threadless.com Donate or review for a chance to have a character named after you! (Like Claire or Nick!) WE WROTE A RIDDLE BOOK: aureliuswhitlock.gumroad.com CREDITS Hosts: Marcus Richardson and Nathan Hicken Music and Editing by Marcus Richardson Additional Voices by Jared Richardson Additional music in this episode: https://motionarray.com/browse/royalty-free-music/ Covert Affair by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/ I Knew a Guy by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/ Backed Vibes Clean by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/
He walks the walk, but can he talk the talk? In this episode, Nathan interviews a priest, a detective, a gambler, a mob boss, and a god. SUPPORT THE SHOW: ko-fi.com/murdermuseum WE HAVE MERCH: murdermuseumpod.threadless.com Donate or review for a chance to have a character named after you!! (Like Devin, Asher, or Luka!!) WE WROTE A RIDDLE BOOK: aureliuswhitlock.gumroad.com CREDITS Hosts: Marcus Richardson and Nathan Hicken Music and Editing by Marcus Richardson Additional Voices by Jared Richardson Additional music in this episode: https://motionarray.com/browse/royalty-free-music/ Dances and Dames by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/ Covert Affair by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/ I Knew a Guy by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/ Backed Vibes Clean by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/
In our latest miniseries' finale, our cohosts conclude "Fear of Falling" and go over all of "Chapter 6: The Next Great Shift": Discovering the True Elites Rediscovering the "Others" Special thanks to Sebastian for helping make this iteration of "The Falling Middle Cast" possible. Hope to see you soon, buddy. — RAM Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
DOUG LIMAN is an award-winning director and producer with credits including “Swingers,” “Go,” “The Bourne Identity,” “Mr. and Mrs. Smith,” “Jumper,” “Fair Game,” “Live Die Repeat” (also known as “Edge of Tomorrow”)and Mena. Among his awards are the MTV Movie Award, the European Film Award, the Independent Spirit Award and the Hugo Award. Doug has also produced hit television series including “The O. C.,” “Covert Affairs” and “Suits.” He is politically active, continuing some of the work of his father, Arthur Liman. Host Jason E. Squire is Editor of The Movie Business Book and Professor Emeritus, USC School of Cinematic Arts. Music: “The Day it All Began and it All Ended” by Pawel Feszczuk (License: CC by 4.0)
In this week's second installment, our cohosts conclude Chapter 5 with the final two sections: The War Against Softness Yuppie Guilt Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
Nathan's got the suave demeanor of a hardboiled detective, but does he have the smarts to trace this nameless body back to his murderer? In this episode, Nathan tours Detropolis, takes lots of pictures, and listens to a singing Vole. SUPPORT THE SHOW: ko-fi.com/murdermuseum WE HAVE MERCH: murdermuseumpod.threadless.com Donate or review for a chance to have a character named after you!! (Like Huan Yu, or Sam, or Claire!!) WE WROTE A RIDDLE BOOK: aureliuswhitlock.gumroad.com CREDITS Hosts: Marcus Richardson and Nathan Hicken Music and Editing by Marcus Richardson This episode features a special musical performance by Beth Richardson! Additional Voices by Jared Richardson Additional music in this episode: https://motionarray.com/browse/royalty-free-music/ Jazz Is Good Enough by Giuseppe Vasapolli https://motionarray.com/royalty-free-music/jazz-is-good-enough-1038103/ Dances and Dames by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/ Covert Affair by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/ I Knew a Guy by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/ Backed Vibes Clean by Kevin MacLeod (incompetech.com) Creative Commons CC BY 3.0 http://creativecommons.org/licenses/by/3.0/
In this week's first installment, our cohosts read over the following segments of Chapter 5: Feminism and Class Consolidation The Consumer Binge The Embrace of Affluence Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
In this week's second installment, our cohosts read over the introduction and first segment of "Chapter 5: The Yuppie Strategy": The Polarization of America Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
In this week's first installment, our cohosts conclude Chapter 4 with the final two sections: Permissiveness vs. Traditional Values The Poor and the Permissive State And with reading the opening of "Chapter 4: The 'New Class': A Bludgeon for the Right." Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
In this week's second installment, our cohosts read over the following segments of Chapter 4: The New Right and the New Class Permissiveness: The Crime of the New Class Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
In this week's second installment, our cohosts conclude Chapter 3 with the final section: An Ancient Antagonism And with reading the opening of "Chapter 4: The 'New Class': A Bludgeon for the Right." Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
In this week's first installment, our cohosts read over the following segments of Chapter 3: The Stereotype on the Screen Beyond the Stereotype Reasons for Anger Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
In this week's second installment, our cohosts read over the first two segments of "Chapter 3: The Discovery of the Working Class": "Middle Americans" in the Media The Blue-Collar Stereotype Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
In this week's first installment, our cohosts conclude Chapter 2 with the final two sections: Middle-Class Childraising: Ambivalence and Anxiety The Revenge of the Lower Class Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
In this week's second installment, our cohosts read over the following segments of Chapter 2: "Permissiveness" Enters Politics The Youth Revolt as Class Treason The Professions as Class Fortress Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
In this week's first installment, our cohosts read over the first two segments of "Chapter 2: The Middle Class on the Defensive": The Threat of the Left The Intellectual Backlash Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
In this week's installment, our cohosts conclude Chapter 1 with the final section: Infantilizing the Poor And with reading the opening of "Chapter 2: The Middle Class on the Defensive." Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ "Shadowlands 7 – Codex" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
In this week's installment, our cohosts read over the following segments of Chapter 1: The Sources of Dread Feminism and "Progressive Demoralization" Poverty Discovered Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
In this week's installment, our cohosts read over the first three segments of "Chapter 1: Affluence, Dread and the Discovery of Poverty": The Problem of Problemlessness Sociology and the Specter of Class The Blight of Affluence Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
Welcome to "The Falling Middle Cast," a podcast miniseries cohosted by Ryan and Sebastian as they talk about the professional middle class through the lens of Barbara Ehrenreich's seminal work "Fear of Falling: The Inner Life of the Middle Class." The two hope to understand more about why there's any kind of class disparity within the middle class itself and what the political movers and shakers are behind that disparity. In this episode, we go over the book's introduction. To learn more about Ehrenreich and her body of work, check out "Know Our Enemy's" episode about her following her death last year. Social media: Mars on Life: @marsonlifeshow on Twitter and Instagram Ryan Mancini: @mancinira (Twitter) and @manciniryan (Instagram) Sebastian Schug: Seabass on YouTube Artwork by Zachary Erberich (@zacharyerberichart) "Covert Affairs" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/mars-on-life-show/message Support this podcast: https://podcasters.spotify.com/pod/show/mars-on-life-show/support
On this week's episode, Writer/Executive Producer Alex Berger (Blindspot, Glen Martin D.D.S, Quantum Leap, and many many more) talks about his writing career, thoughts on breaking into the industry as well as his experiences taking a "Showrunners Course" through the studios.STORY NOTESAlex Berger on IMDB: https://www.imdb.com/name/nm1584238/Alex Berger on Twitter: https://twitter.com/alexbergerla?lang=enFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAUTOGENERATED TRANSCRIPTAlex Berger:They said, when you're interviewing a director, ask if you're the showrunner and you're interviewing somebody who's coming in to do an episode of your show, ask the director, do you cook? And if so, are you a person who uses a recipe or do you like to improvise? And there's no right answer to that, right? But if you cook and you're the person who is going to measure out the exact number of grams of flour and the exact number of grams of sugar, that's kind of how you're going to approach directing. If you're going to come in with a shot list, you're going to be going to stay on time. You're going to make sure that you move the set along. And if you're the person who likes to kind throw a little salt to throw a little sugar, you might be a little more improvisational on say you might be a little more, more. There's little things like that that you're going to how to dig in on this with those. NowMichael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone. Welcome back to Screenwriters. Need to hear this. Michael Jamin here. I have another wonderful guest today and this guest, we're going to talk about drama writing because he works primarily in drama and his story is fascinating how he broke in. And we're going to get to please welcome Mr. Alex Berger and he's worked on Alex. Let me introduce people to some of your amazing credits here and you can fill in in, I'm just going to go for some of the highlights. Well, I know you did Kil, you co-created Glen Martin d d s, which is the show. My partner ran Covert Affairs, the Assets Franklin and Bash the Mentalist Blind Spot. And currently you are a writer on Quantum Leap, so you got a lot of drama. Burger. Welcome, welcome to the podcast.Alex Berger:Thank you so much for having me. It's, it's good to be here. I've been enjoying listening to it.Michael Jamin:Oh man, I'm so happy you're doing this. Let's talk. Let's start from the beginning because I think it was so interesting about your background. So many people say, how do I get a showrunner attached to sell my show? And you kind of sold your show, your show, Glen Martin, d d s. You were pretty new to the scene and then you got a show on the air without much experience. So how did that happen?Alex Berger:Yeah, I'd been out here for probably five or six years and I'd had a couple of staff jobs. I'd had a job doing a sort of comedy variety show before that. That was a very sort of small potatoes thing. But that came about because Steve Cohen Cohen, who I know you've talked about before, was a friend of mine and had mentioned this idea that Michael Eisner had for a long time about a family who traveled the country in an rv and they had writers attached for a long time. Tim and Eric of Tim and Eric Show were attached to write the thing.Michael Jamin:I didn't know any of this.Alex Berger:They got a 60 episode order on their other show, and so they had to back out. And so Steve would come in and pitch a take. So I came in and I pitched a take, and Michael Eisner, who had just left basically running Hollywood, he was running, Disney had just started a company, and he had just had larynx surgery, so he couldn't talk. So every time I pitched something, he had to write his response on a computer, which was fun, but a little challenging.Michael Jamin:But what was the idea, how much, when you pitched your take, what did they give you?Alex Berger:He had said Family lives in an rv. Basically it travels the country and animation. And he had more than that. I mean, it is been almost 20 years, so I've forgotten. But he definitely had a real idea. He'd had this idea for 30 or 40 years that he'd wanted to do over the years at Disney and he wasn't able to do it. So he had a pretty formed idea of what he wanted the show to be. ButMichael Jamin:Was it dentist you came up with that throughAlex Berger:Development? I mean, that was sort of like Steve and I, Steve became sort of a, and it was almost like an incubator instead of a typical situation in which I would come in and pitch a show, he kind of brainstormed with me and created the ideas with me, and we kind of toyed with a couple of different versions of it and came up with the idea of him being, why is he on the road and what's he driving in? And came up with the idea of a dentist that was in his mobile dentistry unit and sort of built some of the characters around that. And it kind of kept getting added to,Michael Jamin:Because all that stuff became comedy gold throughout the seasons. We were like, what kind of idiot has a dental car? Who does he think, what kind of clients? How does that work? And it all became fodder for the show,Alex Berger:For the circus at one point. And it was doing dental work on animals, if I remember correctly. But it was definitely, I didn't think I'd seen that before. So that was kind of one of the things that was fun to explore.Michael Jamin:And so you came up with all the, well, at least the dynamics for the characters, because what I remember, we watched the, I dunno if it was a pilot or presentation that you saw, but yeah, the characters you invented were funny. You had the dumb kid, he had the daughter and she had an assistant, which we hadn't seen that before.Alex Berger:It was definitely even more than other experiences I've had in development, very much a team effort. And then we had sort of come up with a script, and then I think you had Eric Fogle on the show before, and Eric came on and was also sort of added his vision both in terms of look and feel and tone and story, and was digging in with us. And then Michael on his own, paid for an eight minute pilot presentation. So they made an eight minute stop motion, basically the first act of the show. And he took it downtown and took it everywhere. And we ended up setting it up at Nick at night with this 20 episode order. And I think that's when you guys sort