Podcasts about dear hollywood

Actress Alyson Stoner shares their deeply personal experiences of dealing with trauma, their childhood in Hollywood working with Disney, and the healing power of somatic therapy practices. Exactly what somatic therapy is + specific somatic practices that are game changing for anxiety and healing from trauma (05:29) What Alyson's experience growing up in Hollywood was REALLY like (16:36) The developmental, emotional, and financial challenges that child stars in Hollywood face (21:36) How much money actors really make (25:41) The downsides of fame and success that no one is talking about (29:49) The exact audition that led to Alyson taking a break from acting and going to rehab (32:13) Alyson's eating disorder rock bottom + how they've healed their relationship with their body over the years (35:09) And so much more For more from Alyson, you can find them on Instagram @alysonstoner. You can find their podcast Dear Hollywood wherever you listen to podcasts. For 1 Year Free Access to Movement Genius + an eBook of Mind Body Movement, use code LIZ at www.movementgenius.com.  To join The Liz Moody Podcast Club Facebook group, go to https://www.facebook.com/groups/thelizmoodypodcast. Ready to uplevel every part of your life? Order my new book 100 Ways to Change Your Life: The Science of Leveling Up Health, Happiness, Relationships & Success now!  This episode is sponsored by: LMNT: go to DrinkLMNT.com/LizMoody to get a free LMNT sample pack with any order. Puori: go to puori.com/LIZMOODY and use promo code LIZMOODY for 20% sitewide. Cymbiotika: use code LIZMOODY on cymbiotika.com to get 15% off plus free shipping on subscription orders. Olive and June: visit oliveandjune.com/LIZMOODY for 20% off your first Mani System.  Previous episodes referred to in this episode: How To Drink Less Without Feeling Boring, Judged, Or Stressed with Therapist Amanda E. White The Science Of Cravings + 3 Steps to Break Unwanted Habits with Dr. Jud Brewer Solving All Of Your Sleep Problems with Insomnia Expert Dr. Jade Wu The Liz Moody Podcast cover art by Zack. The Liz Moody Podcast music by Alex Ruimy. Formerly the Healthier Together Podcast.  This podcast and website represents the opinions of Liz Moody and her guests to the show. The content here should not be taken as medical advice. The content here is for information purposes only, and because each person is so unique, please consult your healthcare professional for any medical questions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Alyson Stoner is an actor, author, digital creator, and the founder of Movement Genius, a platform making mental wellbeing affordable, accessible and culturally relevant. Their top 10 podcast, Dear Hollywood, is dedicated to improving working conditions for young artists in the entertainment industry, and they are currently designing resources to support Creator Wellbeing.

Is it March? Yes. after all, you can celebrate black horror anytime of the year. The girls review Wes Craven's The People Under The Stairs. Based on an actual crime in LA, this film reveals the horrors in a landlord's home while touching on the struggles in the black community resulting from gentrification. Kypria talks about Ludacris & outrageous venue alcohol prices. Dana talks weird garden compost rules & is terrified of Goo Goo Dolls frontman's face John Rzeznik. Questions raised: Dear Hollywood, why is horror not Oscar worthy for nomination? Did you own music in the 90s with that famous black & white parental advisory sticker? Do you know what a viper in your bosom is?

Tubi, a popular streaming platform, has undergone significant changes in recent years, which have raised concerns about the impact on black filmmakers. In a podcast interview, industry experts discussed the evolving landscape of Tubi and how it might affect content creators of color. The panelists included Omega Keys, Tawan Bazemore, Hillard Guess, and Tiffany Yancy, who provided valuable insights and advice for black filmmakers navigating these changes. The Growth and Transformation of Tubi: Tubi was founded in 2019 and has since amassed close to 70 million subscribers. It became a haven for black talent, offering a platform for filmmakers who struggled to find a home elsewhere. However, as Tubi grows, it is changing its content offerings and partnerships. The panelists discussed the recent partnerships Tubi has entered into, including those with Warner Brothers Discovery, the NBA G League, Universal Media Group, and Vice, among others. These partnerships indicate a shift towards curated and exclusive content, similar to what happened with Netflix and Amazon in the past. Lessons from Amazon's Transformation: The panelists drew insights from Amazon's transformation, where the platform initially allowed anything and everything. However, as the platform evolved, it became more selective about the content it showcased. Omega Keys, who experienced Amazon's changes, emphasized the importance of improving the quality of films. Filmmakers were urged to enhance sound, lighting, and visuals to meet higher standards. Despite limited budgets, it was essential for black filmmakers to work within their means and produce higher-quality films to stay relevant on Tubi. The Cycle of Representation: Hillard Guess highlighted the cyclical nature of representation in the entertainment industry. After the viral response to the "Dear Hollywood" letter following George Floyd's murder, there was a surge in interest and support for black filmmakers. However, Guess warned that this attention might eventually fade, and the industry would return to its previous state. The panelists emphasized the need for black filmmakers to be aware of these cycles and continue pushing for sustained representation and opportunities. Staying Ahead of the Fray: To ensure their content remains relevant and accessible on Tubi, black filmmakers were advised to stay proactive. The panelists stressed the importance of continuously improving the quality of their work, adapting to evolving industry standards, and being mindful of shifts in the platform's content preferences. They encouraged black filmmakers to strive for excellence in all aspects of filmmaking, including writing, directing, editing, and post-production. By consistently delivering high-quality films, filmmakers of color can increase their chances of longevity on Tubi. As Tubi undergoes changes and forms partnerships with major industry players, black filmmakers must adapt and stay ahead of the evolving landscape. By focusing on the quality of their work and embracing opportunities for growth and improvement, these filmmakers can continue making an impact on the platform. While the entertainment industry's commitment to diversity and inclusion may wax and wane, the panelists highlighted the importance of perseverance and the continuous pursuit of excellence in order to succeed in the ever-changing world of streaming platforms like Tubi. ======= Submit Your Film to Our Film Collective: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ifapfilmcollective.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Connect With Floyd Marshall Jr: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/floydmarshalljr⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠tiktok.com/@floydmarshalljr0⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FlodyMarshallJr⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/aconversationwithfm/message Support this podcast: https://podcasters.spotify.com/pod/show/aconversationwithfm/support

Hollywood is in for a RUDE awakening in 2024. The box office offerings look weak, with only a handful of tentpole movies having a chance at cracking $500 million globally. Analysts are blaming the SAG-AFTRA and WGA strikes at delaying content output, but the content that's coming looks pretty lackluster. Is this Hollywood's year of reckoning? Additional Context: The 2024 Hollywood box office outlook is significantly influenced by the aftermath of the SAG-AFTRA strike, which ended recent Hollywood labor disruptions. The strike has already made a noticeable impact on Hollywood's bottom line at the box office. Movies that are currently hitting theaters are reportedly losing out on as much as 15 percent of their box office potential due to the lack of actor-driven publicity. This is particularly significant as the impacts of the WGA and SAG-AFTRA strikes have been mostly deferred, with a months-long gap in the production pipeline expected to become a real problem in the near future, especially for studios dependent on box office revenue​​. As studios scramble to save their 2024 projects, the film industry is now facing a backlog of projects and strained resources, including visual effects houses. Major releases affected by the strike include high-profile titles like "Deadpool 3," "Venom 3," "Twisters," and "Gladiator 2." Studios had to negotiate under high pressure to save the 2024 summer release calendar. Several major titles, including "Snow White" and "Elio" by Disney, have been delayed by months or even a year. The box office suffered a notable drop due to the lack of new releases during the strike, and this downturn is expected to continue into the first quarter of 2024 despite the resolution of the strike. The industry is now in overdrive to get their tentpoles ready for summer 2024 and beyond, which requires a Herculean effort due to the backlog of projects​​. Overall, the impact of the SAG-AFTRA strike on the 2024 Hollywood box office is significant. It has led to schedule disruptions, delays in major releases, and a potential decrease in box office revenues. The industry is now working to navigate these challenges and recover from the effects of the strike. About Us: Clownfish TV is an independent, opinionated news and commentary channel that covers Entertainment and Tech from a consumer's point of view. We talk about Gaming, Comics, Anime, TV, Movies, Animation and more. Hosted by Kneon and Geeky Sparkles. Disclaimer: Opinions expressed by our contributors do not necessarily reflect the views of our guests, affiliates, sponsors, or advertisers. Clownfish TV is an unofficial news source and has no connection to any company that we may cover. This channel and website and the content made available through this site are for educational, entertainment and informational purposes only. These so-called “fair uses” are permitted even if the use of the work would otherwise be infringing. #Movies #Disney #Podcast #Comedy #Entertainment #Hollywood #PopCulture #Tech

Be first to learn more about the Artist Well-being Toolkit here: https://www.movementgenius.com/artist-wellbeing-toolkit Bring our team to your production or performance company. Email DearHollywoodPodcast@gmail.com. Bring Movement Genius to your workplace. Email hello@movementgenius.com. 50% off Movement Genius for 250+ classes and tools to care for your mind, body and emotions: https://bit.ly/DearHollywood50 Thanks for tuning into the first season of Dear Hollywood. As we deconstruct the toddler-to-trainwreck pipeline, what can we do to better support child performers in the entertainment industry? What role do you play? Alyson presents strategies for intervention and prevention at every level - the individual and family unit, production companies, union standardization, legislation, audiences at home, and larger cultural shifts. This is only the beginning of a movement. See you soon for season two. Subscribe and follow @alysonstoner to join the conversation. Video filmed and edited by @crispychickenco.

