Podcast appearances and mentions of elliot gould

Feature: Bleak Week returns for Year 4, we talk to programmers behind the festival This year marks the 4th year of the American Cinematheque’s Bleak Week: Cinema of Despair, a weeklong festival dedicated to screening films with dark and bleak themes. In this year’s lineup, you’ll find screenings of Michael Haneke’s English adaptation of Funny Games, the Soviet anti-war film Come and See, and Studio Ghibli co-founder Isao Takahata’s Grave of the Fireflies. You’ll also find that the Year 4 lineup includes introductions/Q&As with the likes of Bill Hader, Elliot Gould, and Brady Corbet. Outside of the usual festival screenings here in Los Angeles, the American Cinematheque has partnered with other arthouse theaters across the country, and even The Prince Charles Cinema in London. Joining us to discuss this year’s iteration of the festival is Chris LeMaire, lead programmer on the American Cinematheque’s Bleak Week, and Grant Moninger, American Cinematheque’s Artistic Director. We also have our critics, Charles Solomon, Claudia Puig and Peter Rainer, commenting on what about the festival has allowed it to garner interest. Bleak Week runs from June 1-7. You can find this year’s Bleak Week lineup by clicking here or on bleakweek.com

In the spotlight is Libby Cudmore, Shamus and Black Orchid award winner and the author of the acclaimed novel The Big Rewind, as well as a novel titled Negative Girl. Her short stories have appeared in Alfred Hitchcock's Mystery Magazine and Ellery Queen Mystery Magazine, among other publications. She has also co-edited the Anthony-nominated anthology Lawyers, Guns & Money: Crime Fiction Inspired by The Music of Warren Zevon.  We discuss:  >> Creating characters >> The importance of the supporting cast >> Raymond Chandler >> Hot spots in Binghamton, N.Y. >> Music >> Fashion >> Movies >> Elliot Gould vs. Clive Owen >> Patrick Swayze vs. Jake Gyllenhaal >> Etc.  Learn more about Libby Cudmore here: www.libbycudmore.com  Novelist Spotlight is produced and hosted by Mike Consol. Check out his novels here: https://snip.ly/yz18no   Write to Mike Consol at novelistspotlight@gmail.com 

Diane and Sean discuss the "better-than-the-original" Steven Soderbergh remake of Ocean's Eleven. Episode music is, "Clair de Lune" by Claude Debussy.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  BlueSky: WhyDoWeOwnThisDVD-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

Dana and Tom with returning guest, Adam Vanderwerff, discuss M*A*S*H (1970): directed by Robert Altman, written by Ring Lardner, Jr., music by Johnny Mandel, starring Donald Sutherland, Elliott Gould, Tom Skerritt, and Robert Duvall.Plot Summary: M*A*S*H is a sharp, irreverent satire that reimagines the war film as a chaotic and darkly comedic theater of absurdity. Set in a mobile army surgical hospital during the Korean War, the film follows the misadventures of surgeons Hawkeye Pierce (Donald Sutherland) and Trapper John McIntyre (Elliott Gould), whose antics clash with the rigid military hierarchy.The film's freewheeling ensemble style captures the camaraderie and anarchy of a unit forced to find humor amidst the horrors of war. With its anti-authoritarian ethos and whip-smart dialogue, the film critiques the machinery of war and conformity without sermonizing. The overlapping conversations, naturalistic performances, and subversive tone make M*A*S*H both a product of its era and a timeless commentary on the absurdities of human conflict.Guest:Adam Vanderwerff (Duncan Disability Law)Previous Episodes: Office Space (1999), Ghostbusters (1984)Chapters:00:00 Introduction to MASH and Its Legacy03:56 Relationship(s) with M*A*S*H08:02 What is M*A*S*H About?12:42 Cultural Impact of M*A*S*H18:57 Impact of First F-Bomb in Cinema History?21:09 Plot Summary for M*A*S*H22:22 Did You Know?24:51 First Break26:22 Best Performance(s)32:50 Best/Favorite/Indelible Scene(s)38:43 Second Break39:53 In Memoriam42:08 Best/Funniest Lines43:47 The Stanley Rubric - Legacy48:19 The Stanley Rubric - Impact/Significance49:01 The Stanley Rubric - Novelty52:57 The Stanley Rubric - Classicness58:57 The Stanley Rubric - Rewatchability01:01:59 The Stanley Rubric - Audience Score and Final Total01:03:12 Remaining Questions for M*A*S*H01:10:45 Thank You to Our Guest and Final Thoughts01:15:42 CreditsYou can also find this episode in full video on YouTube.You can now follow us on Instagram, Twitter, YouTube, or TikTok (@gmoatpodcast).For more on the episode, go to: https://www.ronnyduncanstudios.com/post/m-a-s-h-1970-ft-adam-vanderwerffFor the entire rankings list so far, go to: https://www.ronnyduncanstudios.com/post/greatest-movie-of-all-time-listKeywords:MASH, film analysis, cultural impact, legacy, comedy, war film, character performances, podcast, movie review, Donald Sutherland, Robert Altman, Robert Duvall, Elliot Gould, Tom SkerittRonny Duncan Studios