of made the picture, right?Michael Jamin:So you started, I'm curious. It's funny how I never even asked you about this. So at that point you had to meet showrunners for a show you created, which we're going to talk about a second. Did you meet a lot of showrunners?Alex Berger:I met none of the showrunners. I met you guys after you'd been hired.Michael Jamin:Oh, really? I wonder how many they had. SoAlex Berger:The tote system was, they wanted to sort of make that decision. And so they met with showrunners and had decided they were very much immediately captivated by you guys and were really excited about, and I don't think it was a pretty quick decision. And then they had me come to meet you guys.Michael Jamin:Now the thing is, I imagine you were very easy to work with and to your great credit, I always felt like you just turned over the keys and it was like, okay, here you go. And it was never an ego thing if you, but was it difficult though for you?Alex Berger:I mean, I can give you the answer that I was thinking at the time, and I can give you the answer that I have in retrospect. I think at the time I felt like, I don't know. It's a good question. Let me give you the answer in retrospect first, which is in retrospect, I know that I was inexperienced to know, especially about comedy writing a lot and certainly about running a show. I think at the time I was very happy for you guys to come in and run it. And exactly as you said, take the keys. I think that I felt intimidated because it was a room full of really seasoned comedy writers. I knew I was one of the least experienced writers on the show, and yet my name was on the show. So it was a kind of a weird game. It's not like a typical situation in which a more experienced writer comes in, but they've never run a show.So they pair them with a show runner and then they're really a triumvirate or something. I definitely felt like experience wise and sort of comedy chops wise, I was with folks who'd broken 2, 3, 400 episodes of cool sitcoms that I really admired. So I felt like I wanted to contribute from a character and comedy perspective as much as I could, but I also felt like I was learning on the fly that I had my name on. So it was definitely tricky to sort of figure that out. But you guys were great about never feeling like you were stepping on toes, and you always would consult with me, especially at the beginning, but it was very clear that it was your show, but it was also that you wanted me to sort be on board with what we were doing.Michael Jamin:And I mean, it was a fun room. I mean, maybe I shouldn't speak for you. I thought it was a fun room. Yeah,Alex Berger:Yeah, it was great. I mean, it was like I'd never been in a sitcom room before. I mean, I've been in a couple of drama rooms as an assistant and a writer, and those rooms are more buttoned up and a little more like, let's come in at 10 and start talking about the story at 10 15. And there's definitely bits and sort of digressions, but a comedy room has a certain energy that you can't replicate. And it was really fun to be in that room. And I've been in rooms that are a little bit like that since, but never anything that was, I laughed quite so much, just had it.Michael Jamin:I was going to ask you about that, right? I haven't worked in any, we've done dark comedy, but never drama. And so I'm curious, you've done a lot of drama. So are the rooms, are they really what you're saying? Are they buttoned up? Are they sur because it's still a creative shop?Alex Berger:It's fun. I would say this is based on a very small sample size of my two years in Glen Martin. And then just listening to comedy writers talk, I think comedy writers find the genius through procrastination. I think that it takes the tangent sometimes to get you to the gold. And I know you guys, especially more than other comedy writers I've known, were very focused on story structure. I know from your time with Greg Daniels and Seaver had bought a book at the mall,And it was very important to you that the story felt like it had load-bearing walls, but it did feel like more free flowing and there were room bits and there was a whole sitcom inside that room of three characters, both people in the room and people we were looking out the window at. So that's definitely different than other shows I've been on, other shows I've been on, it's a little more like, all right, let's get to work. And especially these days with room hours have gotten shorter and so on less. And I've been in Zoom rooms for the last couple of years, so it's even less of a roomMichael Jamin:Basic. Oh, so gotten, haven't gotten, your last rooms haven't been in person either. YouAlex Berger:Haven't? Yeah, I've been in three Zoom rooms since the pandemic.Michael Jamin:It's funny you mentioned because comedy rooms have room bits and our offices were on Beverly Hills and Big glamorous street in Beverly Hills. We would look out the window, and you're right, we would create stories when we weren't making stories for the tv, we were making stories for the regular characters that we would see outside our windows.Alex Berger:Yeah, I mean truly. I know you had Brian and Steve and a couple of other people from the show on. I have not laughed that hard in a room.It was a blast. And I also think there's value to it creatively. It's not wasted time. I think it's just a different way of getting to the process. I remember hearing once of, I can't remember which one, it was a Simpsons writer who would be on draft. He had two weeks to write his draft, and he would past around the fox lot for 12 days and then write the draft in the last two days. And someone asked him, why don't you just write the draft for the first two days and then be done? And he said, because I need those 12 days of pacing to get me to the last two days. And I think copywriter are more prone to that kind of way of thinking. I think.Michael Jamin:See, see, I don't remember that way always. I always get nervous when that story's not broken. I always want to crack the whip seavers more. Like that's, but to me, I was always,Alex Berger:When you were in the room, it was more like, let's stay on story. And when see, it was a little more. And then when you guys were both out of the room, it was even more free flowing, which is not to say that all of the eps weren't trying to keep us on story, but its like it's was a silly show about silly characters and absurd, every premise of every episode had a massive degree of absurdity to it. And so you wouldn't be too serious in a room like that, or you wouldn't be ready to make that kind of show. I mean, at least that was my take on it.Michael Jamin:I would describe that as a writer's show. It was always about what made us laugh and not the 15 year old kids who shouldn't be watching or the 10 year old kids. I knowAlex Berger:It was either Brian or Steve who said it was a show with a demographic of nobody.Michael Jamin:Yeah,Alex Berger:The demographic of the 15 people in that room for sure. We all really enjoyed watch them. They're all really funny. They'reMichael Jamin:Funny.Alex Berger:It was on the wrong network.Michael Jamin:Oh, for sure. Steve and I were horsing around procrastinating on some work we were doing, and for some reason we stumbled on, maybe it was some guy's YouTube channel where he was talking about Glen Martin and this guy nailed it. It was like he was in the room. I don't know how he knew every, it seemed like he knew where we messed up. He knew where we got it. Right. I was justAlex Berger:Amazed. I saw that video and I was like, I can't believe somebody watched the show. I thought that literally, I could not imagine that this guy was that deep into the show.Michael Jamin:Oh no. I get a lot of comments on social media like, oh my God, you ruined my childhood. Really? Like you gave me nightmares.Alex Berger:My wife's cousin is like 25 or 26, and he's dating a girl. And on the second date, he asked her what your favorite shows are. And the second show she said was Glen Martin, d d s. And when he said, oh, my wife's cousin wrote that show, she was instantly smid with him. She gave him so much gr.Michael Jamin:Oh, that's so funny. I mean, it was a wild show, man. Too bad. That was a shame. We were going to spin it off too. We all, oh yeah,Alex Berger:Stone spin off right behind. OhMichael Jamin:Yeah, there you go.Alex Berger:The Drake Stone. Yeah,Michael Jamin:All my dolls. Yeah. As soon as they went under, they go here. Here take some. You must have some dolls, right? They give you some dolls. I haveAlex Berger:Alen Martin Puppet and an Alex Burger puppet, and my kids constantly want to play with them and I won't let them.Michael Jamin:Who were you in the show? I don't remember what kind.Alex Berger:I think I was a Greek God carrying somebody at some point in some fantasy sequence and they would reuse the puppets. That was what was so funny. So I think that was one thing, and then they reused me as another thing.Michael Jamin:And did you ever get out to Toronto to see theAlex Berger:No. Did you go upMichael Jamin:There? Oh yeah. We went once and Fogel and I had a very romantic dinner together on top of the Toronto Space Needle or whatever they call that. I sawAlex Berger:Them shooting the pilot presentation, which they shy in New York. It was incredibly cool, but just I've always found set to be tedious in general, but I can't imagine how tedious it must be to do stop motion.Michael Jamin:Do you go, oh, I think they wanted to poke their eyes out, but do you go on set a lot for dramas? Yeah. Is it just your episode or what?Alex Berger:Depends on the show. I did this show called Blind Spot for five years, and basically we would have a writer on set for every episode and we would try to make it your episode, but oftentimes it was the writer who wrote the episode had a baby and is on maternity leave or they can't go to New York at this time or if they went to New York and they wouldn't be back in LA for the breaking of their next episode. So we tried to shuffle it around a little bit and it's trickier when it's out of town. You've got to make people have life that they've got to plan around. But you're going for three and a half weeks to New York.Michael Jamin:Are most of your show shot out of town?Alex Berger:It's been mixed Quantum Leap, which is the show I'm on now is Shot Year on the Universe a lot. Blind Spot was New York Covert Affairs, which I went to a lot of episodes for, was in Toronto, which was a lot of fun. And then I've had a couple Franklin, imagine the Mentalists were LA and it's been sort of a mix.Michael Jamin:How many day shoots are most of your shows? Dramas?Alex Berger:It depends on the budget of the show. Blind Spots started as nine and then was eight and a half and some tandem days and by the end was eight. They keep pulling money budget every year. Quantum Leap I think is eight.Michael Jamin:Interesting. And then what do you, as a writer on set for comedy when on set, it's like, I want to make sure they're playing the comedy right, making jokes, but what are you looking for that the director isn't covering?Alex Berger:Well, first of all, it's a lot of times if you have a great director, it's a team effort. So the director is obviously in charge of the set, but if you have a director who's collaborative, they're asking you, do you feel like that works? Or which take do you feel like was better? It's blocking work for you and your main job is just to make sure that you're the protector of the script and a protector of the story. And it's not like, excuse me, you didn't say the word there. Although there a Sorkin set, they will keep you word perfect, but it's more like, actually, I know you want to change that line. It doesn't feel comfortable in your mouth, but it's really important that you say this. It's going to set something up that we're doing in three episodes, or Hey, just so you know, when you're saying this to this character, you're actually lying and you're going to be revealed to be.It's a lot of making sure that everybody knows the episode up to the episodes we're leading to. And then, yeah, there's still a lot of shows I've worked on have a fair amount of comedy. So you're still making sure jokes, land and actors, this doesn't feel comfortable in my mouth. Do you mind if I say it like this? Or if you work with an actor who wants to have a little bit and wants to assert a line, sometimes I need to be the one to say, okay, well then that means that this person needs to say this line after to keep a joke going.Michael Jamin:Right? Right. It's interesting, and especially when scenes are shot out of order, it is easy for actors to lose track of where they are in the story. So that is theAlex Berger:Part I really like is Prep, because I've worked on a lot of big shows, big action shows and into you fly to New York with your script in hand and you're so excited. And then the first thing that the line producer tells you every single time is, we're $400,000 over budget. Before you even say hello. The fun part to me is the puzzle of how do you protect the story with the constraints of we can't shoot this in nine days. I've walked into episodes that were supposed to be seven day shoots, and the board came out and it was 10 days. And so you've got to figure out, okay, we can move this back into the house so we can take this care, we can do this here. And actually the shootout that happens after the bank robbery, maybe that happens off screen, stuff like that.Michael Jamin:So are you doing a lot of rewriting on set then?Alex Berger:It's usually in prep.Michael Jamin:Okay. In prep,Alex Berger:By the time you're on set in a drama, you're pretty close to set to go unless something changes or an actor nowadays, if an actor gets covid, then all of a sudden you're taking that actor out of the scene and rewriting the scenes and why are they, that kind of thing.Michael Jamin:And then are your showrunners ever on any of these shows ever on set? Or are they always sending proxies? Yeah, itAlex Berger:Depends. It depends on the show. So typically on the shows that I've been on, the showrunner, the showrunner was there for the pilot. They're usually going to go for 1 0 2 just to, it's been four months and they want to reestablish a tone and kind of be a leader, and then they'll try to pop in and out a bunch during the year so that it's not like they're just coming when there's a problem. And then when the show's in la, the