Child star and Disney actor/dancer/singer Alyson Stoner (they/them) exposes the truth about child stars. Alyson shares the lawless Wild West that is young Hollywood, how it affects child stars now as well as influencer children, and their struggles with food as a coping mechanism. For more, check out Alyson's excellent new podcast, Dear Hollywood.Produced by Dear MediaThis episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct, or indirect financial interest in products, or services referred to in this episode.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Alyson Stoner is a household name and memorable childhood actor who starred in Cheaper By The Dozen, Camp Rock, and Step Up! They've amassed millions of fans throughout the years and been in the entertainment industry for over a decade. Despite massive success on the surface, Alyson reveals what was really going on in Hollywood… especially as a child star. Alyson's new podcast “Dear Hollywood” is a tell all about the secretly toxic environment behind the scenes. In this episode, you'll get a behind the scenes look at what it was really like growing up on Disney Channel with peers like Miley Cyrus, Demi Lovato and Selena Gomez. Alyson and Victoria also talk about their journeys with disordered eating, the turning points in their career that forced them to prioritize their mental health, and how they've established more balance. Alyson is intelligent, inspiring and has incredible stories many of us can relate to about cultivating resilience through rewiring our brains and speaking our truths.Instagram: @alysonstonerPodcast: Dear Hollywood https://podcasts.apple.com/us/podcast/dear-hollywood/id1699053001Sponsored byJenni Kayne: Get 25% off your first order when you use our exclusive link, jennikayne.com/REALPODAG1: I drink this every single day - www.drinkAG1.com/realpod.BetterHelp: www.betterhelp.com/realpod for 10% off your first month.Storyworth: Go to StoryWorth.com/realpod and save $10 on your first purchase!Cozy Earth: Home to my all-time favorite bedding and my wedding pajamasProduced by Dear MediaThis episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct, or indirect financial interest in products, or services referred to in this episode.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Disney star Alyson Stoner joins me on the podcast this week to talk about their own personal journey with anxiety and what they are doing now to help youth overcome anxiety and mental health struggles. Behind the scenes, Alyson suffered from a variety of health conditions that affected every area of their life. Their personal healing journey led them to their truest passion, studying the mind-body connection and creating tools alongside experts that help people heal and empower themselves. Alyson Stoner is a multi-disciplinary artist known for their on-screen acting, dancing, singing work in 200+ TV shows, movies, and music videos, and as an online content creator and health advocate. Appearing in franchises such as Step Up and Camp Rock to dancing with the likes of Missy Elliott and Eminem, Alyson has been producing their own content since their late teens, including the Simplexity podcast and mental health platform Movement Genius, building a growing online community of 5.2m+ folks. Much of Alyson's passion is invested in advocating for improved mental health resources and long-term prevention strategies for youth and underrepresented communities. They're currently working on concrete solutions that support artists and entertainers who face unique psychological, physical, professional, financial, and social challenges. Their "Toddler-to-Trainwreck" video is an introduction to a much larger and urgent conversation that they hope to address in Dear Hollywood. Dear Hollywood is a tell-all podcast about the “toddler-to-trainwreck” pipeline that young artists face in the entertainment industry. Following their viral op-ed, host Alyson unpacks the cultural phenomenon of child stardom from the most comprehensive, illuminating vantage point ever offered. Incorporating expertise from child development specialists, artist-to-artist conversations with famous child performers, and Alyson's own never-been-shared stories, the audience is invited into a powerful and proactive conversation around high-performing children, while simultaneously gaining deep insight and wisdom for their own journey towards healing and self-empowerment. New episodes Friday. Subscribe & follow @alysonstoner to join the conversation. Listen to the Podcast Here: Spotify: https://open.spotify.com/show/3XhCWlROLvRYfTiXrQfwk2 Apple: https://podcasts.apple.com/us/podcast/dear-hollywood/id1699053001 YouTube: https://youtube.com/playlist?list=PLD9cqoP3xxcGiJKHxWwS0kO1EAqSf-qDE Check out Movement Genius Here: https://www.movementgenius.com/

Watch the video version of this podcast on Youtube here: https://www.youtube.com/watch?v=ONVJYtkgAqU 0:00 - It's A Tragedy This Movie Didn't Win Best Picture 16:51 - Big Difference Between 80's Movies And The Movies Today 25:05 - Biggest Difference Between A Bad Movie And A Great Movie 38:22 - One Rule Filmmakers Should Never Forget 49:30 - Why Do Comic Book Movies Dominate The Box Office 1:03:46 - A24 Is The Greatest Indie Studio Of All Time 1:04:59 - Death Of The Movie Critic 1:18:35 - 5 Movie Titles 1:25:57 - Why Great Directors Don't Win Oscars 1:40:54 - Why Are Netflix's Biggest Movies NOT In Theaters? 1:55:57 - Why Critics Don't Want Movies To Fail 2:02:36 - Why Popular Movie Franchises Fail Erick Weber is Editor-in-Chief of AWARDS ACE. He is also founder of Midnight Movie Talk with Erick Weber on Youtube where discusses the movie industry every Sunday, Tuesday and Thursday night at Midnight. SUBSCRIBE TO ERICK WEBER'S YOUTUBE CHANNEL https://www.youtube.com/ErickWeberEdition CONNECT WITH ERICK WEBER https://www.awardsace.com https://www.youtube.com/ErickWeberEdition https://twitter.com/ErickWeber https://www.instagram.com/erickweber VIEWERS ALSO WATCHED What Hollywood Is Getting Wrong And How We Can Fix It - https://youtu.be/Q9UrlGBgQqE Honest Truth About Movie Criticism - https://youtu.be/zlApLDUOHu0 "Dear Hollywood..." - https://youtu.be/s15n-Idjd8Y Why Do Hollywood Movies Cost So Much Money? - https://youtu.be/I62pD0QRC-Q No One Cares About The Movies You Like - https://youtu.be/LBlJiK3h2hc 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 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) SAVE $15 ON YOUTUBE TV - LIMITED TIME OFFER https://tv.youtube.com/referral/r0847ysqgrrqgp ►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 AUDIO Rode VideoMic Pro - The Rode mic helps us capture our backup audio. It also helps us sync up our audio in post https://amzn.to/425k5rG Audio Recorder - If we had to do it all over again, this is probably the first item we would have bought - https://amzn.to/3WEuz0k LIGHTS - Although we like to use as much natural light as we can, we often enhance the lighting with this small portable light. We have two of them and they have saved us a number of times - http://amzn.to/2u5UnHv *These are affiliate links, by using them you can help support this channel. *These are affiliate links, by using them you can help support this channel. You can show additional support via our Youtube sponsor tab by going here: https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join Or through Patreon here - http://www.patreon.com/filmcourage. Thank you for listening! We hope you've enjoyed this content.

Want to see the video version of this podcast? https://youtu.be/N0-nPVAGCCU?si=eNJgA0g0XcCZJLyR 0:00 - Chris Gore's Top 10 Movies Of All Time (Unofficial) 12:30 - Independent Filmmakers Need To Cast Better 18:34 - How To Kill An Iconic Character 32:43 - Why Are There So Many Bad Hollywood Sequels 49:05 - Why 99% Of Movies Today Are Garbage (Part 2) 58:52 - Why Do We Love Bad Movies 1:09:16 - What If Chris Gore Ran A Movie Studio? Chris Gore is a writer, comedian, author and television personality who has built a solid reputation as a hilariously outspoken voice in the entertainment world. As a teenager, Chris founded the brutally honest magazine Film Threat, which began as a fanzine while he was a college student in Detroit. As Film Threat evolved into a respected national magazine, he relocated to Los Angeles. The print magazine was retired in 1997 when it was re-launched as a web site. FilmThreat.com found a huge audience online and was named one of the top five movie web sites by the Wall Street Journal. Chris has appeared as a film expert on MSNBC, E!, CNN, Travel Channel, and Reelz Channel. BUY THE BOOK - CHRIS GORE'S ULTIMATE FILM FESTIVAL SURVIVAL GUIDE, 4TH EDITION: The Essential Companion for Filmmakers and Festival-Goers (Chris Gore's Ultimate Film Festival Survival Guide) - https://amzn.to/3e69S7m BUY THE BOOK - THE 50 GREATEST MOVIES NEVER MADE https://amzn.to/3tvKTkg MORE VIDEOS WITH CHRIS GORE https://bit.ly/3lcbuSm CONNECT WITH CHRIS GORE https://filmthreat.com VIEWERS ALSO WATCHED How Chris Gore Turned His Movie Passion Into A Film Career [FULL INTERVIEW] - https://youtu.be/zKb5HN4uZxA What Hollywood Is Getting Wrong And How We Can Fix It - Chris Gore [FULL INTERVIEW] - https://youtu.be/Q9UrlGBgQqE?si=lsfbnJrmyar8C3LG "Dear Hollywood..." - Chris Gore [FULL INTERVIEW] - https://youtu.be/s15n-Idjd8Y?si=yp-XLw80hlFRtKBq 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 SUPPORT FILM COURAGE BY BECOMING A MEMBER https://www.youtube.com/@filmcourage SUPPORT FILM COURAGE BY BECOMING A PATRON https://www.patreon.com/filmcourage LISTEN TO THE FILM COURAGE PODCAST https://soundcloud.com/filmcourage-com (Affiliates) ►WE USE THIS CAMERA (B&H) – https://buff.ly/3rWqrra ►WE USE THIS EDITING PROGRAM (ADOBE) – https://buff.ly/44FYkAk ►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 AUDIO Rode VideoMic Pro - The Rode mic helps us capture our backup audio. It also helps us sync up our audio in post https://amzn.to/425k5rG Audio Recorder - If we had to do it all over again, this is probably the first item we would have bought - https://amzn.to/3WEuz0k LIGHTS - Although we like to use as much natural light as we can, we often enhance the lighting with this small portable light. We have two of them and they have saved us a number of times - http://amzn.to/2u5UnHv *These are affiliate links, by using them you can help support this channel. Please subscribe to our Youtube channel. You can show additional support via our Youtube sponsor tab by going here: https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join or through Patreon here - http://www.patreon.com/filmcourage. Thank you for listening! We hope you've enjoyed this content.

In the kickoff episode of Dear Hollywood, Alyson introduces the toddler-to-train wreck pipeline, a century old system involving child entertainers who enter the industry with pluck and promise, only to repeat similarly tragic downward spirals. Alyson discloses insights from a confidential meeting with multiple generations of former child actors, and provides the contextual framework through which we can investigate the events and elements contributing to their demise. As an independent podcast, your support means a lot. Subscribe and follow @alysonstoner to join the conversation. New episodes every Friday.

Why do child stars repeatedly suffer the same horror stories of drug addiction, psychiatric hospitalizations, decimated fortunes, sexual trauma, incarceration, and even suicide? It's time to expose Hollywood and deconstruct the toddler-to-train wreck pipeline once and for all. Former child celebrity turned mental health founder Alyson Stoner presents the first intimate and comprehensive breakdown of what goes on behind the scenes of your favorite shows, along with impact strategies for intervention, prevention, and accountability in the entertainment industry. Every week, hear personal accounts from the sets of the most iconic tv series and movies of the 2000s, plus cross-disciplinary expertise on how these moments actually apply to your own life path and healing. Plot twist: you, the audience, play more of a role than you've ever been told. And together, we can collectively change the system not only to protect the safety and wellbeing of young artists, but also everyone watching at home. Prepare to know Hollywood - and yourself - in ways you didn't expect. Going live in 3, 2, 1…  New episodes Friday. Subscribe and follow @alysonstoner to join the conversation.