Rosie Shuster and Marilyn Suzanne Miller join me to talk about MSM's love of the musical Peter Pan; Rosie loving her dad's joke books, West Side Story, and being in the audience of the Ed Sullivan Show; Rosie meets Lorne Michaels and Howard Shore; MSM goes to work for James L. Brooks & Garry Marshall; Rosie writes for Canadian children and crime game shows; sends a monologue for Laugh In that Lorne submits and gets on; Lorne uses Rosie's fathers (Frank Shuster of Wayne & Shuster) CBC specials as a blueprint for SNL; MSM turns down SNL, changes mind; work together on a Lily Tomlin special; cast goes on Tom Snyder; Rosie writes New Dad and creates the Bees; Rosie writes first Emily Litella Update piece; MSM writes Slumber Party for Madeline Kahn; Hard Hars w/ Lily Tomlin and Mommy Beer; Laraine (as Shirley Temple) sings and dances with Garrett and Elliot Gould; The Nerds; The Festrunk Brothers; Uncle Roy; Let's Kill Gary Gilmore for Christmas; Fred Garvin, Male Prostitute; how SNL wanted to make itself laughs and everyone in the production was on top of their game; Lunch Counter Reunion; Lorne encourage differet comic sensibilities; Child Psychologist; coming back in 1981; Eddie Murphy; Adam Sandler; Rosie helping to craft the Church Lady sketches with Dana Carvey; The Taboosters; writing sketches more graphic to bargain for what you really want; MSM goes to the Tracey Ullman Show; Sarah Silverman; MSM on lack of artistry on television; Rosie works on Larry Sanders; MSM writes for Carol Burnett; Rosie is a fan of Arte Madrid; watching SNL today; ageism in Hollywood; Paul Shaffer's genius; being "middle-aged"

Happy Holidays, we watched The Silent Partner a Curtis Hansen written, Elliot Gould starring mall santa, bank robbery, cat and mouse, suspense film. We really loved it and we hope you will as well. 