showrunner will usually try to pop by after set, especially if before the Zoom Room thing, the writer's room would wrap at seven, the production's still going, so they usually come for the last couple scenes, something like that.Michael Jamin:How many writers are there usually on these hour shows?Alex Berger:I mean, I'm curious to hear what your answer is for comedy too, because it's really shrinking in the beginning. I mean, Glen Martin was what, 10, 12, something like that, including if you're Partners is too, and then it's gotten down to 10 and then eight. And then I think Quantum Leap were about 10, which is a big staff, but the Netflix show I just worked on was six. The show, the Assets that I did, which was a limited series was five. And this is a lot of big issues of the strike is these rooms are getting too small. What are the root comedy rooms like now? Because I know there's been, it's like sometimes it's like 25 people in a roomMichael Jamin:Well, on animation, but I think those days are kind of overAlex Berger:Or big network sitcoms aren't there.Michael Jamin:I don't think they're that big. I don't think there aren't big network sitcoms anymore, but I don't think, I mean it was never,Alex Berger:What was the Tacoma room?Michael Jamin:Oh, it's probably eight or so. But that's a small cable show,Alex Berger:But they're all small. I think they're all like that now. Even the network comedies, unless you're Abbott, they're all 13 or eight orMichael Jamin:Yeah, I think even just shoot me back in. This was in the day, I want to say maybe 10 or 12 times. Oh really? That's it. Yeah. Yeah, Roseanne. Roseanne was famously Big. Fred had a big staff, but that was Roseanne. It was a giant show.Alex Berger:And The Simpsons, I know there's these shows that have the two, I mean the drama rooms, there's a bunch of writers who having a big staff and then they like to split the room in two and break two episodes at the same time. A lot of showrunners actually want a small staff and hate having too many voices. I like a big room. I like eight to 10 people because you're always in a drama room, especially you've always got one writer on set, two writers on draft sometimes set, so there's three or four people gone every single day. So your room thins out real fast, and I think you need at least five people to break a story.Michael Jamin:Oh yeah. Now the thing is, you're a funny guy. You have a good sense of humor. You started in comedy, but do you miss at all comedy or do you feel I'm a fish in water with drama?Alex Berger:Yeah, I was in over my head in comedy, I be the guy who can do a little bit of comedy on a drama staff than that guy in a comedy room who's mostly focused on story. I mean, I felt like, obviously I wrote Pilot and I felt like I had a voice on that show, but it was clear to me that this was not the type of show that I was going to be thriving at. I really enjoyed it, but it was like just comedy wasn't my thing. I love writing on a Funny One Hour, Franklin and Bash, which was a legal show, was essentially a comedy that had the stakes of a drama, but the tone of a comedy. And I love because I like being able to go to the serious scene to have the emotional he, to not have to have a joke at the end of every scene. And then I've written some pilots and stuff that have a fair amount of comedy, but I always want, and I've written half hour dramas. It's just I want the pressure of three jokes a page and beating a joke and beating a joke and beating a joke. It just wasn't my pace.Michael Jamin:Well, I got to say, I think it was probably the last script you wrote was you and Pava teamed up to write a Christmas episode. Oh yeah. And you guys crushed it. I remember coming back, you guys turned it in, whatever you guys did together, were like, you guys, you're going to do this together. Probably because PA wanted to write a musical. I was like, Papa, I'm not writing a musical. And he probably did, but you guys turned in a great draft. And I was like, if that show had gone, I'd be like, I remember thinking, well, these guys are going to be stuck in a room together for a long time. Because yeah,Alex Berger:That was a lot of fun. That was a lot of fun. And it's funny, I want to show my kids the show. They're really young and there's not a lot of episodes that are appropriate for little, that one's pretty tame. That one's pretty tame. We did a rom-com parody sort, the Wedding planner parody, and then we did a, what was it? I forget the other ones. It was a lot of fun.Michael Jamin:Oh yeah. What is nutty stuff? So now the dramas, I'm sorry. When you go off to write your own pilots, when you're developing your own, is there a unifying theme tone that you like to pitch? Yeah,Alex Berger:I would say two things. One is fun. I don't want to write some things super dark. I don't want to write. I like watching shows like that. I watch Last Of Us and The Leftovers and a lot of shows that are real bleak and I really enjoy them. But when I'm living in the world for 12 hours a day, for eight years, I want it to be fun. I want to have a certain amount of lightness to it and sort of levity to it, which is not to say it has to be a comedy, it can still be a drama. There just needs to be something fun about it. And even when I'm writing on a show like Quantum Leap, we've had episodes that are really serious, but the ones that I do, I try to make them, I did an airplane hijacking episode, but I tried to make it fun and sort of like an eighties action movie. And then the other thing I would say is sort of optimism. I try to write something that makes you think that the world is going to be a better place. I've written a lot of political shows and politics is pretty dark these days. One, my take is sort of, but if we do this, we can all get through it. None of those have gotten on the air. So maybe that says something about what people feel about optimism these days.Michael Jamin:Well, it's also a numbers game, but how do you feel, let's say you were given the keys to run your show, got on the air somewhere, eight episodes on the air. How do you feel? Feel about that? Yeah, let's do it. I'm ready. Or like, oh my God, what did I get?Alex Berger:Both. I mean, I did the Writer's Guild showrunner training program a couple of years ago, which is phenomenal. WhatMichael Jamin:Was that? Tell me all aboutAlex Berger:That. It was great. But so essentially it's a six week every Saturday, all day, every Saturday college course on how to run a show. And it's run by Jeff Melvoin, who's a really seasoned showrunner, and Carol Kirschner, who's been working in the business forever. And then they bring in John Wells is usually a big part of the program and they bring in really heavy hitter showrunners all the way down to people who were in the program last year and then got a show on the year. And they're like, bill and Ted when they come back at the time Machine and Bill and Ted's, and they're like, you're in for a crazy journey. And so it's really cool to hear from all of those people and they focus one day is on writing, one day is on post one day on production. And what I learned from that was having been on staffs for something like 250 episodes of tv, I've learned basically all the things you can do in terms of book learning to run a show.But the last 20%, you can't learn until you're there. Sort of like if you read a hundred books about swimming, you kind of know how to swim, but if you dropped out of a helicopter ocean, you're going to have to figure it out and you're going to be drowning while you're doing it. And literally, I don't know if this was your experience when you guys had it, but every other show I've talked to says nothing fully prepares you for it. So I have a couple shows in development right now, and if you told me that they were to go, I think the first feeling would be utter terror and like, okay, let's do it. Let's go. This is the time to do it. And I've run a lot of writers' rooms and stuff like that, but I've never actually had the keys to the castle, soMichael Jamin:Interesting. Right. Okay, so you've run the room, you've been breaking stories, you're in charge of that. Now time in terms of tell me about the short run is problem You apply, how do you get in?Alex Berger:You have to be recommended by somebody and applied and they want someone, they're trying to find people who are the next shows up. And so people in the program have a pilot that's already been shot and that's already ordered a series, but they don't know how to run a show. You people who've worked in features or worked in writing novels who are transitioning into television. So all the production stuff to them is totally new. And then you have lot of people like me who sort came up as staff writer, story editor and just worked their way up the ranks who've been around for a while, who just haven't taken that next step, who want to know more about what it's like to run a show. I loved it. First of all, it was like being in college, man, it was just absorbing material and taking notes at a frantic pace and reading that they recommended. But it was just so interesting to hear. It's like this, your podcast is so great because you could hear people speak, but these are people who are specifically targeted at the demographic of you're a co eep and you're about to run a show. Here's what you need to know.Michael Jamin:And so you don't pay for this, right? Or youAlex Berger:Do, the guild pays for it and the studios pay for it. It's a phenomenal program.Michael Jamin:And then it's so interesting. And then, alright, so then how big of a cohort, how big of a group isAlex Berger:It? 30. And it's a bummer because these days it's been on Zoom and so you don't really get to the year. I did it in 2017 or 2018. And so I got to know those folks and they were sort of, yeah, again, my cohort and three quarters of them are running shows and everybody else's EPS or eps, running rooms. It's a very fun dynamic to have a group.Michael Jamin:What are they teaching you? I'm so curious as what they teach you. I bet there's stuff I don't know. And we've done three shows. What are they teaching you about post that you were surprised?Alex Berger:The overwhelming, the first thing they tell you when you walk in the door is quality scripts on time. The bug that they gave me, the showrunner program, quality scripts on time, and that was basically the theme of it was being efficient, being and knowing when to cut your losses and say move on. And knowing when to say this isn't good enough. And so for posts, it's like, are you the type of person who wants to be in post for 10 hours a day? That's fine, but then you need to have somebody who's going to be overrunning the room, or do you want the writer who produced the episode to do the first and the second cut? And then you do the last cut and they bring in editors and they talk, editors tell you about what they want to hear. A lot of things that I'd been in post a lot before I was in that room and then editors were telling me things that I was doing that annoyed the crap out of them. And I was like, oh, little thing like what? Snapping, when you say cut there,Michael Jamin:Oh,Alex Berger:That annoys.Michael Jamin:That annoys them. It's like a dogAlex Berger:Thing. Yeah, exactly. And a lot of editors, some editors want line notes. Some editors want you to say, this scene doesn't feel funny enough, I'm not getting the comedy. And then they'll say, okay, let me take another swing at it. And you need to feel like, is this the type of editor that wants to do it on their own or that type of showrunner that wants to do that. But broadly speaking, it's essentially a leadership training program. The nuts and bolts stuff with all stuff that I had seen up close being a lieutenant on a show, there are a lot of little tips that I picked up here and there and when I get a show, I will go back to my notebook and frantically look through it, but it's mostly about how do you lead, how do you manage, how do you fire people? How do you delegate? How do you tell people that they're not doing a good enough job but give 'em a second chance? Interesting. They bring a lot of directors in, stuff like that.Michael Jamin:What was the last thing youAlex Berger:Said? How to interview a director? How to interview director. A big director came in and talked to you. Here's some questions you should ask when you're interviewing. Here's a great one that they said. They said, when you're interviewing a director, ask if you're the showrunner and you're interviewing somebody who's coming in to do an episode of your show, ask the director, do you cook? And if so, are you a person who uses a recipe or do you like to improvise? And there's no right answers to that, right? But if you cook and you're the person who is going to measure out the exact number of grams of flour and the exact number of grams of sugar, that's kind of how you're going to approach directing. You're going to come in with a shot list, you're going to be going to stay on time, you're going to make sure that you move the set along. And if you're the person who likes to kind of throw a little salt to throw a little sugar, you might be a little more improvisational. I say you might be a little more, more. There's little things like that that are like how to dig in on this with those people.Michael Jamin:Now I'm learning. What else can you share with me thatAlex Berger:Might be helpful? I can get my notebook you,Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.I remember when we're running Glen Martin, which is the first show we ran a lot of this, and you probably weren't even aware of this, A lot of it was me. If I was at the board or whatever, it was me like, okay, I want to make sure I'm not losing the room. I want to make sure everyone, no one's losing focus. And I think part of that was make a decision even if it's a bad one because you can lose the room if you can't pull the trigger. You know what I'm saying? It's so frustrating. You guysAlex Berger:Did a good job with that. And then I think that decisiveness, I think is actually one of the most important qualities in the showrunner, but also willingness to admit you were wrong if you made a decision and moved on and then a day later you realize you were wrong. You have to and say, I made the wrong decision. And one of the things I've learned running that I've really tried to do when I'm running a room is if there's an idea