Hilliard Guess is one the busiest people in HollyWood. Along with being an accomplished screenwriter, he's also a director, producer, documentarian and a show runner. He also dedicates his time to the committee of black writers, mentoring up and coming writers and so much more. We touched on all the great work he's doing and we took a deep dive into the WGA Writers strike. Tune in! Watch Here: https://www.youtube.com/embed/lCOef8HqGLs Hilliard Guess Short Bio: Hilliard is a writer/producer who has written on shows such as The Russo Bros SYFY series DEADLY CLASS and is was recently the EP/Showrunner of the indie digital series TICKER (which won Best Series at the 2021 World International Film Festival). He has made a name for himself in the indie world and has built a strong career that's made him invaluable, managing sets in numerous writers/development rooms and producing TV/Film from script-to-screen. Currently, Hilliard is the Director of Development/Producer at Showrunner Ben Watkins' Blue Monday Productions. He is a powerful voice in the writing community, promoting diversity and inclusion and dedicates his time to the WGAW (Co-Chair - Committee of Black Writers (he co-penned the viral article DEAR HOLLYWOOD in 2020 https://deadline.com/2020/06/wga-west-committee-of-black-writers-co-chairs-call-on-hollywood-to-revolutionize-the-way-our-industry-hires-writers-1202958013/), Co-chair of The Education Committee and he's also a member of the LGBTQ+, Latinx and Genre Committees. Hilliard is building a name for himself across social media as the longtime host/moderator of the popular Screenwriters Rant Room, as well as the WGAW 3rd & Fairfax podcasts where he interviews A-list writers/producers from our favorite films and TV shows. Submit Your Film to Our Film Collective: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ifapfilmcollective.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Connect With Floyd Marshall Jr: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/floydmarshalljr⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠tiktok.com/@floydmarshalljr0⁠⁠⁠⁠⁠⁠⁠⁠⁠ Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠FlodyMarshallJr⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/aconversationwithfm/message Support this podcast: https://podcasters.spotify.com/pod/show/aconversationwithfm/support

Dear Hollywood, If you insist on making a film that shows exactly what you think of fat people, couldn't you at least use a fat actor? Please read Lindy West's article written for The Guardian discussing just how awful this movie is here: "The Whale is not a masterpiece – it's a joyless, harmful fantasy of fat squalor." --- Support this podcast: https://podcasters.spotify.com/pod/show/biggerthanme/support

The boys discuss the Hollywood reporters' ranking of reviewed marvel films, they also say goodbye to the green ranger. Then we end it all with some love that's Cap'n Crunch making pies!

LeBron James signs a new contract, and as the ink was drying JT & Looney were able to react. Plus: Looney -- who likes to boast that he never sees a bad movie -- SAW A REALLY BAD MOVIE. Find out what movie to avoid ...

Hark Listener! Paul Gonzalez is here to talk about his hobby of writing independent movie reviews. You can read them by friending him on Facebook and you can follow him on Instagram. Topics this week include: Paul convinces me to try a new intro and it's so much better. What Ya Playing? (a recurring theme of the show). Movies aren't the first thing that Paul reviewed and the lead singer from Otep will probably send us an angry email. Irresponsible fathers allowing kids to watch R rated movies way to young (another recurring theme of the show). Everyone should see Battle Royale and Oldboy. What got you to do the first movie review? Dear Hollywood, use practical effects. The rules of writing reviews. Oscar Talk and what a Best Picture should be. Dear America, quit paying to see the same stupid stuff over and over again. Marisa Tomei is forever hot. Paul reveals his favorite horror franchise. Stop watching bad syndicated TV shows. MOR-TAL KOM-BAT!!! The worst thing that Paul has reviewed. If you haven't seen Sleepaway Camp, go watch it so we don't ruin it for you. Balling out and renting movie theaters. The future of Paul's reviews.  Beers for this episode include "Until There is No Longer" IPA by Burial Beer Co, "#blessed" NEIPA by Streetside Brewery, "Shady When I Strut" DIPA by Short Throw Brewing Co, and "Head Hunter" IPA by Fat Head's Brewery. 

Ghostbusters: Afterlife – Movie Review 124 Minutes, Rated PG-13 Written by Jason Reitman and Gil Kenan Directed by Jason Reitman   Synopsis: When a single mom and her two kids arrive in a small town, they begin to discover their connection to the original Ghostbusters and the secret legacy their grandfather left behind. “Dear Hollywood, […]

How many times have you worked on a project that set an impossible schedule and you felt responsible for meeting ridiculous demands? How many times have you met those demands hoping you would be rewarded for the amazing feat you accomplished...only to be asked to do it again tomorrow except faster, better, and cheaper? These situations have unfortunately become the rule instead of the exception which is why I often say that Hollywood is where yesterday's miracle becomes today's expectation. Today's episode is a very candid community Q & A on the topic of setting boundaries and expectations. I gathered my Optimizer coaching & mentorship students to have a frank and honest discussion about the realities we're facing on the job and how we can take action to ensure that our time & expertise are not being exploited. As daunting as it may seem, change will only happen from the bottom up - we cannot rely on union contracts to set the boundaries for us from the top down (because frankly a lot of the boundaries we need are already in writing, they are just exploited, ignored, and outright abused). Change happens one person at a time, but if we're all going to collectively change the toxic work culture in the entertainment industry, we'll have to lock arms and do it together - across guilds, crafts, union and non-union alike. This conversation is all about the practical steps we can take to create a better future for ourselves and the next generation of artists, filmmakers, and storytellers who will come after us. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode   Here's What You'll Learn: Jeff Castellucio shares a recent story of an unreasonable schedule for a movie he worked on. Our thoughts on why unreasonable schedules and deadlines keep happening. The inherent problem with working freelance jobs and how our anger is often misplaced. Phil Habeger shares how he struggles between wanting to set boundaries and wanting to deliver and be a team player. Understanding the psychology behind our guilt despite knowing that it's not our fault. How the content machine is killing us all. Anything less than 'eager optimism' makes us the problem. The unrealistic expectations become a challenge and we get stuck in a cycle of trying to be the hero. How do we balance the idea that when we start our careers we have to do extra work to prove ourselves but once we "make it" we are expected to know how to set boundaries? KEY TAKEAWAY: Remember the triangle of good, fast, cheap: pick 2. Red flags to look for before taking a job. Questions to ask in the interview for a job to help determine what the environment will be like. The difference between being taken advantage of and “paying your dues”. The problem of being exploited and taken advantage of in the workplace. We need to set up systems for ourselves so that we have the stability and security to say no to the people who take advantage of us. Paul Del Vecchio tells a story of how he set a boundary and it worked out in his favor. How I handle unrealistic schedules and talk to producers about making a workable solution. The three takeaways and solutions discussed to setting boundaries and making real change. Matt Nix chimes in with a show runner's perspective to underscore how important it is to work with the right people. Useful Resources Mentioned: IATSE Stories (@ia_stories) • Instagram photos and videos (7) IATSE Contract Forum | Repeat after me: “Your inability to properly budget and schedule this project is not my problem.” | Facebook Ep75: The Four Tendencies' (aka ‘The Matrix' For Understanding Yourself & Others) | with Gretchen Rubin Ep113: The Importance of Setting Boundaries, Advocating For Yourself, and Asking For Help | with Janace Tashjian Continue to Listen & Learn I Was Tired of Putting My Kids to Bed via FaceTime Every Night. Here's What I Did About It. Dear Hollywood...We Create Entertainment For a Living. We're Not Curing Cancer. Dear Hollywood: We Don't Want to “Go Back to Normal." Normal Wasn't Working. Ep128: How to Have a Successful Career Without Sacrificing Family | with Farrel Levy Ep142: Michelle Tesoro (ACE) On Playing Chess With Your Health & Well-Being (Pt2) Ep106: On the Vital Importance of "Being Nice" | with Jesse Averna, ACE Ep112: On Signing COVID Waivers, Kit Rental Fees, and Working Humane Hours | with Cathy Repola, MPEG National Executive Director Ep136: Promoting Mindfulness, Well-Being, and Sanity In the Edit Bay | with Kevin Tent, ACE Ep144: Redefining What It Means to Be “Productive” (and Aligning Your Values With Your Time) | with Tamara Torres Tired of Holding it Together All the Time? Here are Five Basic Needs to Get You Back On Track Ep118: Legendary Editor Walter Murch On Optimizing Creativity, Productivity, and Well-Being In Hollywood For 50+ Years Ep55: How Tiny Changes Can Create Remarkable Results | with James Clear Ep132: How to Pursue Fulfilling Work and Find Your ‘Calling' | with Dr. Tal Ben-Shahar Our Generous Sponsor: This episode was brought to you by Ergodriven, the makers of the Topo Mat (my #1 recommendation for anyone who stands at their workstation) and now their latest product. New Standard Whole Protein is a blend of both whey and collagen, sourced from the highest quality ingredients without any of the unnecessary filler or garbage. Not only will you get more energy and focus from this protein powder, you will notice improvements in your skin, hair, nails, joints and muscles. And because they don't spend a lot on excessive marketing and advertising expenses, the savings gets passed on to you. Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

» Read & Share the full article HERE One of the best pieces of advice I've ever received from a friend & mentor is the following: “Don't let others determine your value. Only you can determine your value.” Unfortunately the idea that we as creative professionals are undervalued for the unique contributions we bring to the entertainment industry is not a new one. For decades we have been considered replaceable widgets that are expendable. As legendary editor Walter Murch explained in our podcast together, several decades ago when approaching a studio executive to address the extreme working conditions, relentless stress, and impossible deadlines on a big budget tentpole film he was editing, he described the situation as: “People are dropping like flies.” The studio executive simply replied with: “Then get more flies.” We've now reached an impasse where decades worth of delivering miracles has become today's expectation, and how we function as a collective industry is no longer sustainable. Finally….FINALLY we have the opportunity to change how we live and work in the entertainment industry. But the only way things will change is if there are simply “no more flies” because we've all collectively decided to advocate for our needs and say ‘NO' to the impossible expectations asked of us every single day. Unfortunately as much as I want to believe we finally have the power to affect positive change, my greatest fear is those of us who value our work-life balance and our lives beyond our paychecks are still the vocal minority fighting against a much larger majority clutching their “golden time” in their cold, (nearly) dead hands. The only way for us to become the majority is to share with everyone who will listen – union, non-union, above the line, below the line, or otherwise – why we are fighting, how we ended up here, and why we deserve respect. But first… It's Gut Check Time I don't care what anyone has told you in the past about the brutal realities of what it really takes to “make it” in Hollywood or the necessity to “pay your dues” at the expense of your own life (figuratively or literally), the truth is: We deserve to love what we do for a living…but not at the expense of our health, our relationships, or our sanity. It doesn't matter if you're a PA getting coffee or if you're a department head with decades of experience, you as a human being deserve to be respected for your contribution to a project and valued accordingly. You are not obligated to show gratitude for the meal penalties and the endless 6th & 7th days in your paycheck earned at the expense of skipping lunches, sleeping on a couch or on apple boxes at hour 18 of the day/night, having to pee in bottles because you can't leave your post, or the countless missed medical appointments because there simply “isn't time in the schedule.” You don't have to consider yourself “lucky” for the opportunity to work in Tinsel Town at the expense of not being able to start a family or missing countless once-in-a-lifetime memories like weddings, funerals, birthday parties, and kids' recitals simply because whoever manages the budgets is completely incapable of building a schedule designed to set everyone up for success instead of failure. You don't need to sacrifice sleep, recovery time, and throw away entire relationships just so you can “suck it up” and wear your burnout badge of honor proudly alongside your colleagues who are literally shaving years off their lives simply to maintain a lifestyle they couldn't afford if they worked more humane hours. I've been saying for years that I don't believe work-life balance is a union issue, it's a human issue. But guess what – right now it's a union issue. And for those of you in the union like me, here comes the gut check: Are you willing to speak up for the respect you deserve? Because if you're not willing to speak up right now and advocate for more reasonable working conditions and compensation commensurate with your contributions, the way things are at this moment is the best it's ever going to be again. The current version of Hollywood and the entertainment industry as we know it will be dead. Here's Why We Are Fighting » Continue Reading & Share the full article HERE