floating around that I hate, but it's getting energy and it's getting excitement, I try not to step on it until it either burns out on its own or it's reached a critical mass and I'm like, look, I think this is not going to work, but let's talk it out because there's nothing worse as having come up on staffs. And this is one of the most valuable things when you've been a staff writer and a story editor as opposed to getting your own show as the first thing that happens to you is you know how demoralizing it is when everybody's super excited about something now it's not going to work. It's so demoralizing. Yes, A lot of times you think it's not going to work. You just sit there back and listen for 20 minutes and you're like, oh, actually, you know what? There is a version of this that'll work if I just add this one thing. It's an organism and you're leading an organism and it's very hard. You guys did a great, and you guys are a team, which is even harder because you've got to read each other's minds aboutThis works.Michael Jamin:You bring a good point. I remember one time, so when Glen Martin, I would go, I would direct the actors on Wednesdays or whatever and see would be running the room, and I remember coming back at the end of a long day directing, come back to the room and you guys had made a lot of progress on the script and everyone's excited. Everyone's excited about this idea and you guys pitched it to me. I wasn't getting it. I didn't get it. I was like, I didn't want to shit on it because I could tell everyone was so excited about it. And so I just kept on asking questions just to explain it to me so that I would get on board.Alex Berger:That's a really hard part is and because I've never been the actual showrunner, I've never been the one, I would be like, I'm sorry we're vetoing this. A lot of times what I would do, because I was a number two, was if I hated something, if I left the room and then I came back and I hated something, I'd be like, look, I'm not totally on board with this idea, but let's give it its day in short and let's pitch it to the showrunner. And I would try, when I would pitch it to the showrunner be to not give away which side I was on or to say, look, here's one side of the argument, here's the other side of the argument. But when it's ultimately up to you, it is hard because I always analogize it to in Family Feud when the first four people give their answer and then that last person has to give the final answer and they want to go against the rest of the family. It's a hard thing to do. You're wrong.Michael Jamin:Yeah,Alex Berger:I guess, I don't know. What was that experience like for you? Did you feel like it was like you had to balance? What was your favorite idea versus losing another 10 people's morale?Michael Jamin:It wasn't even about my favorite idea. It was more like I just want to make sure if sea's on board than I trust, I trust him. But it's also like I wish I can remember what the episode was. It just didn't make anyAlex Berger:Sense to me. No, I remember that a couple times. Every show I've ever been on has had that. Every show I've ever, the showrunners left the room, the room gets excited about, something comes back in and it's not what they want, it's just part of show running. The value of having a staff that's been together for a while is the longer the staff has been together, the more you can say, oh, secret and Michael are going to hate this. We shouldn't even this path. Versus early on, you're going down a million paths you don't know. But once you get to know the showrunner, you kind of get to know what they like and what they don't like.Michael Jamin:Yeah. There was another idea that we had in that, I don't remember what we were all on board, but Seaver wasn't on board. It was something crazy.Alex Berger:Oh, I think it was the radio episode and there was something about wires or no wires, and they weren't recording the music the whole time,Michael Jamin:Who wasn't recording music.Alex Berger:Glen went to, you got to cut this out of the podcast.Michael Jamin:No one's going to care. ButAlex Berger:It was like there were a lot of room bits that I think that's the problem with room bits is they take on a life of their own and then they're an inside joke. And if the runner comes in and there's a room bit in the script, it's an inside joke. It just doesn't work. You weren't there for the beginning of it, which is a good sign that it's not a good story because the audience wasn't there for it either. But I think it was Glen becomes a radio producer named Stacey Rappaport.Michael Jamin:Yes.Alex Berger:His wife was also named Stacey Rappaport. Yes. And I know he works for Stacey Rappaport. And anyway, the whole time it was the, you guys were doing the Brady Bunch, Johnny Bravo episode basically as aMichael Jamin:Yeah,Alex Berger:Remember the debate was like, were they actually recording by the way? I will say again, you can cut this out early, but it's not relevant at all. But I grew up watching the Brady Bunch for whatever reason, even though I'm 10 years younger than you guys. And that was number one reference that you guys talked about. So I did feel like at least I got those references.Michael Jamin:Oh, it's so funny. I remember that. I remember because I think I was the one who pitched the name Stacey Rappaport.Alex Berger:I remember because I had a friend named StaceyMichael Jamin:Rappaport. Oh really? That's so funny. It was just a man's name that the joke was that Glen was going to choose a new identity for himself and he chooses a woman's name.Alex Berger:What have you gone back and just watched full episodes of the show?Michael Jamin:No. And everyone, people want to know about. People ask me that a lot. I don't touch. I should. I love that show, but I don't touch anything that I've written. I just don't. It's over and I don't know why, but you doAlex Berger:Just not even about Glen Martin. That is an interesting thing about writers is whether they want to go back. I go back and watch stuff and I hate it because I'm like, but because Glen Martin was not really mine. It was such an organism of the room. I laugh when I go back and watch it except the one I wrote, which I don't like.Michael Jamin:Oh my God. We had some fun in that show. But okay, so when you take, I have so many questions for you. When you were young, when you were a kid, did you want to be a writer? I know TimeAlex Berger:Know was a profession. I loved television. I was a youngest kid. I was raised by the Cosby Show and the Brady Bunch and G I F. And my idea of a family was basically what those families were probably to go back, rethink the Cosby one. And then even in college, I interned at Saturday Night Live and late night with Conan O'Brien back when he was on, which were fantasy camp, especially the s and l one was truly a dream come true. And it still didn't occur to me that it was a profession that I could go do. I was go to law school and then a buddy of mine, we were in Jerry's Subs and Pizza, which is an East coast person you probably remember. And we were sitting there talking about what we're going to do and he's like, like I said, I'm going to go to LA and be a writer. And I said, how do you do that? And he said, someone writes this stuff, why couldn't it be us? And it just gave me this epiphany of like, oh yeah, everybody who's out there as a writer at some point wasn't a writer and just got out there and learned how to do it. And so we all went out together and we kind of got our start.Michael Jamin:Did your friend become a writer too?Alex Berger:Yeah, we all ended up creating a show together. So the earliest thing that we did was we were on the high school debate team together and we walked into National Lampoon, which at the time was doing low budget cable programming, and the head creative guy there just made fun of my resume the entire time and made fun of debate. And then by the end of it said, there's a show here. And so we came, pitched him a show called Master Debaters that was a debating society, and we ended up getting to make, it was like our film school. I knew nothing about how to make a TV show and that one, I was throwing the keys to the castle. I was casting it, writing it, producing it. I was in it, posting it with every crisis. But it was so low stakes because the budgets were tiny and they were in syndicated cable stations and college campuses. No one would watch me. So I got to learn by doing and I loved it. It was great.Michael Jamin:Interesting. And then, all right, so then you became a writer and then you just kept on writing. I guess mean it's not an easy path, but you've made a really pretty good name for yourself over the years.Alex Berger:Yeah, I mean, thank you. It was a winding path when I came out, I thought for a minute I might want to be a development executive. I read a book by this guy, Brandon Tartikoff, who used to run N B C called The Last Great. It was like basically made it out to be, you're sitting in your room and the smartest people in the world come and tell you what TV show ideas they have, and then you pick the eight of them and pick the order in America Shears. And so I worked in development for a minute and I was not what it was like at all, and I was miserable and I was jealous of all the writers who were coming in. So I said, that's the job I want. And so I quit. WhatMichael Jamin:Was it I didn't know you worked at VO for? I wasAlex Berger:Assistant. I was an assistant in development at N B C.Michael Jamin:What was it like then?Alex Berger:It's very busy and not as creative as I wanted to be. I actually really enjoyed the conversations I had with the executives when it wasn't time to do my job and it was just time to talk about tv. But the actual job I was doing, I was terrible at, I mean, it was a lot of keeping track of who was calling, and I'm an absentminded first, butMichael Jamin:That you're an assistant. I mean, surelyAlex Berger:You, but it's a long time before your branded Tartikoff, right? Almost everybody else under branded Tartikoff has a lot of business responsibilities to do. And it wasn't, that's not how my brain works. My brain needs more free time. I think if I worked at a place that was smaller that was incubating three or four shows, I probably would've enjoyed it more. But we had 50 comedies and 50 dramas in development, and I was trying to get of all of them and who was calling and the letterhead changing and all this stuff. And it was just like I was not good at it. I mean, my boss even said to me one day, he said, you're a very smart guy. Why are you not very good at this? And we had a nice conversation about that. But the main thing was the writers that came in that I was, can I get you a coffee?Can I get you a tea? Can I get you a Coke? I was so jealous of them. Door would close to the pitch, and I just wanted to be in there listening to. And so I realized I should follow that. And so I didn't last that long. I left like eight months and I quit. I at the time had been, I think had a couple of writing jobs, like smaller writing jobs lined up that show Master Debaters had been optioned of VH one. So we were writing a pilot for VH one and a couple of their small writing jobs. So I went to go do those and then got back in the beginning of the line as an assistant, I was a writer's assistant on a show, and then I was an assistant to a showrunner and then I stop.Michael Jamin:So it's a brave move for you to leave that behind in.Alex Berger:It was definitely, I mean, I had some stuff lined up, but it was definitely a risk, but I just knew it wasn't the right, I was in the wrong place. But it's interesting, it was an incredible learning experience. I knew how development work from the inside, and I still think I know more about what's actually going on at the network than a lot of my peers because I was on the other side. And then the folks I met who are the other assistants to the other executives are now all executive vice presidents of networks or presidents of networks or I met my agent because he was an assistant to an agent that used to call, and then he signed me while he was still a coordinator. One of the people on that hall now became the president of Fox, another one who I've dealt with a lot became the president of N B C. I met a ton of great folks through that who have become friends and allies over the years, and I sold Joe to,Michael Jamin:But okay, so it's probably changed lot since you were in assistant that was probably 20 somethingAlex Berger:Years ago, 19 yearsMichael Jamin:Ago. So what is it like then that we don't understand?Alex Berger:I think the main thing that I didn't understand, and this has for sure changed and certainly in cable and streaming is just a volume. They are not spending as much time thinking about your script as you are by definition. But in development, there are literally 40 to 50 scripts at least back then on both on comedy and trauma. And so my boss, who was in charge of both has a hundred scripts to keep track of. So he was very smart and could make a judgment very quickly about a script, but he would read it once, sometimes read it again, and then he was making a judgment about whether it was a show. So as a writer now I know they're reading fast, they're reading it at three 30 in the morning, or they're reading it on the plane, I've got to grab attention fast, I've got to hook you in. I cannot lean, oh, the great twist, wait till the Great Twist. It's on page 55. And when I'm pitching, it's the same thing my boss said to me, I hear 300 pitches a year. I typically hear about five ideas I haven't heard before. The other 95 I've heard before. It's about take, it's about the writer, it's about their passion. And so when I go and pitch an idea, the substance of the idea is the second most important thing. And my connection to it and why it has to be me is the first most important.Michael Jamin:And that's the hard part. I feel that's the hard part because usually you think of an idea, you can't really, I don't know, you're a hundred percent right. They always, they want to know why are you the only one in the world who can write this idea truthfully? It's like a lot of times you're not a lot of times like, well, this is the characters we created. It's a funny situation, but there's probably a lot of people who could write this idea.Alex Berger:I think that what I have seen, and I've never done this, but I know folks who have is, I knew a writer once who his sort of why me paragraph was, I just run a show for a bunch of years. I came off of running that show and I didn't know what I wanted to do next and I had an identity crisis. And so it got to the idea of identity crises and here's a spy show, an action spy show, but at the center of it as a character going through an identity crisis. So it's notMichael Jamin:GrewAlex Berger:Up and my dad was a spy, and therefore sometimes it's emotional or sometimes I had this interaction with a guy on the subway and I couldn't stop thinking about it. And it led me to this show. And sometimes by the way, you retrofitted sometimes you already come up to the show and then you've got to come up with that first paragraph that's retrofitted and sometimes often it feels organic even though it was come up with thatMichael Jamin:Word. That's so interesting because I'm glad you said that to me. It almost sounds, it gives me some soce knowing that, because a lot of times we'll say, okay, this is why we're the only ones, and this is from seabird's idea home life or my home life, and then it doesn't sell. And you're like, well, I don't know what to do now. But you're actually broadening it out into a thematically, it's more personal to you. It's not necessarily a dynamic. It's more like,Alex Berger:Here's how I think about it. I think that, and I could be wrong, and by the way, it's different in a comedy because you've got to make 'em laugh in a comedy, and I know certain comedy executives don't laugh, but for the most, if you're funny in the room, they're thinking, okay, I want to be in business with these pets, but in drama, are there twists and turns? Am I hooked on this? Is this going to fit with something that we have on the air? Do we have something similar? But I always think what they're going to remember when they've heard six, they hear six to eight a day, and then at the end of the week they go tell their bosses about the ones that they bought. So what they're going to remember is, oh my God, you'll never believe the story this guy told about the time that he was held hostage on the subway, or you'll never believe that, or a cool twist or a cool character. They're not ever going to remember the third beat of the pilot, or when pitch episode ideas, here's soMichael Jamin:Interesting.Alex Berger:I think you need that stuff to be in there, but what they're going to remember, it's like when you walk into a house, when you're looking for a house, you remember, oh, I was dazzled by the kitchen and the master bedroom had the fullest bathroom and yeah, yeah, it had five bedrooms and five baths, which is what we need. But it felt like this when I walked in. It's like, how do they feel? That's another, I'm sorry to ramble, butMichael Jamin:No,Alex Berger:For drama. I think in a pitch, if you can make the executives feel how the show is going to make them feel, that's a successful pitch to me. Comedy's a little different, I think. ButMichael Jamin:Interesting. I feel like I'm learning a lot from you actually, because I mean, honestly, we'll sell shows and we'll not sell shows.Alex Berger:We're learning all that time from you guys for 40 episodes on the murder.Michael Jamin:But a lot of this is, like I said, we will sell a show or we won't sell a show, and I won't know why. I don't know. I'm not sure why this one sold this one, the other one didn't sell. I can, but that'sAlex Berger:Why I really don't like Zoom pitches because you can't. I love, that's actually my favorite part. I think it comes from, like I said, I was on the debate team in high school and college, and I loved trying to persuade someone who was not necessarily on my side at the beginning that I'm right. And I viewed every pitch as a miniature debate. I'm debating against the person who says, don't buy this. And I love the feeling of like, oh, I've got them hooked, and they're now, they are going to buy the show as long as it continues to go on this pace. And I hate the feeling of, I think they've checked out. And actually when I've memorized a pitch, when I think they've checked out, I'm talking, but my internal monologue is, well, I guess we didn't sell it to Fox. All right, well, if we can sell it to Fox, we can go to a B, C. Because I'm sort of like, I've moved on.Michael Jamin:How much off book are you have notes or not?Alex Berger:I've developed this method that I got from this guy, Martin Garra, who I've worked for eight or nine years for some blind spot, and now on Quantum Leap, it's different, but I love it, which is, it's different on Zoom, but when we go back to in-person pitches, what he does is he brings in his laptop and he puts it on the table in front of him and it acts as a teleprompter. And so he's looking up at you making eye contact and occasionally looking down. And then he is got a remote that flips page to page and the script is there word for word. So if you're like, oh shit, I'm about to get to the part that I always mess up, then you just look down and read for a minute and they know you've written this. It's not like no one is under the illusion that you walked in and RIFed for 20 minutes off theMichael Jamin:Topic. Does he do this in person or on Zoom?Alex Berger:Both. On Zoom, it's so easy because you can have your screen, but in person, I thought, oh, they're going to think it's offputting. But because I was practiced, I got to the point where 70% of it was eye contact and the laptop was there as the security one did.Michael Jamin:And what program is he using? That's a teleprompterAlex Berger:Work.Michael Jamin:Oh, so you're just scrolling. Oh, you're just clicking.Alex Berger:There's this Bluetooth remote that he uses that I was now in my drawer, and it's just you click and it's to the nextMichael Jamin:Page. You have a Bluetooth remote that works on your lap. I didn't even know this such a thing. I'm learning so much from you Burger.Alex Berger:Oh, you know what? I've lost it. Oh, here. Yeah, so it's like a little U S B that plugs into the back of your computer, and then you're just like, you click, click, click and it's, you look like you're giving its head talk it 5% easy. And I actually think in a comedy pitch, it might come off as too dorky, but for a drama it's like, I'm going to tell you a story. I'm going to deliver a pitch. And I wrote it. And the reason I find it useful is a lot of times when you're developing with the pod and the studio and then also the non-writing show runner, so many Sunday night, you're getting notes for a Monday morning pitch and stuff's changed. So if I get to the section that just changed, I might look down a little bit moreMichael Jamin:Interest. So I was going to say, are you going in mostly with pods these days for people who don't know that they're producers on the overall deals at studios, but is that how it works in dramas as well?Alex Berger:I don't think I'm going to show on the air anymore without an entourage. So when I was on Blind Spot, it was produced by Greg Ante and I did a couple pieces of development with him and then also with Blind Spot. I just think there's the business side of it, which is that these networks want to be in business with their 800 pound gorillas and the not. So if you walk in with one of them, even if it's my vision a hundred percent, and it's my personal story, the fact that this brand is behind it really helps. And then I also, I actually enjoy the process of crafting the idea with smart people. I don't want to work with a pod who's annoying and gives dumb notes or a studio who does that. But every pod I've ever worked with, if I'm stuck on an idea, I'll say, Hey, can we hop on the phone for half an hour and work out this story problem? You guys have each other so you can get in a room and hash out a story problem. But I need to talk. I cannot think through anyMichael Jamin:Interesting,Alex Berger:And we'll work it out. Oh,Michael Jamin:So you'll really use them as a resource. It's so interesting.Alex Berger:I mean, this guy, Martin Garrow who runs Blind Spot Quantum Leap, I've developed him a bunch of times and he's a writer.Michael Jamin:Yeah, it's differentAlex Berger:Stuff is acting as a pod. But I can call him and we have such a shorthand, we've broken 150 episodes a week, butMichael Jamin:That's different because he's a writer. He is not, I mean, he's a writer, is writer producer, but he's really aAlex Berger:Writer. So it's Greg Ante. I like working with folks who are on the creative things, and I've worked with producers who weren't writers, but could be because they're a creative, the worst part of that development is when someone gives you a note and they don't realize, oh, that's going to unravel. They think it's two lines, but it actually unravel all. Whereas when you work with people who've made a lot of tv, they're like, look, I know that this blows everything up to do this one little thing, but here's why I think it's better. Or Hey, they gave a huge note. Here's easy fix. It's only two lines.Michael Jamin:Yeah, I mean, that's so interesting. You're absolutely right. There's a huge difference between, I think between working with a producer, producer and a writer producer, because the writers, they just know what's going to unravel everything. I don't know. Yeah, that's ProducersAlex Berger:Are good for like, oh, you know what? Who'd be great for this is this actress. And they make the call and they're good.I find that you find everybody's in this business, they're good at something. Nobody who's come to this business and is just dashing a check. Well, probably not true, but the people that I try to find work with are people who are in this business smart. And even if they're not totally up on exactly what I wanted to do, fix the script, they have something that they're really good at that I want to use. So even if it's, there's one person at this company who's mostly the production person have a really good idea about like, Hey, if we shot this in Buffalo, we could do this.Michael Jamin:Right. Interesting. Wow. I think I've learned a lot from you. Before we conclude, you want to write drama withAlex Berger:Me? Let's go that. Let's talk about drama.Michael Jamin:I think I'm going to get into the drama business with you. I think you're going to be my pod. What advice do you have for young writers? You must have something to Wise to say.Alex Berger:Yeah, I mean, I probably don't have anything wise to say, but I'm happyMichael Jamin:To. Or how are they breaking in the business?Alex Berger:It's funny. The answer was so different 10 years ago to four years ago. It changed rapidly, and it's very different now because of the writer's strike. So if you're talking about what should I be doing right now, if I want to break in? I was just talking to a writer today and my advice to her was, just use this time to write. It's not a good time to try to get a producer attached or a showrunner attached or an agent. It's a good time to just be writing and really writing diligently. And then this is over. And in general, my advice is get a job in the industry, even if it's as an assistant. If you can't get a job as an assistant in a room, get a job as an assistant in post or get a job as a PA on set, just get into the room. Then just keep building a network and talking to everybody. And when your cousin comes and says, you know what? I used my college roommate, I think as a writer, I don't know what he take them up on all of those opportunities because you never know what's going to result in something. The first three jobs I got were from general meetings that I didn't want to take because actually two of them were from people. My mom had metParties in Washington dc but they were another assistant who was leaving their job and happened to open up. And then the last thing I would say is, I think the thing that people don't do as much of it that they should do is engage in the continuing education piece of this. So your listeners to your podcast are obviously trying to learn how to write, and that's important. There's a lot of other good podcasts out there. There's Deadline Hollywood, which everybody should be reading every single day. There's business podcasts like The Town and the Business and Fresh Air that people should be listening to understand the macro pieces of their business. So often you get people who come out here and they have
It's a week with a bad movie but the conversation between Brothers J and Drew is worth your time. The film is American Traitor which is a wasted opportunity to tell an interesting story. The conversation goes from a great deal of pizza talk to Star Trek Discovery, Gates McFadden, Malcolm in the Middle, Alias, Nikita, Covert Affairs, and Korean reality shows. File length 1:16:57 File Size 64.5 MB Theme by Jul Big Green via SongFinch Subscribe to us on Apple Podcasts Listen to us on Stitcher Like us on Facebook Follow us on Twitter Send your comments to show@notinacreepyway.com Visit the show website at Not In A Creepy Way
Operation Gumnut... the top secret plan to sneak Gordon Nuttall past the waiting media and into the arms of his family after his parole is granted over 6 years into his 14 year sentence. Nuttall's children Lisa and Andrew speak for the first time since their father was locked away outlining the toll Gordon's guilty verdict and long incarceration took on them and the growing brood of grandchildren.Theme: Impact Prelude by Kevin MacLeodFree download: https://filmmusic.io/song/7565-impact-prelude License (CC BY 4.0): https://filmmusic.io/standard-licenseBass Walker by Kevin MacLeodFree download: https://filmmusic.io/song/3423-bass-walker License: https://filmmusic.io/standard-license Covert Affair by Kevin MacLeodFree download: https://filmmusic.io/song/3558-covert-affair License: https://filmmusic.io/standard-license Dark Secrets (DECISION) by Sascha EndeFree download: https://filmmusic.io/song/246-dark-secrets-decision Licensed under CC BY 4.0: https://filmmusic.io/standard-license Grief And Despair by Steven OBrienFree download: https://filmmusic.io/song/10414-grief-and-despair Licensed under CC BY 4.0: https://filmmusic.io/standard-license Contemplative Emotional Segment Piano Only by Tim KuligFree download: https://filmmusic.io/song/11337-contemplative-emotional-segment-piano-only Licensed under CC BY 4.0: https://filmmusic.io/standard-license Hosted on Acast. See acast.com/privacy for more information.See omnystudio.com/listener for privacy information.