Mantis tell us why the youth's are stopping him from living his life. We gush about Snow Day, Ted Lasso, Deep Blue Sea, Last Action hero, and why Austin Powers sucks. We talk trailers for Prisoners of the Ghostland, A Journal for Jordan, Time is Up, Dating and New York, The Nowhere Inn, and Worth. Make sure to follow us on social media @DopeFlix_ThePod

Michael J. Arbouet talks with Michelle Amor who  co-wrote PLAYIN' FOR LOVE, directed by and starring Robert Townsend (FIVE HEARTBEATS, HOLLYWOOD SHUFFLE) and Jenifer Lewis (BLACK-ISH), wrote OF BOYS & MEN starring Academy® Award-nominated actress Angela Bassett (BLACK PANTHER) and Robert Townsend, and co-produced and co-wrote the documentary film TUPAC SHAKUR: BEFORE I WAKE. In November 2019 she and collaborator Ali LeRoi (EVERYBODY HATES CHRIS) sold her one-hour drama THE HONORABLE to CBS, a project inspired by her childhood in Chicago.Amor is serving her third elected term as co-chair of the WGAW Committee of Black Writers (CBW), whose mission is to create career and networking opportunities for Black writers in Hollywood. She was the lead author of the committee's ”Dear Hollywood” letter released on June 12, 2020, which demanded sweeping changes in the business to end systemic racism in media and entertainment.Her projects have garnered numerous accolades. PLAYIN' FOR LOVE debuted on the UP Cable Network in July 2015; on the Urban Movie channel in November 2015; was released on video and Amazon Prime in February 2016; played on Magic Johnson's Aspire TV in November 2016; and aired on Bounce TV in January 2017. Her film OF BOYS & MEN won Best of the Fest at the 2008 Chicago International Film Festival and was the 2008 Pan-African Film Festival's Centerpiece Selection. It was released on Warner Bros Home Video in 2011. TUPAC SHAKUR: BEFORE I WAKE sold 4 million copies worldwide.  Michelle has developed stories, written scripts for, and has had original work optioned by veteran producer Todd Garner, Academy® Award-nominated director Lee Daniels, and international film company Atlas Entertainment, R&B singer Michel'le, and Academy® Award-winning producer Al Ruddy (The Godfather & Million Dollar Baby). She is currently shopping a TV drama series with New York Times bestselling author Shaka Senghor (Writing My Wrongs). She's also developing numerous other film and TV projects. A proud native Chicagoan, she resides in Los Angeles with her family.Support the show (https://www.patreon.com/quidditasfactor)

Michelle Amor is a screenwriter and professor and last year she sold her show called THE HONORABLE to CBS. A one-hour drama about the city's third elected Black mayor, a family woman of integrity, and a novice to politics, who rises from childhood poverty to the most powerful seat in the most politically corrupt city in the nation. Her other credits include PLAYIN' FOR LOVE, OF BOYS & MEN, and TUPAC SHAKUR: BEFORE I WAKE, and this was all before finishing her degree. She is also a passionate Clinical Assistant Professor of screenwriting at Loyola Marymount University, and she was honored in Variety's Entertainment Education Impact Issue as a “top educator around the world”. She is also serving her fourth elected term as co-chair of the Committee of Black Writers in the WGA, whose mission is to empower, increase visibility, and create career and networking opportunities for Black writers in Hollywood. In June 2020, Michelle penned an open letter titled Dear Hollywood addressing systemic racism that went viral. We will talk about that too. We talk all about her decision to move west to pursue her dream, raising a family while doing it, and what it means to be black in Hollywood and how the system needs to change.

Dear Hollywood, start watching these fan films for homework and motivational purposes, and learn a thing or two... Or several. The X-Men series needs the people involved here to have parts in the mainstream series reboot. Seriously. Enjoy, folks.

» Read & Share the full article HERE When I published my article Dear Hollywood: We Don’t Want to ‘Go Back to Normal.’ Normal Wasn’t Working I was absolutely floored by the response as I watched it spread like wildfire across social media in all sectors of the entertainment industry. I honestly never thought this message would ever reach beyond my tiny little (windowless) corner of the post-production world. From 2nd assistant directors in Mexico City to makeup artists in North Carolina to corporate video editors in Germany to accountants in Japan, not to mention countless directors, producers, and even actors (Skinny Pete, yo!), I’ve heard from people on all six continents. From marketing to features to advertising to television to documentary, above-the-line and below-the-line, union and non-union alike - the idea of nobody wanting to go back to ’Normal’ clearly struck a nerve. Once again, Hollywood...sorry not sorry. As I said in my interview with Cathy Repola, National Executive Director of the Motion Picture Editors Guild (Local #700): This is not just a union issue. This is a human issue. We all seem to be in universal agreement the way we did things pre-pandemic in the entertainment industry wasn’t working. Since sharing my own list of what I believed wasn’t working, I’ve received hundreds of messages and included many of your personal stories about what hasn’t been working in your lives. (Here’s the full list of the personal stories people have shared with me anonymously). There are countless important issues unique to people’s circumstances that clearly need to be addressed. But regardless of age, gender, race, ethnicity, sexual orientation, socioeconomic status or otherwise, there is one fundamental core issue driving the vast majority of the problems in the entertainment industry that needs to be addressed now: The hours we work. Time is the ultimate equalizer. We all have the same 24 hours a day and 7 days per week. And we all universally agree we don’t have enough time to do our jobs properly without sacrificing our relationships, our health, or our sanity in the process (not to mention those who have literally given their lives for the sake of entertainment). Hollywood, it’s time for a much-needed (and overdue) intervention. As I stated in my previous article, for the first time in cinema history we’re no longer “building the plane while flying it,” the plane is in the hangar and we have the opportunity to make significant upgrades. And where we need to start is rewiring the expectations of how many hours per week it really takes to create entertainment (Reminder: We’re not curing cancer). I believe that not only CAN we find a solution to make 45 hours the new standard workweek in Hollywood, but also because of Covid-19 we no longer have any choice; we MUST make 45 hours the new standard. Both our livelihoods and our lives literally depend on it. Want your voice to be heard? Click here to sign the Change.org petition to support a 45-hr week in Hollywood » Read & Share the full article HERE

Hilliard, Lisa, and Chris have a no-holds-barred discussion about the viral Letter to Hollywood that went out to the industry a few weeks ago which revolutionizes the way our industry hires Black Writers -- by Co-chairs Michelle Amor & Hilliard Guess & Vice-chair Bianca Sams of the WGAW Committee of Black Writers! READ THE LETTER HERE Support the Show become a subscriber on Patreon Show your fandom with a Rant Room T-Shirt Media Response to CBW Letter Kirk Moore's LA Times Interview Washington Post Article Hollywood Reporter Article CINEMA EUROPE documentary series Episode One Episode Two Episode Three Episode Four Episode Five Writing and Entertainment podcasts we hope you enjoy! Alex and Nick's PaperTeam podcast Pilar Alessandra's On The Page podcast Connect with Us on Social Media Chris Derrick on Twitter Lisa Bolekaja on Twitter Hilliard Guess on Twitter The Screenwriters Rant Room on Facebook The Screenwriters Rant Room on Twitter This episode is brought to you by http://www.avgearguy.com/. Mention the Screen Writers' Rant Room for 5% off your next order.

Poker in movies and TV sucks. I feel compelled to yell about it.