Dark electronic artist Slighter released his full length album "This Futile Engine" via Brutal Resonance Records and Confusion Inc. Mixed and mastered at The Cell Studio, the 13-track record features collaborations with Steven Seibold of Hate Dept, Yvette Winkler of Vaselyne, Craig Joseph Huxtable of Landscape Body Machine, Morgue VVitch, Deep Dark Water and more.Slighter is the project of Colin C., an audio engineer, a self taught musician and producer and one of the pioneers and certified trainer in Apple's Logic Pro in the early days- this led him into sound design with collaboration with Loopmasters to create Logic Pro packs for users to tighten up their mix engineering skills.While very much an independent artist who largely files under the musical radar, Slighter's music has also found its way onto mainstream shows over the years, with songs and remixes featured on such television shows as Showtime's "House of Lies" "Elementary (CBS), "Bones" and "Lethal Weapon" (Fox), "Defiance" and "Covert Affairs " (NBC-Universal). https://linktr.ee/slighterofficialhttps://www.brutalresonance.com/Playlist and podcast: https://djnocturna.com YouTube: https://www.youtube.com/c/DJNocturna Listen : http://modsnapradio.comQUEEN OF WANDS with DJ Nocturna Every Saturday on ModSnap Radio KMOD: San Antonio2pm (HST), 5pm (PST), 6pm (MST), 7pm (CST), 8pm (EST)
Award-winning actor Emmanuelle Vaugier stars in Hallmark Channel's movie sequel Big Sky River: The Bridal Path which premieres on Hallmark Movies & Mysteries in the US and W Network in Canada on Friday, August 11, 2023, at 9:00 pm. The movie is particularly special for Emmanuelle as she gets to combine her love of acting with her love for horses. Emmanuelle may be best known for her popular role as Charlie Sheen's ex-fiancée Mia in the award-winning CBS comedy Two and a Half Men. For three seasons she also played Detective Jessica Angell on CSI: NY, leaving fans devastated when her role came to an end. For five seasons Emmanuelle was the vain and dangerously sociopathic character of the Morrigan on the innovative series Lost Girl. Emmanuelle was cast alongside Piper Perabo in the USA Network crime series Covert Affairs, where she played Liza Hearn, a journalist and blogger not afraid to push boundaries. She was also on the AT&T original series Rogue as Assistant District Attorney Regan Faulker alongside Cole Hauser (Yellowstone). Other television appearances include her portrayal of Jane in the two-hour pilot of the adaptation of the comic Painkiller Jane, and a starring role in The CW comedy My Guide to Becoming a Rockstar. She has also heavily recurred on TV shows such as The CW's dramas Smallville and One Tree Hill, as well as Mistresses on ABC and the FOX series Human Target. Recently, Emmanuelle played Sarah, a smart and accomplished professional in the television series The Potwins starring opposite Kevin Sorbo, and appeared in the comedic television series Millennial Mafia as Francesca, a female mob boss who must manage a group of young adults who are thrust into adulthood when their mob-boss parents are sent to jail. Emmanuelle's feature film endeavors are impressive with a number of credits to her name, including Saw ll, Saw IV, Secondhand Lions, with Michael Caine and Robert Duvall, 40 Days and 40 Nights, with Josh Hartnett, Susie's Hope (a role for which she won best actress at the Greensville International Film Festival), It's Christmas Carol! (which earned her a Leo Award) opposite Carrie Fisher, and Absolute Deception alongside Cuba Gooding Jr., to name a few. Emmanuelle is adding voice-over actor to her list of projects as well, with many fans remembering her portrayal of the character Nikki in Need for Speed Carbon EA's #1-grossing video game worldwide. Emmanuelle's inner and outer beauty shines through as she is among the select group of women to be featured on ‘Maxim‘s Top 100' list twice. She was also named fifth on Femme Fatal magazine's 50 Sexiest Women on the Planet', and was named ‘Sexiest Woman Alive' for the sixth time by Smartasses Magazine. Want to watch: YouTube Meisterkhan Pod. (Please Subscribe)
Some of Team #SavedDaredevil's biggest Covert Affairs fangirls, Rhiannon, Shelby and Christine, sit down today to discuss the 2010 USA Network espionage series about Annie Walker (played by Piper Perabo), an idealistic young CIA trainee who is thrown into duty early as a field operative and guided by her handler, a blind CIA military intelligence agent, Auggie Anderson (Christopher Gorham). The five seasons of the show follow Annie as she develops her skills as a spy while balancing a double life. But why is this series being discussed at all on a Daredevil podcast? Because Covert Affairs is the most notable television credit for Daredevil: Born Again showrunners, Matt Corman and Chris Ord. We hope after listening to today's pod, fans might feel reassured in Corman and Ord's qualifications to handle Daredevil, and they might even find a new favorite show to binge. Enjoy! 00:00 - Introduction01:15 - Explaining why a Daredevil podcast is dedicating a whole episode to Covert Affairs02:45 - Rhiannon and Shelby's fandom friendship origin story03:40 - Covert Affairs' rise during a different era of television07:00 - What exactly is Covert Affairs?11:45 - Corman and Ord as experienced television writers13:50 - Efficiency of shooting on-location in Covert Affairs + potential block shooting for Daredevil: Born Again15:30 - Digging into the details of Covert Affairs characters and storylines18:10 - CA's great use of recurring + guest actors and creating relatable characters in TV23:30 - Henry Wilcox aka the Fisk of Covert Affairs27:20 - About Auggie Anderson and how they handle blindness on CA34:15 - Hyping up the women on CA and the fights35:50 - How Corman & Ord might similarly handle supporting characters on DD:BA38:14 - How to stream Covert Affairs39:23 - Recommended episodes to watch (full list in links)41:50 - Final thoughts42:50 - Wrapping up some relevant past quotes from Corman & OrdHave some thoughts or questions you'd like to hear us discuss in an upcoming episode? Send us an email at contact@talkdaredevil.com. And if you enjoyed this episode, please consider subscribing and leaving us a rating + review on your podcast platform of choice!—LINKSHow to stream Covert Affairs:+ Covert Affairs on Freevee via Prime Video+ Covert Affairs on Freevee via Prime Video + Covert Affairs on Plex+ JustWatch.com (for international viewers, a resource to help find which platforms in your country might carry the show)Recommended episodes of Covert Affairs:+ Covert Affairs Pilot Episode+ Benedict Wong Episode - Covert Affairs S2 Ep 10 “World Leader Pretend”+ Auggie Flashback Episode - Covert Affairs S2 Ep 7 “Half A World Away”+ Annie and Auggie out in the field together - Covert Affairs S3 Ep 2 “Sound and Vision”+ Shelby's “this episode has everything” episode - Covert Affairs S3 Ep 8 “Glass Spider” + You want dark? Covert Affairs S4 Ep 10 “Levitate Me”Links about Corman & Ord:+ Original article about Corman & Ord heading up Daredevil series: ‘Daredevil' Disney+ Series in the Works With Matt Corman, Chris Ord Set to Write+ ‘Covert Affairs' Creators Matt Corman and Chris Ord Sign Overall Deal With Universal Cable+ 'Containment' Bosses on the Show's Intensity, Collaborating with Julie Plec+ ‘Covert Affairs' Q&A: Creators Talk Piper Perabo's Suitors and When Everything Clicked+ 'Affairs' writers praise star GorhamSavedDaredevil Links:+ Official #SavedDaredevil Ko-Fi + #SavedDaredevil FAQ page+ #SavedDaredevil Twitter (@SavedDaredevil)+ #SavedDaredevil YouTube Channel+ #SavedDaredevil IG+ #SavedDaredevil FB+ #SavedDaredevil TikTok
Legends of S.H.I.E.L.D.: An Unofficial Marvel Agents Of S.H.I.E.L.D. Fan Podcast
Legends Of S.H.I.E.L.D. Agent Fumbles, Agent Dribbles, Agent Chris, and Producer of the show Director SP discuss and review the 1992 Marvel Entertainment Group X-Men The Animated Series season five Disney+ reordered episodes S5E3 and S5E4 and “Phalanx Covenant Part 2.” The Agents also discuss the weekly Marvel Studio news including Marvel Studios earning their first-ever Oscar Nomination For Acting, Marvel Studio's Most Popular Movie on Disney+ in 2022, ‘Daredevil: Born Again' Writers Revealed, and that Thunderbolts will serve as Black Widow's Official Sequel. There's also a short audience feedback segment. THIS TIME ON LEGENDS OF S.H.I.E.L.D.: Marvel Entertainment's X-Men The Animated Series As Shown On Disney+ Discuss the 1992 X-Men Animated Series season 5 S5E3 “Storm Front Part 1” S5E4 “Storm Front Part 2” Lauren's Chicken Shawarma Recipe https://www.themediterraneandish.com/chicken-shawarma-recipe/ X-MEN THE ANIMATED SERIES S5E3 AND S5E4 [x:xx] PREVIOUSLY ON LEGENDS OF S.H.I.E.L.D. … [x:xx] X-Men The Animated Series Season 5 Episodes 1 and 2 Premiered on “Fox Kids” (Episode Order As Shown On Disney+, Premiere Dates As Shown On Fox) S5E3 “Storm Front Part 1” Saturday, November 2, 1996 S5E4 “Storm Front Part 2” Saturday, November 9, 1996 MARVEL STUDIOS WEEKLY NEWS [xx:xx] MCU – MARVEL STUDIOS Marvel Gets First-Ever Oscar Nomination For Acting https://comicbook.com/movies/news/marvel-first-oscar-nomination-acting-angela-bassett-black-panther-wakanda-forever/ Marvel Studios secured its first-ever Oscar nomination for an actor, with Black Panther: Wakanda Forever's Angela Bassett nominated for Best Supporting Actress. This is a big deal for the Marvel film, and shows just how much has changed in the eyes of The Academy that an actor's performance in a comic book movie is worthy enough to be nominated. Black Panther: Wakanda Forever totaled five nominations for the 95th Academy Awards: Best Supporting Actress, Best Original Song, Best Costume Design, Makeup & Hairstyling, and Best Visual Effects. Along with her Oscar nomination, Angela Bassett also won Best Supporting Actress at the Golden Globes, was nominated for a BAFTA Award for Best Supporting Actress, and was also nominated for a Directors Guild of America Award for her directorial debut of the Whitney Houston biopic Whitney and directed episodes in the popular horror anthology series American Horror Story. An Unexpected Title Was Marvel's Most Popular Movie on Disney+ in 2022 https://www.cbr.com/eternals-marvel-most-popular-disney-plus-movie-2022/ A new report reveals more people watched Eternals on Disney+ in 2022 than any other Marvel Cinematic Universe (MCU) film. According to Nielsen, Eternals was viewed for 4.236 billion minutes in 2022, making it the