Dear Hollywood, I have something I desperately need to share with you. You might find it surprising coming from a 20-year veteran who owes his livelihood to you. But it needs to be said. I apologize if this upsets you (actually….sorry not sorry). Your shows are not worth dying for. This is not the first time I have expressed my frustration with the insane way in which we approach our livelihoods in this industry – the ridiculously long hours, the chronic sleep deprivation, the complete and utter lack of work-life balance, and the families, marriages, and lives that are destroyed (or taken way too early) by the perpetual content machine that is/was Hollywood. In fact, I’ve spent the last six years screaming from the rooftops into any megaphone I can find that we create entertainment for a living…we’re not curing cancer!!! Sure, we all agree that things could be better in the entertainment industry, and we’re all doing our best to make small changes here and there, but up until a few months ago we were all just “too busy” to really examine what fundamental changes must be made from the ground up to better protect the livelihood of the craftspeople who sacrifice their health, their personal lives, and their sanity all for the noble pursuit of creating more content. Then Covid-19 came along and changed the game. Since the pandemic began the entertainment industry worldwide has watched from the sidelines crippled, lifeless, desperately scrambling to figure out what protocols to put in place so we can go back to work while simultaneously protecting workers from becoming infected. Whether it’s the Cinematographer’s Guild, the Editor’s Guild, the AMPTP, the AFL-CIO, the DGA, SAG-AFTRA, and IATSE, or OSHA, (and if you live in Canada there are resources here, here, here, and here), every organization globally is doing its absolute best to figure out what it will take for us to safely resume production as quickly as possible. But in our desperate pursuit to overcome the immense challenge of working amidst a global pandemic so we can “get back to normal,” we’re overlooking the equally important (and blatantly obvious) issue that has yet to be addressed: NORMAL. WASN’T. WORKING. The Fallacy of ‘Building the Plane While Flying It’ For decades Hollywood has fallen prey to the fallacy of ‘building the plane while flying it,’ an idiom popularized by Silicon Valley born from ‘iterative’ software development whereby you ship your product as early as possible, fix it, ship it again, fix it again, and so on, as opposed to tinkering and fixing for years privately with a controlled team before shipping to the public. The industry has been aware for decades that the demanding hours and harsh working conditions are less than ideal for everyone involved all the way from the PA getting coffee up to the mega-directors and Oscar-winning stars, not to mention the “boots on the ground” craftspeople who spend 16-20+ hours per day on set (not including their horrendous commutes), or the post-production professionals sleeping in their edit bays to meet insane deadlines and impossible delivery schedules. But there’s just too much to do with too little time to stop the machine and really fix it. While I do believe the industry has made some good-faith efforts to implement incremental changes to better protect craftspeople, there has been no transformative change. The argument for this was simple: The show must go on! Guess what? For the first time in cinema history, the show is not going on. The plane is no longer barreling through the air at 575mph such that we can’t make substantial repairs and upgrades. We can no longer make the excuse that there isn’t time or the budget to change the working conditions and demands of our industry since deadlines and release dates have already been set and must be met. For the first time in cinema history, the plane is stuck in the hangar. For the first time in cinema history, we have the opportunity to build a brand new plane. But in order to fix something, we first have to be willing to recognize what wasn’t working. And this is just the tip of the iceberg. A standard (STANDARD!!!) contract expecting a 60 hour work week before any discussion of overtime was NOT. WORKING. Eating lunches at our desks because it’s socially unacceptable to take breaks wasn’t working. The cultural pressure to show up to work every single day, even when you were sick and could make others sick, definitely wasn’t working. Parents terrified that having kids will make them less desirable as a potential hire because they “have outside responsibilities”  and they aren’t able to “give everything to the job” wasn’t working. Missing out on the moments that truly matter (birthdays, anniversaries, dinners with friends, or family time) for the sake of “one more output” wasn’t working. Thinking that “just one more setup” is a good enough excuse to shoot well into the night forcing crewmembers to either stay in a hotel between shifts or risk their lives driving home drowsy (i.e. cognitively drunk) wasn’t working. Being bullied into putting unpaid OT on your timecard because “there just isn’t a budget” wasn’t working. Exchanging an “on-call” workday where you didn’t need to come in with a weekend where you are needed – without being paid OT – wasn’t working. The perpetual lie that “working from home” was not a secure or sustainable workflow wasn’t working. Consistently putting our kids to be via Facetime wasn’t working. Looking down upon or shaming someone willing to set boundaries between their personal and work lives wasn’t working. The prevailing notion that how many hours you work defines your productivity and effectiveness – not what you are able to accomplish during those hours – wasn’t working. Assuming we prefer windowless rooms because “editors are weird like that” and depriving us of the most basic human need of sunlight wasn’t working. Wearing your ‘sleep deprivation badge of honor’ and bragging about how many nights you’ve slept on your couch to meet deadlines wasn’t working. The assumption that you can process 4-6 hours of dailies per day and still “keep up to camera,” plus deliver editor’s cuts with detailed sound design and music beds with only 2 days after production wraps your episode wasn’t working. The argument that transitioning from a successful, multi-season show to season 1 of a new show requires a substantial pay cut because pilots and season 1 shows have lower budgets was not working. Not giving the assistants the ability to negotiate a rate based on their skills or experience and capping them at scale no matter what was not working. The vast majority of high profile reality & unscripted shows being non-union and providing zero protection for their cast & crew wasn’t working. The toxic work culture that eventually led to the #MeToo movement was not working. The belief that “hiring the most qualified candidate” was enough justification to overlook the lack of diversity and minority representation in our industry wasn’t working. The prevailing belief that you need to “pay your dues” and work for free in order to break into the industry, thus disqualifying countless candidates who couldn’t afford to work for free in order to gain experience and build relationships, wasn’t working. I’ve probably missed 150 equally important things that weren’t working (and if you scroll to the bottom I’ll show you how to add YOUR most important needs to this list). But hopefully you’re starting to get the point. Normal. Wasn’t. F*cking. Working. You Think It Was Bad Before? Just Wait… It’s painfully clear that normal wasn’t working before the pandemic. But if we don’t start having very difficult conversations about what needs to change in our industry, it’s only going to get exponentially worse (in fact, it’s already happening). If we don’t address the important issues preventing us from living a sustainable life in this industry head on before production starts again, we’re going to long for the “good ‘ole days” when production covered our lunches (if we begged), bought printer paper and toner, provided us editing equipment and furniture, and made sure our offices had lights and air conditioning. Guess who’s paying for all those things while you work from home, providing your own editing hardware & software, paying your increased electricity and internet bills, all while desperately clinging to any paycheck available right now? You. If we don’t begin to set boundaries and have the confidence to respect ourselves, we will cherish the warm and fond memories of having some semblance of a barrier between work life and home life knowing that if we weren’t in the office, we weren’t immediately on call 24 hours a day at the beck and call of every random “urgent” need of directors and producers. You think being stuck at home unemployed is tough now? Wait until you’re working from home and getting text messages on a Saturday afternoon for a “quick fix,” you know, just cuz your machine is available and “you’re probably not going anywhere anyways, right?” (tee hee) You thought you were underpaid for your services before? Wait until the job market opens again and we all desperately claw our way to the bottom and devalue our rates knowing there will be lower budgets and less shows for the foreseeable future. But as long as you’re working, right? While the majority of post-production professionals are unemployed right now wishing they had some form of sustainable income, the minority of those who are still working are getting their asses kicked. 7 day weeks. 16 hour days. No kit rentals to cover the use of their own equipment. No boundary between home and work. All while also trying to homeschool their kids and manage their own sanity during lockdown. As we await production to start again, this is Hollywood’s “trial period” to see what boundaries can be pushed in service of keeping us gainfully employed. How much are we really willing to concede in exchange for what will be smaller paychecks for more work in even less time than before? Listen, we should be lucky to have any work at all right now..right? RIGHT???? Sorry Hollywood, but we’re not lucky to be here…you’re lucky to have us. If Now Isn’t The Time…Then When? In March we didn’t know what we were dealing with, but now we do. Covid-19 isn’t going away anytime soon. We’re playing a long game of chess for at least a year or more. At some point we have to figure out a way to get back to work safely with minimal exposure to the virus. Lives will absolutely be lost, but this industry was killing us before the pandemic. We’re just now more acutely aware of the dangers we face. Thankfully we have countless organizations and medical professionals compiling hundreds of pages of industry-wide guidelines (that I shared at the top of this article) which outline in excruciating detail the necessary safety guidelines and protocols that must be put in place in order to protect all of us. But while the professionals focus on the safety protocols that will protect us from Covid-19, we as individuals need to focus on the importance of this moment and the stance we must take now to protect us…from ourselves. As I argue in excruciating detail in this article: It’s so tempting to blame the studio executives and producers for the poor working conditions and the unhealthy lifestyles…but it’s not their fault. This is our fault. We have spent decades collectively enabling, accepting, and perpetuating all of the behaviors outlined above, all in fear of losing our jobs. Well guess what? Practically none of us have jobs right now anyways. For the first time in cinema history…we have nothing to lose. If ever there was a time to set boundaries and demand change, it’s now. The list of requests is overwhelming. I get it. We’re not going to change everything overnight (or ever). But while we have this window of opportunity, we need to focus on what I believe are the three most vital things we must not back down on when production begins again. DO NOT SIGN LIABILITY WAIVERS. I can’t believe I even have to write this, but there is no more important precedent to set with the industry than our refusal to sign away our lives (literally) for the privilege of having work. The “standard” 60-hr work week has to go. Period. Point me to a scientific study that shows more work hours beyond 45 leads to increased productivity and creativity, and I’ll send you 100 studies that definitively disprove your theory. More hours does not equal more output. And more importantly, the harder we work, the more compromised our immune systems become, and the more likely we are to not only contract but also spread Covid-19. Paid kit rentals should be standard for everyone asked to work from home. If you provide equipment that the production or a facility would have provided before, you should be compensated accordingly. This includes stipends to cover fast internet, electricity, printer toner, etc etc etc. I know how badly we all want to get back to work, but imagine the possibilities if we all made a collective effort to do this right instead of doing it fast? That’s a new version of Hollywood I’m willing to be a part of. The alternative terrifies me. Want Your Concerns Added To This List? There is a lot that wasn’t working in Hollywood (and the entertainment industry worldwide). If you’d like to contribute to this ever-growing list, here’s how to participate: 1) Share this article to your community of choice (using the share buttons to the left of this post…also at the top of the post). This includes Facebook groups, Reddit threads, etc. 2) In the post, express what wasn’t working in your life that needs to change. E.g. “Being stuck in traffic for 4 hours a day wasn’t working! 3) Tag me! » Here’s my Facebook page, Instagram profile, LinkedIn profile, and Reddit profile. I’m not on Twitter (and won’t be caught dead there). I and my team will do our best to keep up with the posts and add your concerns to this list anonymously. Collectively we can make change happen.

Dear Hollywood, STOP. It has gone too far, your creativity has diminished to the point of ridiculousness, STOP. No one should be forced to endure such crap yet you keep green lighting the worst ideas, STOP. If you continue these actions we the people will be forced to revolt against the industry we love so very much, STOP. So here you go Justin Peel, you donated and we watched. And now, welcome to the most annoyed our fair podcasters have ever been with a film (Until next week)! Its GODS OF EGYPT!!! --- Support this podcast: https://anchor.fm/refund-theater/support

Kyle (@hoomler) recaps his reactions to the recent trailers from Chris Rock's "Spiral: From the Book of Saw" and Jordan Peele and Nia DaCosta's "Candyman"! Dear Hollywood... More Black Horror Please!! My friend and I released our first ever comic book! Support us by buying the first issue of the fantasy/western SPELLSLINGER on Amazon: amzn.to/39j97UZ

Twitter: @MikeBatayeh @EddiePepitone @LolliComedy Instagram: @EddiePep @LolliComedy ------------------------------------------ Token Arab- Eddie on Munk- Who you votin' for?- Dear Hollywood, what did I do wrong?- That Maron rant-----------------------------------------Engineers: Emma Erdbrink and Aaron BrungardtProducer: Matt RasamotoMade with love by All Things ComedyLeave a message +1 (424) 262-0904 Email: FanMail@PepTalksPodcast.comWebsite: PepTalksPodcast.com

This week I don't have any good bits. So I decide to turn my shitty bits into movies about a murder in Florida, vampires eating children, the Red Hot Chili Peppers literally fighting the California wildfires, and a Don Cherry biopic with him being played by Christian Bale. Dear Hollywood, someone buy my ideas. Please. FOLLOW OTIS MORRIS! TWITTER: twitter.com/IAmOtisMorris INSTAGRAM: www.instagram.com/iamotismorris/ YOUTUBE: www.youtube.com/channel/UCg0q9X2ZDQPshXQExVeApHQ SPOTIFY: open.spotify.com/show/0g55LSi6DbBk4A0ICRG0Xp SOUNDCLOUD: https://soundcloud.com/otis-morris-808752750 STITCHER: https://www.stitcher.com/podcast/otis-morris-hates-himself ITUNES: https://podcasts.apple.com/ca/podcast/otis-morris-hates-himself/id1474545629

In tonight's episode, we discuss the Hollywood Elite's constant Anti-Trump narrative, as well as current events in the news today. Check out our Reddit board HERE ...Also, Epstein didn't kill himself. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/redhatchat/message

In today's episode we talk about some of our favorite books we would like to see made into series or movies! As always it is lots of fun! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/libraryoverload/support