thirteenth most-streamed film for the year. While several other Disney+ films ranked higher -- including Encanto (27.416 billion minutes viewed), Turning Red (11.427 billion minutes viewed), Moana (8.629 billion minutes viewed), Hocus Pocus 2 (5.697 billion minutes viewed), Frozen (5.133 billion minutes viewed), Luca (4.974 billion minutes viewed), Zootopia (4.437 billion minutes viewed) and Coco (4.253 billion minutes viewed) -- Eternals is both the first MCU and superhero film to appear on the list. Others mentioned include Sing 2 (11.347 billion minutes viewed on Netflix), The Adam Project (6.141 billion minutes viewed on Netflix), Don't Look Up (5.141 billion minutes viewed on Netflix), The Gray Man (4.972 billion minutes viewed on Netflix), Frozen II (4.195 billion minutes viewed on Disney+) and Uncharted (4.179 billion minutes viewed on Netflix). Thunderbolts Will Serve as Black Widow's Official Sequel https://www.cbr.com/marvel-thunderbolts-black-widow-sequel/ Following Natasha Romanoff's seemingly permanent death in Avengers: Endgame, Johansson's lethal assassin returns in Phase Four's Black Widow-centric solo film. However, a sequel to the 2021's film has been absent from the Marvel Cinematic Universe's slates for Phase Five and Six. In a recent Instagram post to promote the new Art of Black Widow, Marvel Studios Director of Visual Development Andy Park revealed that Thunderbolts will act as a sequel to Black Widow. The film is slated for July 26, 2024, release as part of Phase Five. Although the plot for the upcoming film is still unknown, fans can expect the return of many fan-favorite characters. The team, assembled by CIA Director Valentina Allegra de Fontaine (Julia Louis-Dreyfus), will consist of six members: Yelena Belova (Florence Pugh), Red Guardian (David Harbour), John Walker/U.S. Agent (Wyatt Russell), Taskmaster (Olga Kurylenko), Ava Starr/Ghost (Hannah John-Kamen) and Bucky Barnes/Winter Soldier (Sebastian Stan). Harrison Ford will play General Thaddeus "Thunderbolt" Ross, reprising his role after debuting in Captain America: New World Order. DISNEY+ First Report: More ‘Daredevil: Born Again' Writers Revealed https://www.thecosmiccircus.com/first-report-more-daredevil-born-again-writers-revealed/ The Daredevil: Born Again writers have a variety of backgrounds and experiences. David Feige has a ton of real-life experience as a lawyer and also writes for lawyers and law shows on TV. Thomas Wong has expertise in a number of issues, including race/ethnic issues, food/wine, sexuality/gender, and the legal system/courtroom procedures. Jill Blankenship is a veteran superhero writer and was the showrunner and co-creator for Naomi, which was about a teenage superhero fan who discovers she has powers herself. Blankenship also wrote for Arrow and The Last Ship. Zach Reiter has Law & Order: Organized Crime and CSI: New York, under his belt. Grainne Godfree wrote for Arrow, The Flash, and 20 episodes of DC's Legends of Tomorrow. Godfree even co-show ran the CW show. Devon Kliger is a former development executive turned screenwriter. Aisha Porter-Christie was also on the team as a consulting producer. Porter-Christie has written for Orphan Black, Shadowhunters, Briarpatch, and the upcoming The Boys' spinoff Gen V. Chris Ord and Matt Corman are helming the show. They're best known for the USA Network hit Covert Affairs. The two have been expectedly quiet about the direction of the show. OUTRO AND BONUS AUDIO [xx:xx] Join Legends Of S.H.I.E.L.D. next time as the Agents discuss the Marvel Entertainment X-Men the Animated Series Season 5 episodes 5 and 6 as shown on Disney+. You can usually listen in live when we record Saturday Mornings at 10:00 AM Eastern Time at on YouTube or Twitch. Contact Info: Please see http://www.legendsofshield.com for all of our contact information or call our voicemail line at 1-844-THE-BUS1 or 844-843-2871 Legends Of S.H.I.E.L.D. Is a Proud Member Of The GonnaGeek Network (gonnageek.com). This podcast was recorded on Saturday January 28th, 2023. Standby for your S.H.I.E.L.D. debriefing --- Audio and Video Production by SP Rupert of GonnaGeek.com. YouTube Video Version: https://www.youtube.com/watch?v=g3S8CagpdcQ Legends Of SHIELD Podcast Theme: "Hitman" by Kevin MacLoed https://incompetech.com/music/royalty-free/index.html?isrc=USUAN1300013 Lauren's Multiverse Fundraiser Foundations Panels: https://www.youtube.com/@backofthecerealbox Panels Only: https://www.youtube.com/@phoenixsisters Voice Actor Panel: https://www.youtube.com/watch?v=DAssYl8Ok5Q B-List Boosters Panel: https://www.youtube.com/watch?v=xKTyfJKH8P8 Fanfic Culture Panel: https://www.youtube.com/watch?v=7px1YLbJptc Lauren's Capes On The Couch Jessica Cruz Voice Acting: https://capesonthecouch.com/issue-167-jessica-cruz/ Smoking And Drinking In Capes Ant-Man Episode: https://smokinganddrinkingincapes.com/2023/01/20/episode-54-ant-man-and-the-wasp/ Better Podcasting #268 - Our Gear 2022 Better Podcasting: https://www.youtube.com/watch?v=JN2vm0Qfsc4 Better Podcasting Chats With SP https://www.betterpodcasting.com/2022/12/16/miss-cadabra-podcast-promotion-burn-out-and-give-aways-smoke-to-smoke-podcast-bpcwsp025/ GonnaGeek Show https://www.gonnageek.com/2023/01/gonnageek-com-show-397-gonna-talk-tech-that-will-never-actually-happen/ Playcomics Podcast https://playcomics.com Michelle on Twitter https://twitter.com/Chelle_Game Lauren's Voice Services: http://www.lwsalinas.com Lauren on Twitter: https://twitter.com/sithwitch SP On Mastodon: @StargatePioneer@universeodon.com
To celebrate the release of our film "Alchemy Of The Spirit" this week we revisit Mr. Balderson's discussion with cult icon Mink Stole! Mink co-stars in "Alchemy" alongside Xander Berkeley and Sarah Clarke Watch "Alchemy Of The Spirit" on Prime Video:https://www.amazon.com/gp/video/detail/B0B8RLM38MAlchemy of the Spirit stars Xander Berkeley (Candyman, “24”), Sarah Clarke (“24”, “Covert Affairs”), and cult icon Mink Stole (Female Trouble, Pink Flamingos). The film premiered in Europe at Fantasporto in April, 2022, picking up a nomination for Best International Feature, and went on to screen around the globe to critical acclaim, including the Philadelphia Independent Film Festival (taking home Best Feature Film Science Fiction), the Atlanta Underground Film Festival (taking home Best Director) and the International Sci-Fi & Fantasy Film Festival (dominating the awards with Best in Show, Best Director for Balderson, Best Actor for Berkeley, and Best Actress for Clarke).Mink Stole is best known for her work in the films of John Waters. Her film career began as a party guest in Waters' film Roman Candles. Since then, she has appeared in all of John Waters' feature films from Pink Flamingos, Female Trouble, Desperate Living, Cry Baby, and Serial Mom (opposite Kathleen Turner) to name a few. She has appeared in a number of films and television shows, such as Stuck! directed by Steve Balderson, and is the lead singer of Mink Stole and Her Wonderful Band, of which musicians Kristian Hoffman, George Baby Woods, and Brian Grillo have been members. For more information, visit:https://www.dikenga.com/alchemy-of-the-spirit(repeat episode)
Blaise and Team Yay still need the blueprints from deep inside the Observatory. After a harrowing battle with some constructs, the team needs to make a plan and get out. Can they do so safely? Have they already tripped the alarm in the room with the Shadewoken? Will Blaise remain a horse for the rest of this heist? Music/Sound Effects include: A Spoken Battle/Theme by Hannah Tobias, Jelly Sneakers by Hannah Tobias, Stvar by Alexander Nakarada at filmmusic.io, Truth in the Stones by Kevin MacLeod at incompetech.filmmusic.io, Industrial Cinematic by Kevin MacLeod at incompetech.filmmusic.io, Beauty Flow by Kevin MacLeod at incompetech.filmmusic.io, Detective by Kevin MacLeod at incompetech.filmmusic.io, Darkest Child by Kevin MacLeod at incompetech.filmmusic.io, Covert Affair by Kevin MacLeod at incompetech.filmmusic.io, Thunderbird by Kevin MacLeod at incompetech.filmmusic.io, Reawakening by Kevin MacLeod at incompetech.filmmusic.io, Dreams Become Real by Kevin MacLeod at incompetech.filmmusic.io, Grundar by Alexander Nakarada at filmmusic.io, Forest Fire by dynamicell at Freesound.org, Malicious by Kevin MacLeod at incompetech.filmmusic.io, and Glass-Breaking by justbrando at Freesound.org
On this episode of Too Opinionated, we sit down with actor/director Tim Matheson. Tim Matheson is an American actor, director and producer perhaps best known for his portrayal of the smooth talking 'Eric "Otter" Stratton' in the 1978 comedy, National Lampoon's Animal House, but has had a variety of other well-known roles both before and since, including critical accolades for his playing "Vice President John Hoynes" on the television series, The West Wing, which garnered him two Primetime Emmy award nominations for Best Guest Star in a Drama Series. From 2011 to 2015, Matheson starred as 'Dr. Brick Breeland' in The CW series, Hart of Dixie, opposite Rachel Bilson. He has and continues to direct several episodes each season throughout the series. Not limited to "Hart of Dixie", Matheson has made a career of directing an array of episodic projects on some of television's most prominent shows, including "The Last Ship," "Burn Notice," "Criminal Minds," "Without a Trace," "Cold Case," "Numbers," "Drop Dead Diva," "Suits," "Eureka" and "White Collar," as well as pilots for Fox's "The Good Guys" and the USA Network successful original series "Covert Affairs." In 1964, he provided the voice of the lead character in the cartoon program Jonny Quest, as well as the voice of "Jace" in the original animated series, Space Ghost. Matheson, along with business partner 'Dan Grodnik', bought National Lampoon in 1989, when the magazine was facing financial decline. They took the stock from two dollars to over six dollars, and sold it in 1991. In 1996, Matheson took on the role of a con man who claims to be Carol Brady's thought-to-be-dead husband in A Very Brady Sequel. Matheson was seen opposite Ryan Reynolds in the feature comedy National Lampoon's Van Wilder in 2002, playing the father of the title character, who was inspired by his own character in National Lampoon's Animal House, as a nod to the original film. Tim can currently be seen on The Netflix show Virgin River! Want to Watch: YouTube Meisterkhan Pod