Episodes 95- dear Hollywood, Leave These Movies Alone! This week on the show the boys talk about the movies that they never want to see remade! Sebby almost loses an eye and Joe watches some movies!! Don’t miss our news segment, Joe’s Top 10 You Knows its!, as always We waste time so you don’t have to, talk this week's comics and see what our followers have to say during social shit time! Be sure to follow us on Facebook, Twitter, Youtube & Instagram by searching Dinner and a Podcast Check out our website: www.dinnerandapodcast.weebly.com Big thanks to all of our patrons!! If you would like to contribute to the show please check our Patron page at https://patron.podbean.com/dinnerandapodcast and see the awesome rewards you can receive. Check out our friends: Marie Dizeo on instagram @dizeobakes Tony Wolf on twitter @tonywolfness Al Rosado on instagram @aleroart Andrew Brookes at andrewbrooksportfolio.com Farewellcupid.com Bagofdicks.com Amourableart.com Inedibles.com Todd Nauck Toddnauck.com 2:51- News with Joe 19.43- Wasting Time 38:00- Main topic 1:11:00- Social Shit Time

On our debut episode of Pop Talk with Ross Mathews, Ross and Trish run through the top-10 stories in-and-around the world of pop-culture this first week of September. Lady Gaga could be bound for Oscar glory following the sparkling reviews of A Star Is Born…what was Ariana Grande talking with Hillary Clinton about? What’s buried in Ross and Trish’s—hypothetical—National Enquirer vault? And why does Ross really want a piano bar?  Plus: in this week’s debut edition of ‘Dear Hollywood’…it’s time to give Billy Bush a job again! Let’s move on and get Billy back to work. Remember to tell your friends to rate/subscribe in Apple Podcasts!  New episodes every Friday. Follow Ross on Twitter/Instagram/Facebook: @helloross Follow Trish on Twitter/Instagram/Facebook: @TrishSuhr Follow Pop Talk on Twitter/Instagram/Facebook: @PopTalkOnAir Email the show: Hello@poptalkonair.com

Two weeks ago I released the article Dear Hollywood: We Create Entertainment For a Living...We're Not Curing Cancer, and it was shared over 3000 times in the first 48 hours. Clearly the idea of inhaling a deep breath of perspective resonated with thousands of people working not just in Hollywood but worldwide who are sick and tired of sacrificing their health, time with family, and their sanity simply for the sake of creating entertainment. Placing the blame on ourselves and accepting that we have all collectively encouraged a work culture that allows us to be treated like doormats was an idea I didn't expect to be embraced with open arms (I was prepared for A LOT of trolling). But on the contrary I received unanimous praise for this viewpoint. Furthermore, I was so proud of how many people were willing to take a small level of responsibility themselves for helping to dig the hole we're all stuck in now. But that article only addressed a surface-level problem: Those of us working in the filmmaking industry are willing to put up with ridiculous (and deadly)  working conditions that few other industries would deem acceptable. Therefore, the much deeper question becomes: Why? Why are we willing to silently work through lunch breaks? Why are we slowly killing ourselves one day at a time? Why do we feel terrified to ask for overtime, even if it's in our contract and we've put in the extra hours? Why do we feel embarrassed to take a fifteen minute walk in the afternoon to solve creative challenges? Why do we work 100 hours in a single week simply because "The overtime is good" despite it destroying our health and our relationships? Why are we okay watching our kids grow up via Facetime? After reading hundreds of messages, Facebook comments, and emails from "creatives" working in the entertainment industry worldwide, I believe the root of this problem is the following cultural mindset: We Should Just Suck It Up. We're "Lucky" To Be Here.   Oh my God...working in Hollywood is so glamorous! Many of our friends and families who are "business professionals" often envy us for doing something so "cool" that's seen by millions of people around the world. We're lucky to be here. When somebody asks what you do and you say, "I worked on the latest Mission: Impossible movie," they reply with, "Holy crap, that movie was so good. You got to work on that!!!" We're lucky to be here. When your former college roommate (and classmate in film school) who is now working in pharmaceutical sales excitedly asks, "Have you seen any celebrities?" and you reply with: "Yeah. I often have lunch at the table next to [insert giant mega-celebrity here] and the other day [insert mega-director here] was in my edit suite giving me notes," their jaw drops. They can't imagine doing something so fun with such "important" people! We're lucky to be here. Right? Right??? Bullshit. No matter the craft, guild, or area of expertise, if you have a successful career in Hollywood or anywhere else around the world in the entertainment industry... You earned it. Now it's time to start behaving that way. Calculate the True Cost of Developing Your Expertise I'll admit there have been more than a few jobs where I've caught myself asking the question, "Are they really paying me to do this? This is so cool, I'd do this for free!" There's no question a certain amount of cachet accompanies working in the entertainment industry. If you spent your entire childhood living and breathing comic books, for example,  having the opportunity to work on a Marvel project is undoubtedly a dream come true! Unlike many people who "settled" in life and became pharmaceutical reps, insurance salesman, or corporate accountants, we have the pleasure of watching television or making movies all day long. And therein lies the trap. The Hollywood machine preys on creative professionals who will do whatever it takes to deliver top quality work, no matter how unreasonable the deadline. And Hollywood gets away with it knowing we simply can't imagine doing anything else with our lives, we won't "settle," and we worked our asses off to get where we are. And most importantly, we know they'll replace us in a second if we speak up. So we don't speak up. And our quality of life (not to mention our self-respect) gets flushed down the toilet. https://youtu.be/essNmNOrQto Can you name any other industry willing to devalue their skills as much as "creatives" do? Before opening Pandora's Box and accepting the punishment, abuse, and often downright bullying that is "just part of the business," take a moment to calculate the true cost of the expertise you bring to your profession. How much did your college education cost you? Most likely you started your career on day 1 with six figures in debt sleeping on someone's couch and subsisting off Ramen noodles. How many years of spec work, low paying jobs, bartending gigs on the side, and months of unemployment did you endure so you can now "live the dream?" If you don't believe taking low-paying (or free) work is part of the path to success, Just ask editor Alan Bell how likely that is to happen. How much time did you put in perfecting your craft as an assistant before getting that long overdue promotion? In general it takes people at least a decade to become an "overnight success story." Just ask Eddie Hamilton (editor of Mission: Impossible Fallout) or Kelley Dixon (editor of Breaking Bad and Better Call Saul) how many years it took for them to "get lucky." The next time you feel like conceding to the demands of your profession and accepting them as reality because "You knew what you signed up for," think long and hard about what you've had to endure to secure your spot. If you value the years of effort, financial hardships, and sacrifices you've made to develop the level of expertise you bring to your job...shouldn't others value it equally? Most importantly, realize that if you make the choice to devalue yourself, your skills, and your expertise, you are making the choice to devalue ALL OF US. Calculate the True Value of Your Expertise to Others Despite what the entertainment industry wants you to believe, YOU ARE NOT JUST ANOTHER SET OF HANDS. You are not a keyboard monkey. You are not an extension of your workstation. While this analogy may vary from craft to craft, bear with me as I compare the craft of editing (my specific skillset) to building a multi-million-dollar home. 'Building a Million-Dollar Home 101' Step 1: An architect designs the blueprints. Nobody would argue that an architect has tremendous value given their education and expertise. And the analogous position in filmmaking to the architect is most likely the writer, a (generally) highly valued and sought after position in the entertainment industry. And rightly so.     Step 2: A foreman assembles a crew of skilled craftsmen to build the home. You can make the case that either the main producer or the director is the 'foreman' who assembles the crew and directs them all towards the common goal of building a gorgeous home exactly to the specifications laid out in the blueprints. And the client is of course the movie studio or television network.   Step 3: The carpenters and laborers take random piles of materials (lumber, copper pipes, shingles, plywood, electric wire, etc) and frame what will become the home. The carpenters and laborers in this case are the editors, visual fx artists, animators, cinematographers, gaffers, makeup artists, production designers, script supervisors...and literally the set carpenters. We are all the hands that build the house. We all have one common goal.     Step 4: The sh*t hits the fan. Inevitably while building any complex structure, whether it's a house, a tv series, or a film, things are going to go wrong. Plans will change. Tastes of the designers and clients will go against the original blueprints. Or the house might just fall apart all together. "Originally I wanted the kitchen here, but let's put it on the other side of the house instead. Can we do that?" "This upstairs bathroom would really go better in the entryway instead, wouldn't it?" "Oh yeah, this piano I asked you to put in the 3rd floor...can we put it on the 1st floor now?" "Oh my God. The foundation is collapsing. Do something!!!!"   Step 5: The architect and foreman re-design the plans to overcome design challenges and/or meet the updated needs of the client. And sadly this is where the house-building analogy takes a wrong turn. When design changes are required on a home, the responsibility falls on the architect or more likely the foreman (both of whom are being paid handsomely for their roles on the project). But when the sh*t hits the fan in the entertainment industry, it rolls downhill. And guess who's laying at the bottom to receive all the shit rolling to the bottom? Welcome to post-production. As editors, visual fx artists, and the many other crafts in post, it's our job to make complex design changes and overcome many of the creative challenges that come up during the filmmaking process. We are expected to solve problems with the level of expertise that an architect or foreman have. Yet we are treated (and often paid) like laborers, like a set of hands simply there to button-mash our keyboards at the behest of the "true creatives." That is until the moment when we put Humpty Dumpty back together again (on deadline, I might add) and are regaled with such high praise as, "You saved the picture!" or "You're a magician!" Starting to feel like your position has value now? It's about time. Now do something about it. This Isn't a Union Issue...It's a Human One I honestly don't care whether you do union or non-union work. These cultural issues affect all of us in the entertainment industry. And here's the really bad news...a new contract isn't going to change any of this without YOU. Should those of us working in post-production be afforded the same amount of turnaround hours as other guilds in Hollywood? Of course! Yes we should negotiate new turnaround times equal to other guilds and demand a minimum amount of "standard" hours per day...but it won't solve all of our problems. Why? Because none of these issues matter if we don't enforce them on an individual level. I can count the number of editors in all of unionized Hollywood on one hand who enforce "meal penalties" on a regular basis. Most editors aren't even aware that it's a union no-no to skip lunch and eat it at your desk. You can't wait around thinking your union rep is going to make sure someone enforces your meal breaks and pays you OT. The responsibility is yours. The next time you find yourself thinking, "It's no big deal, I love this job," just remember: We're not lucky to be working in Hollywood. Hollywood is lucky to have US.

Summer is officially here which means the first season of the Optimize Yourself Podcast has come to a close (don't worry...I'll be back right after Labor Day). I cannot express enough how grateful I am to all of my listeners who inspire me to keep this program alive every single day. Please feel free to continue reaching out and sharing your stories (and your challenges) with me. I read every single message I receive. It is my belief that it's no longer necessary to sacrifice your health (and your sanity) in pursuit of your creative career or your business, and in season 2 I promise to continue writing about and sharing every tip I find that can to help design the optimized version of you...one small action step at a time. Since beginning this podcast and blog over 4 years ago I've learned a lot about many different topics, but it's taken me a long time to really find a groove and write on a regular basis. My goal at the beginning of 2018 was to write an in-depth article every two weeks about a topic that I'm both passionate about personally and also could help you improve your life in some small way. Despite my calendar fighting back every single week, I met my goal of releasing new content every two weeks (systems, baby!!!). While choosing my favorites was kind of like choosing my favorite child... Below are my five favorite articles from Season 1 (with a couple bonus articles I wrote for other publications). 1. Dear Hollywood...We Create Entertainment For a Living. We're Not Curing Cancer. Click here for the full article In the wake of the potential IATSE strike and the ongoing negotiations between the motion picture producers (AMPTP) and the many guilds including editors like myself, I felt it necessary to point out what's truly at stake when talking about the hours we work in Hollywood. Much to my surprise (and shock), this article went viral and was shared over 3000 times within 24 hours and read by over 5000 people. For anyone who's tired of being treated like they are disposable and that their quality of life is secondary to getting the job done, I suggest reading this article for a little perspective. 2. The Four Types of Creative Jobs (and the Secret to Knowing Which Is the Perfect Fit For You) Click here for the full article Without question this was the most popular article of the year with thousands of readers! Thinking about the different types of creative jobs was simply a brainstorm I had one morning driving to work, and once the seed was planted it grew like crazy until I spent a solid 2 weeks breaking down the benefits and drawbacks of each type of creative job I could come up with. And then it all came together when I realized the special sauce was having the right attitude. 3. The Socially Awkward Introvert's Guide to Networking With Industry 'Experts' Click here for the full article Coming in at a very close second after a tight race with my 'Creative Jobs' article is my deep dive into turning networking into a skill, even if you're a socially awkward introvert (like me). This post was inspired by a section I wrote in my Ultimate Guide to Making It In Hollywood, but I then expanded upon several of the concepts because I know how difficult it can be trying to build a network of contacts when you HATE networking. I know we'd all much rather sit in our dark rooms and make cool shit, but this guide will hopefully get you out of your cave and into the real world so you can start meeting the right people who will help you land your dream job. 4. Tired of Life Kicking Your Ass? Learn to Fight Back Like a True 'Cobra Kai' Click here for the full article I'm going to admit I was a bit bummed this post didn't get as many readers as I would have hoped, but I'm still including it in my top 5 because whether or not you're a huge Karate Kid fanboy like me, the brilliant new YouTube series Cobra Kai offers up some brilliant life lessons that anyone can incorporate into their lives. If you've dealt with mistreatment or abuse as an adult in a toxic work environment with toxic people (or outright bullies), this post is a must-read. 5. Dear Zack: "I'm having trouble finding work and want to make sure I'm doing everything I can..." Click here for the full article This post was an experiment based on an email I received from a reader seeking advice about her career. I'm approached on a daily basis by people who send their life stories and their greatest struggles, and I found I spend an exorbitant amount of time responding to everyone. Then I realized there could be tremendous benefit to making those responses public. Needless to say, the experiment worked and I'll be doing more 'Dear Zack' articles in the future. Click here to submit your own question for a future article. BONUS ARTICLES I didn't include these articles in my 'Top 5' for the year because they are technically guest posts for other sites, but they were tremendously popular and I want to make sure you didn't miss them. 6. "Empire" Editor Has 7 Steps to Network Successfully In Hollywood (For Frame.io) Click here for the full article This article was written by Robert Hardy of Filmmaker Freedom, and it was based on a recorded conversation we had about my best advice to build a network in Hollywood. This was my inspiration to later write The Socially Awkward Introvert's Guide to Networking because I received so much feedback about how networking is such a lacking skill for so many creative professionals. Thanks again Robert for the awesome article! 7. How I Burned Out As a 'Burnout Coach' (And Then Bounced Back) (For Growth Lab) Click here for the full article This article is a very personal piece that I wrote about my most recent experience with burnout, depression, and a raging case of imposter syndrome back in 2017 after launching a very successful 5 Day Challenge (with over 1110 participants on six continents). Whether you are building a business or just burned out by creative work, this article is an ugly, no holds barred look at the darker side of success that few are willing to talk about.   I'd love to know in the comments below, which was your favorite article of this season? What would you like to learn more about Season 2?

Author’s Note: In the wake of the possible IATSE strike I wanted to share my two cents specifically regarding turnaround times and overall hours. I know the pension plan is the headline of negotiations (as it should be), but I want to ensure we're not overlooking the health, safety, and sanity of everyone working behind-the-scenes. A pension plan is meaningless if you don't live long enough to use it. For those of us in Hollywood working behind computers in dark rooms for a living, will there ever come a time when we realize it’s counterproductive, unhealthy, and downright dangerous to work insane hours at the expense of our health and our creativity simply for the sake of our jobs? How much is our time (and our sanity) really worth? For years now I've stood on my soapbox proclaiming from the hills that sitting is killing us and that success happens BECAUSE you prioritize your health above your career, not DESPITE it. If you think living in a dark room for sixteen hours a day under constant stress is good for your creativity, think again. If you value your health, all you have to do is ask yourself this simple question honestly: Is the job you’re doing every single day worth dying for? If your answer to this question is ‘No,’ I suggest reading on. Because if we don’t begin collectively standing up for ourselves and do what's necessary, things will only get worse. C’mon...Is It Really That Bad? Wait a second...using words like “unhealthy” or “dangerous” is irresponsible. For those of us who are film editors, visual effects artists, composers, animators, and everyone in between, we just sit at desks all day long in air conditioned luxury suites and have our meals handed to us twice a day on a silver platter. We’ve got it easy! It’s not like we’re blue collar workers slaving away in steel factories or coal mines losing limbs or dying of black lung…..(Note: The typical seated office worker has more injuries than any other industry sector worker including construction, the metal industry, and transportation1). It’s not like we suffer through grueling days on movie sets working sixteen to twenty hours a day, often deep into the following morning….. And we certainly aren’t out on the front lines sacrificing our lives for the sake of a stunt or “getting the perfect shot”..... Here’s the difference: All of the dangerous professions listed above have rigorous safety regulations to protect the health and wellbeing of their workforce with extensive training to minimize accidents. Those of us in post-production are told in the same safety meetings to bring a cardigan because it can sometimes get “chilly in the edit suite.” Tee-hee. If someone dies after falling off scaffolding while doing a stunt or is (God-forbid) hit by a train while setting up a shot, the entire community rallies around this negligence. There’s no choice but to address the problem and ensure the same mistakes aren’t made in the future. When someone is recklessly injured or killed while on the job in a public setting, people pay attention. Sedentary “creative workers” are unfortunately not afforded the same protections. If we’re asked to work through lunch (for free), we don’t have a crew of 150 people to demand we all get meal penalties. If we’re expected to work 16 (or more) hours every day sitting in a small dark room without breaks or weekends off, we feel like we're all alone if we’re being treated unjustly and have no choice but to submit. If someone working in any sector of the post-production industry dies as a direct result of the long hours, the chronic stress, the poor working conditions, or gets into a car accident as a result of sleep-deprivation, it’s no different than a tree falling in the woods when no one else is around. If an editor dies in the edit bay, does it make a sound? The sad fact is there are countless stories of people dying (or barely surviving 3 heart attacks in 24 hours)  as a direct result of their jobs working in post-production (Unfortunately nobody is willing to share the details of those stories publicly). We may mourn those who pass from cancer, but because stress is a slow burn, despite it being the number one cause of death in first world societies, nobody notices or creates a direct connection between the diseases and the lifestyle. (Note: The World Health Organization ranks sitting too much as the fourth biggest preventable killer globally, killing over 3.2 million people per year1.) Even worse, there are plenty of stories of editors dying suddenly at their desks or assistants dying on the road in car crashes after falling asleep due to numerous stretches of long days and long hours. But nobody talks about these. Because if you do, you get blacklisted. Yes we have a supportive union ready to stand up for every single one of us, but how can they do so when nobody is willing to speak up about what’s really happening on the front lines every single day? We don’t have a Sarah Jones to rally around and affect real change. But it’s time for us to start behaving like we do. “Then Get More Flies…” There is nobody in Hollywood the business loves to exploit more than socially introverted “creatives” who will do whatever it takes to deliver top quality work and meet a deadline, no matter how unreasonable. Furthermore, those making said requests know on some level that creatives consider their work part of their identity and are almost always willing to go the extra mile because they love their jobs. Artists are willing to give their knowledge and expertise away in service of “the greater good” of their art. But what happens if you say no? You’re told to just shut up and do your job because there are hundreds of people lined up ready to do it for you. As Walter Murch explained on our podcast together, several decades ago when approaching a studio executive to address the extreme working conditions, stress, and deadlines on a feature film he was editing, he described the situation as: “People are dropping like flies.” The studio executive simply replied with: “Then get more flies.” Sadly not much has changed in the last several decades. Back in the “film days,” it took an afternoon (or even overnight) to process a single dissolve. Now that we can create a dissolve with a single keystroke, it’s not like we have our afternoons to ourselves. We just fill the time with more work. And the studios continually make increasingly unrealistic calendars and delivery schedules because we continue to meet them. It’s so tempting to blame the studio executives and producers for the poor working conditions and the unhealthy lifestyles in post-production, but it’s not their fault. We cannot sit back and expect the next new contract negotiation to magically change the demands placed upon us. This is our fault. We have enabled a work culture where it’s okay to eat lunch (and dinner) at our desks because the schedule doesn’t allow enough time to get five minutes of fresh air and sit outside in the sun. Our meals might be handed to us, but if it were possible they’d probably just slide our meals under our doors twice a day. We have enabled a work culture where it’s okay to chronically stay late and put our kids to bed via Facetime rather than tucking them in and kissing them on the forehead because some producer has a few more notes and “just wants to get it right.” https://youtu.be/CHZN2y3XsTk “Whoosh” is unfortunately neither a parody nor a stereotype We have enabled a work culture where working 60 hours per week is now considered a “standard” contract (Standard!!!!!!), and we’ll even work additional hours late at night or on the weekends - UNPAID - because we fear asking for overtime will label us as “the difficult one” because we don’t have a crew of 150 other people to demand the overtime alongside us. Don’t think things are that bad? Consider this for a second… We have enabled a work culture where we are literally embarrassed to take breaks. Walking breaks. Water breaks. Even bathroom breaks. God forbid somebody sees us away from our workstations and thinks we’re “lazy.” But it’s still 100% acceptable to step out for multiple smoke breaks all day long. We have accepted and perpetuated this reality, yet we constantly complain that “Nobody respects us!” REALITY CHECK: Nobody is going to respect us until we collectively start respecting ourselves. The reason we put up with and accept a work culture that perpetuates and celebrates horrible lifestyle choices every single day is fear. We are afraid that if we fight back or say no, we will simply be replaced. And we will. Because there are always going to be more flies. There will always be people willing to put themselves through hell for the sake of a paycheck, another credit on the résumé, another rung on the ladder. The only way this vicious cycle stops is if we change the culture until we reach the point where there simply are no more flies. “IT WAS JUST ONE ANT” Our time is our most valuable asset in life, but unfortunately it’s not like a 401k. We don’t get to set it aside but then have it returned to us tax-free plus interest 30 years later. Once we spend it, it’s gone. Start prioritizing your time as if you don’t have any left. If you’re hoping someone is going to step in on your behalf and make sure you stay active throughout your day and take breaks...keep hoping. If you’re wishing for your "crazy" schedule to get pushed just a day or two so you can catch up on sleep...keep wishing. If you’re dreaming of the day when studios and corporations come to their senses and realize less working hours actually leads to increased productivity and higher quality work...KEEP. DREAMING. Yes we should all band together and collectively fight for better contracts with longer turnarounds and less hours overall, but even new contracts can’t affect real change. There is only one person that can affect change: You. Change is going to happen in the trenches one soldier at a time. It’s time to stop thinking of ourselves as flies and start thinking of ourselves as soldier ants. As a father of two young kids, I spend A LOT of time watching Pixar movies, and one of my favorites is A Bug’s Life. While my kids may overlook the following scene, there is a tremendously profound moment when the grasshoppers realize their power is nothing compared to the ants if they were to stand together. https://youtu.be/VLbWnJGlyMU “You let one ant stand up to us, then they ALL might stand up! Those puny little ants outnumber us 100 to 1. And if they ever figure that out, there goes our way of life.” Only banded together can we demand the respect we deserve and affect real change for ourselves and future generations of “creatives” just entering this industry with stars in their eyes and love for their craft in their hearts. Only collectively can we do what is necessary to fight back against the impossible deadlines, the long hours, and the poor working conditions. One ant at a time. It Starts With You The next time you’re sitting alone in a dark room feeling like the weight of the world is on your shoulders and yours alone, remember there is a worldwide community of creative people like yourself fighting the same battle in dark rooms everywhere. If you’re too afraid to stand up for yourself and you’re looking for a reason to muster up the courage to fight back, just remember this: Your time is your most valuable asset, and no amount of overtime is worth sacrificing your health, time with your family, or your sanity. Let’s get real Hollywood: We create entertainment for a living. We’re not curing cancer.   Additional Reading & Listening: Sitting Is Killing You, But Standing Isn’t the Answer (Neither Is Exercise) Are Creative and Tech Workers the New ‘Blue Collar?’ | with Maxim Jago Life After 3 Heart Attacks In 24 Hours | with Marc Wielage It Is Possible to Be Both Successful and Kind at the Same Time Surviving 50+ Years In Post | with Walter Murch, ACE I Was Tired of Putting My Kids to Bed via Facetime Every Night. Here’s What I Did About It. --- 1 Starrett, Kelly (2016-04-26). Deskbound: Standing Up to a Sitting World (p. 8). Victory Belt Publishing. Featured image courtesy of Jeremy Bishop via Unsplash.com