Al & Val grapple with some deeper themes and ideas in Shia LeBouf's Tru ConfessionsTru Confessions (April 5th, 2002)IMDB WikipediaDirected by Paul Hoen (Luck of the Irish, You Wish!, Eddie's Million Dollar Cookoff, Jump In, Cheetah Girls, Dadnapped, Camp Rock 2, How to Build a Better Boy, ZOMBIES 1-3)Written by Janet Tashjian (only credit - wrote novel) & Stu Krieger (also wrote Zenon & all Zequals, Smart House, Phantom of the Megaplex, Poof Point, Gotta Kick it Up, Going to the Mat, Cow Belles - AND wrote The Land Before Time)Starring: Clara Bryant as Trudy Elizabeth "Tru" Walker (Under Wraps, Buffy the Vampire Slayer)Shia LaBeouf as Eddie Walker (Hounded, Even Stevens, Lawless, Transformers, Fury)Mare Winningham as Ginny Walker (St. Elmo's Fire, Turner & Hooch, ER, Grey's Anatomy, American Horror Story, The Affair, The Outsider, Dopesick)William Francis McGuire as Dr. Bob Walker (character actor)Nicole Dicker as Denise Palumbo (nothing past 2009)Kevin Duhaney as Jake (Angela Anaconda, Total Drama, Yani Gellman as Billy Meyer (Lizzie McGuire Movie, Young & the Restless, Pretty Little Liars)Craig Eldridge as Mr. Taylor (Queer as Folk, Covert Affairs, Murdoch Mysteries)Jennifer Foster as Judy "Deedee" Walker (Murdoch Mysteries, Schitt's Creek)Rahnuma Panthaky as Ms. Hinchey (Modern Family, Murdoch Mysteries)Colm Magner as Coach RiceArnold Pinnock as Dr. Dean CutlerSynopsis: When a local TV station launches a filmmaking contest, teenager Tru Walker (Clara Bryant) enters in a heartbeat. Her life seems full of drama to document -- including a surgeon father who's never there and a mother, Ginny (Mare Winningham), who seems as if she isn't there even when she is. In the end, Tru chooses to make a film about her mentally impaired twin brother, Eddie (Shia LaBeouf). But as airtime nears, Tru fears how others will react to her rather personal story.CORRECTION: In the episode it was said a few times that Mare Winningham won an Oscar, when she was actually just nominated. We apologize for the error.Next Movie: Get a Clue ★ Support this podcast on Patreon ★
Chris talks chats with us about the good times and the struggles involved in the world of acting and directing. Every lemonade came from lemons at some point. But it's what you do with the lemons that makes the difference.Even inside the rigorous demands of acting and directing, he is first and foremost a father and husband. His family is what ultimately brings him joy.Chris is known best for his work in "The Other Side of Heaven", "We Love You Sally Carmichael", "Covert Affairs", and "Lincoln Lawyer". Tune in to hear some stories told by Chris himself, we hope you enjoy this episode as much as we did!If you haven't seen any of his movies yet, they're definitely worth checking out!
The party prepares their ruse. Feel free to drop us a review on iTunes and cast Message to us over social media. Get your free Idle Champions Gold Chest using the code KIPE-HALM-MIDS. Code is valid from 5/30/2022 at 12:30 am ET thru 6/13/2022 at 12:30 am ET. You can find "Taking Initiative" at: Website: takinginitiativepodcast.com Twitter: @TI_Pod Discord: https://discord.gg/VS7F3Hd Twitch: https://www.twitch.tv/takinginitiativepodcast YouTube: https://www.youtube.com/channel/UCCwWvHLXdUS2G3RE7CRr71w The original artwork for the logo was created by Caio Santos (@BlackSalander). The theme song was created by Neil Martin (@BardicMartin) of "The Lucky Die." Thinking Music by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4522-thinking-music License: https://filmmusic.io/standard-license Investigations by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3924-investigations License: https://filmmusic.io/standard-license Pippin the Hunchback by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4219-pippin-the-hunchback License: https://filmmusic.io/standard-license Village Consort by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4585-village-consort License: https://filmmusic.io/standard-license Shades of Spring by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4342-shades-of-spring License: https://filmmusic.io/standard-license Fast Talkin by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3740-fast-talkin License: https://filmmusic.io/standard-license Covert Affair by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3558-covert-affair License: https://filmmusic.io/standard-license Bardy - College of the Maestro Bard by Matthew Mercer Moose - UA Beast Conclave Ranger by Wizards of the Coast Mortimer - Holy Heart Fighter by Anne Gregersen (Aaralyn's Stolen Notes to Velea), Rogue Multiclass Surreal - Path of the Storm Herald Barbarian by Wizards of the Coast, Fighter Multiclass Xel - Way of Time Monk by Drew Tillman All mentions to Dungeons and Dragons (D&D), including the 5e ruleset and the "Storm King's Thunder" module, refer to property owned by Wizards of the Coast (WotC). We do not own the rules or module. We just enjoy playing!
Lots of Star Wars info tell us about upcoming films and series. Disney tips its hand toward ads. A new Daredevil from the “Covert Affairs” creators. All that and more on Cordkillers! This week on It’s Spoilerin’ Time: Barry (305), Hacks (203-204), Better Call Saul (606)When we return on June 6: Barry (306-307), Hacks (205-208), … Continue reading Cordkillers 409 – What Isn’t a Cash Grab? →
Lots of Star Wars info tell us about upcoming films and series. Disney tips its hand toward ads. A new Daredevil from the “Covert Affairs” creators. All that and more on Cordkillers! This week on It’s Spoilerin’ Time: Barry (305), Hacks (203-204), Better Call Saul (606)When we return on June 6: Barry (306-307), Hacks (205-208), … Continue reading Cordkillers 409 – What Isn’t a Cash Grab? →
Lots of Star Wars info tell us about upcoming films and series. Disney tips its hand toward ads. A new Daredevil from the “Covert Affairs” creators. All that and more on Cordkillers! This week on It’s Spoilerin’ Time: Barry (305), Hacks (203-204), Better Call Saul (606)When we return on June 6: Barry (306-307), Hacks (205-208), … Continue reading Cordkillers 409 – What Isn’t a Cash Grab? →
Lots of Star Wars info tell us about upcoming films and series. Disney tips its hand toward ads. A new Daredevil from the “Covert Affairs” creators. All that and more on Cordkillers! This week on It’s Spoilerin’ Time: Barry (305), Hacks (203-204), Better Call Saul (606)When we return on June 6: Barry (306-307), Hacks (205-208), … Continue reading Cordkillers 409 – What Isn’t a Cash Grab? →
Let's be honest with each other - the chances of finding Shylock Helms and his grandson? Pretty slim at this point. The chances of us surviving whatever poisonous gas making its way into the toy shop? Even moreso. The chances that all this is a convoluted multi-level marketing sales pitch? Surprisingly high! With special guest DM Frank Rodriguez! Highlights: Tune in for Shenanigangs of Duskvol played in Blades in the Dark on twitch.tv/tavernaut every Sunday at 9 AM CST/ 10 AM EST - featuring Brian aka HelixMissionary, Sarah Moore, Gaskinator, Alex, and GM'd by Tavernaut. Keep an eye on our Twitter feed for updates about Deadlands: A Child's Lost Hope played in Deadlands Reloaded premiering in June - featuring Brian aka HelixMissionary, Kerri Smith, and Alex with The Marshal, Kevin Stacy of Game Knight Heroes. Also, check our Twitter feed for updates about an upcoming game played in Titan Effect premiering in June - featuring Brian aka HelixMissionary, PVincent, and Alex with GM Kerri Smith. Support here: Patreon - just $2/month! Sign up for an Audible Free Trial! Want to collab with us? Fill out the form! Listen here: Apple Podcasts - If we made you laugh, give us a review! Spotify - Be sure to follow and rate our show! Google Podcasts Podbean YouTube Follow us here: Twitter: twitter.com/twoscast Instagram: instagram.com/twoscast Facebook: facebook.com/twoscast TikTok: tiktok.com/@twoscast Music: Theme: "The River" by rolemusic Additional music/SFX licensed through Soundstripe. Covert Affair by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3558-covert-affair License: https://filmmusic.io/standard-license Faster Does It by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3741-faster-does-it License: https://filmmusic.io/standard-license Intractable by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3920-intractable License: https://filmmusic.io/standard-license Backed Vibes by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3410-backed-vibes License: https://filmmusic.io/standard-license Rollin At 5 by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/5000-rollin-at-5 License: https://filmmusic.io/standard-license Bass Walker by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3423-bass-walker License: https://filmmusic.io/standard-license Sound FX: freesound.org Contact Us: twoscastmail@gmail.com
The Frank Darling Detective Agency continues their investigation into the disappearance of the legendary detective Shylock Helms and Helms' grandson and the disappearance of Grotank Neeson's daughter and Grotanks Neeson's other daughters AND Grotank Neeson's wife AND the entire team's lack of employment benefits. With special guest Frank Rodriguez! Support here: Patreon - just $2/month! Sign up for an Audible Free Trial! Want to collab with us? Fill out the form! Listen here: Apple Podcasts - If we made you laugh, give us a review! Spotify - Be sure to follow and rate our show! Google Podcasts Podbean YouTube Follow us here: Twitter: twitter.com/twoscast Instagram: instagram.com/twoscast Facebook: facebook.com/twoscast TikTok: tiktok.com/@twoscast Music: Theme: "The River" by rolemusic Additional music/SFX licensed through Soundstripe. Covert Affair by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3558-covert-affair License: https://filmmusic.io/standard-license Faster Does It by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3741-faster-does-it License: https://filmmusic.io/standard-license I Knew a Guy by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3895-i-knew-a-guy License: https://filmmusic.io/standard-license Intractable by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3920-intractable License: https://filmmusic.io/standard-license Spy Glass by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4410-spy-glass License: https://filmmusic.io/standard-license Ultralounge by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/5010-ultralounge License: https://filmmusic.io/standard-license Sound FX: freesound.org Contact Us: twoscastmail@gmail.com
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