It feels like some of our favorite Thirst Objects have been around all of our lives, but what about a new generation of talented hotties waiting to leave us panting? Dear Hollywood, give us more Rahul Kohli, more Alfred Enoch, more O'Shea Jackson, Jr., and even more Steven Yeun so we don't wear out any thirst muscles on our tried-and-true. Special guest Brittany Luse, co-host of The Nod and delightful human being, shines a spotlight on O'Shea Jr and Steven to show them in ways we've never seen before. :: eyes emoji :: Fanfic Wars is a little different this time around. You might need a box of tissues. We hope you enjoy this bonus-sized episode with 20% more thirst! Follow Brittany Luse @bmluse and make sure you listen to her on The Nod @thenodshow Do you need help figuring out your next crush? Drop us a line! Leave us a message at (765) 8-THIRST (765-884-4778) with your name and what kind of crush advice you're looking for, and maybe we'll answer your question in an upcoming Thirst Sommelier. Follow us on Twitter @ThirstAidKit. Bim is @bimadew and Nichole is @tnwhiskeywoman. Find show notes, fanfic, and more on our Tumblr. Share your drabbles with us there or email them to us at thirstaidkit@slate.com. Our music is by Tanya Morgan.  For your safety, we recommend that you avoid operating heavy machinery while listening to Thirst Aid Kit.  

Jon is at the ballet and James is missing (RIP?) for this unprecedented episode. Jerah is joined by Camrus Johnson (There's ... Johnny!, #Fashionvictim, Luke Cage) to break down Will Smith's effort in Bright. Chance the Rapper didn't like what he saw, but how do Camrus and Jerah feel? Dear Hollywood, can anything save Will from another bust?FOLLOW BLACK MEN CAN'T JUMP [IN HOLLYWOOD]:https://twitter.com/blackmenpodcasthttps://www.instagram.com/blackmenpodcastBUY BLACK MEN CAN'T JUMP [IN HOLLYWOOD] MERCH:https://www.teepublic.com/stores/black-men-can-t-jump-in-hollywoodSUPPORT BLACK MEN CAN'T JUMP [IN HOLLYWOOD] ON PATREON:https://www.patreon.com/BMCJBLACK MEN CAN'T JUMP [IN HOLLYWOOD] IS A FOREVER DOG PODCAST:https://foreverdogpodcasts.com/podcasts/black-men-cant-jump-in-hollywood

The boys review the Mudbound (2017). Find out if they can get on board with Dee Ree's work of historical imagination. Spoiler: they definitely cannot. Dear Hollywood- do better.FOLLOW BLACK MEN CAN'T JUMP [IN HOLLYWOOD]:https://twitter.com/blackmenpodcasthttps://www.instagram.com/blackmenpodcastBUY BLACK MEN CAN'T JUMP [IN HOLLYWOOD] MERCH:https://www.teepublic.com/stores/black-men-can-t-jump-in-hollywoodSUPPORT BLACK MEN CAN'T JUMP [IN HOLLYWOOD] ON PATREON:https://www.patreon.com/BMCJBLACK MEN CAN'T JUMP [IN HOLLYWOOD] IS A FOREVER DOG PODCAST:https://foreverdogpodcasts.com/podcasts/black-men-cant-jump-in-hollywood

Christian Talk,hollywood,kbxl https://i0.wp.com/www.941thevoice.com/wp-content/uploads/2016/06/ella_3.jpg?fit=874%2C583&ssl=1 Dear Hollywood, Why Do You Want Me Dead? clean no 28:00 Doug Hardy

  Hello Internets!  We’re still cranking these out at episode 104.  I’m happily astonished that Scott can phone in from home and it still sounds pretty ok.  The magic of technology! Of particular note, we discuss the sequel to Inside/Out[…]↓ Read the rest of this entry... The post 9ES104: Dear Hollywood We Have The Sequel To Inside/Out Call Us appeared first on 9to5 (dot cc).

  Hello Internets!  We’re still cranking these out at episode 104.  I’m happily astonished that Scott can phone in from home and it still sounds pretty ok.  The magic of technology! Of particular note, we discuss the sequel to Inside/Out[…]↓ Read the rest of this entry... The post 9ES104: Dear Hollywood We Have The Sequel To Inside/Out Call Us appeared first on 9to5 (dot cc).

Wil and Gareth Reynolds write an Open Letter To Show Business. 

“If the pressure is building so much and you're just trying to 'keep it all together', at some point it's going to crack.”- Traver BoehmTraver Boehm is the founder of the UNcivilized Men's Movement, the fastest growing men's movement in the world. He is the author of Today I Rise, and Man UNcivilized as well as a two-time TEDx speaker, men's coach, and podcaster. Traver's approach challenges the stereotyped “Marlboro Man” we have been conditioned to believe is “masculine” and instead has men unpack the suppressed emotions that are dictating their unhealthy behaviors and destructive actions (that negatively affect all of us).I get it: If you're thinking that a men's movement is the LAST thing the world needs right now, I would have agreed with you 100%. I too was skeptical about two white guys talking about “men's work,” but I'm always willing to entertain different viewpoints if there is a clear benefit to society at large (standing desks and shorter work hours come to mind). And it doesn't take long for Traver to convince me that the men's work he is doing is vital to moving towards a more equitable and empathetic society for all genders, races, and other. During the course of this conversation, I even realized my Sunday ninja training group is actually my unofficial men's group (for which my wife will attest to the benefits!).Whether you self-identify as a man, or if you simply have men in your life, this episode will help you better understand what it means to be a “man” in today's society (and spoiler alert: It includes having real emotions and being able to express them honestly).Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episode Here's What You'll Learn:What is men's work?Where personal development falls short and what the missing piece is.The elephant in the room: why should we listen to two white guys talk about men's problems?Why it's important to look at trauma instead of suppressing it.How Traver got involved in men's work.Traver's story of hitting rock bottom.Two important questions he asked himself to change his situation.Why does it have to be a men's only group?Why my wife insists I train with my Ninja group every Sunday.The history of why men are culturally encouraged to suppress their emotions.Why men need a healthy release for the pressure they are under.The gender difference between acceptable emotions to express.Knowing when to be vulnerable and when to be strong.Is it true that a ‘happy wife equals a happy life'?Why all healthy relationships need conflict.The value in doing hard things.Useful Resources Mentioned:Man UNcivilizedThe Man UNcivilized BookThe UNcivilized Podcast with Traver BoehmContinue to Listen & LearnEp28: The Science Behind Depression and Anxiety | with Dr. D and Dr. Michael MarkEp175: Defining Your Own Version of Success & Overcoming the Loneliness of Being a Freelancer | with Michael BaumanHow I burned out as a burnout coach (and then bounced back)Dear Hollywood...We Create Entertainment For a Living. We're Not Curing Cancer.Dear Hollywood: We Don't Want to “Go Back to Normal." Normal Wasn't Working.Ep128: How to Have a Successful Career Without Sacrificing Family | with Farrel LevyEp149: How Modern Society Is Damaging Your Brain (and the Simple Steps to Reverse It) | with Dr. Dave JenkinsEp82: Real Talk About Mental Health and Depression | with Michael KammesEp01: Understanding the Link Between Creativity and Depression with Dr. Edison de MelloEp165: How to Overcome Doubting Yourself When You Know You're Meant For More | with Sandy Zimmerman, ANWEp161: Managing Limiting Beliefs, Imposter Syndrome, and all the “Chatter” In Our Heads | with Ethan KrossGuest Bio: Traver Boehm Traver Boehm is the founder of the UNcivilized Men's Movement, the fastest growing men's movement in the world. He is the author of Today I Rise, and Man UNcivilized as well as a two time TEDx speaker, men's coach and podcaster.Drawing upon an eclectic background ranging from professional bodyguarding and Mixed Martial Arts to a Master's Degree in Traditional Chinese Medicine and meditation, Traver counsels men, women, and couples on how to better understand men's mental health and relationship difficulties.Although he's not quite sure how to feel about the title, he has been dubbed, “The Man Whisperer” as he has the unique ability to speak to men in a way they can hear and understand.With a passion for people and a unique lens through which to view the human experience, Traver is a highly sought after teacher in the fields of consciousness, intimacy, and personal development.When not teaching workshops or radically shifting the way men experience their masculinity, Traver can be found obsessing over a single word in front of his laptop, chasing surf around the globe, and being awful at yoga.Show Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel.The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).