We are here with actor, singer, and entertainer Roslyn Kind. You Might Know Her From: The Look of Love/The Island, 3 From Brooklyn, The Nanny, I'm Going to Be Famous, Ladies of the House, Gimme a Break, and her over 50-year illustrious recording career. We talked to Roslyn about signing to RCA Records as just a 17-year-old girl, lampooning her famous sister Barbra Streisand in an iconic episode of The Nanny, and her latest projects that retells two of her signature songs into a short film. Roslyn also gave us the goods on blood harmony with her mother and Babs, her British invasion influences, the challenge of making “People” hers in her Broadway debut, and set the record on her theatrical credits because you know You Might Know Her is always going to dig some old shet up. This was just a beautiful Roslyn Kind-shaped bow to close out 2024, our year of Barbra, after reading her 900-page magnum opus. Rozzie, we love you.  Patreon: www.patreon.com/youmightknowherfrom Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Slide moment in “So Long Dearie” with “Don't try to stop me, Horace. PLEASE” The Look of Love/The Island Tracie Thoms is a mutual friend with Sargon Yoseph Signed to RCA at 17 and first album is Give Me You Roslyn loved Motown and the English Invasion (Shirley Bassey, Cilla Black, Petula Clark, Marianne Faithful) “Fool on the Hill” guested on 1969 Charles Azenvour special with Dusty Springfield Played the same stage as Louis Prima “Meadowlark” from The Baker's Wife “Mamaloshen” by Mandy Patinkin Joel Grey's father, Mickey Katz Blood Harmony is when siblings/relatives blend together seamlessly 3 From Brooklyn Review in Times Ferguson the Tailor at the Beverly Hills Playhouse Was NOT in the Bill Finnn Elegies, she sang the song “I Don't Know How to Help You” from Elegies for Punks Angels and Raging Queens  Played Ellie Greenwich Leader of the Pack in Calgary, CA at Stage West with Andrew Stevens Episode of “The Nanny” s4, ep10 Musical special, “Ladies of the Nightclub” never got released Brooks Arthur was in studio doing Happily Ever After and You'll Never Know   Was Elliot Gould's guest on his 1975 episode of SNL Peter Chase helped Roslyn pick her SNL dress Tamara de Lempicka painting in her Zoom background was Barbra's and  Bette describing as working with Shelley Long as “pretty rough” Roslyn was too ethnic to play the Shelley Long role in the pilot, “Ghost of a Chance” of so she got the best girlfriend role instead Ladies of the House with Donna Mills, Pam Grier and Florence Henderson NYC dance class with Luigi had Richard Chamberlain, Bernadette Peters, Loni Ackerman Interviewed by Skip E. Lowe, who was famously lampooned by Martin Short as Jiminy Glick 5 episodes of Gimme a Break: (s3 ep8, 22; s5 ep 12, 22; s6 ep 9) Jennifer Hudson maybe sang every time she went on set for Respect Tyne Daly's “Rose's Turn” On Broadway (almost replaced with Michele Lee or Lainie Kazan) Anne: Judy Garland's “Have Yourself a Merry Little Christmas” but also “I Want a Hippopotamus for Christmas” Damian: Ronnette's “Sleigh Ride” Phil Spector Christmas Album Lempicka was filmed for Lincoln Center  archive but Tammy Faye did not Here's Love is the musical based on Miracle on 34th Street

Show Notes Episode 473: IT'S THE KILLER BEES This week Host Dave Bledsoe had a terrible dream that he was being attacked by bees only to discover he was drunkenly taking a piss on a light socket. (Again.) On the show this week we examine a moment in our history when Americans were convinced their country was being overrun on our southern border, but with bees. Killer bees. Along the way we rediscover why Dave is so messed up about sex. (Again, he tells this story at least once a year.) Then we dive right into why bees? (Honey is yummy.) We examine the importance of honey bees in the past and present.  We meet a suspiciously German sounding scientist in Brazil with an interest in genetic manipulation.  (But with bees.) And we learn how his experiments go horribly wrong.  (Again, talking about bees.) From there we follow the Africanized Honey Bees north to the United States and talk about the strange cultural fixation that came ahead of them. Our Sponsor this week is The Bee In Your Car who wants you to calm down and focus on driving. We open with Elliot Gould in a pretty racist  SNL skit from the 1970's and close with a love song to a Bee. (Or half of one anyway.)  Show Theme: Hypnostate Prelude to Common Sense The Show on Twitter: https://twitter.com/TheHell_Podcast The Show on Facebook: https://www.facebook.com/whatthehellpodcast/ The Show on Youtube:  https://www.youtube.com/channel/UCjxP5ywpZ-O7qu_MFkLXQUQ The Show on Instagram: https://www.instagram.com/whatthehellwereyouthinkingpod/ Our Discord Server: https://discord.gg/kHmmrjptrq Our Website: www.whatthehellpodcast.com Give us your money on Patreon  https://www.patreon.com/Whatthehellpodcast The Show Line: 347 687 9601 Closing Music:https://youtu.be/ftomw87g61Y?si=cURIwgS1nZrWSlVF Buy Our Stuff: https://www.seltzerkings.com/shop We are a proud member of the Seltzer Kings Podcast Network! http://seltzerkings.com/ Citations Needed:  Africanized Honey Bees https://agriculture.okstate.edu/departments-programs/entomol-plant-path/research-and-extension/africanized-honey-bees Hazards of Summer Week Three: Killer Bees!! https://cspn.us/2013/06/28/hazards-of-summer-week-three-killer-bees/ San Diego Officials Setting Traps for Expected Arrival of ‘Killer Bees' https://www.latimes.com/archives/la-xpm-1989-05-10-mn-2787-story.html What Happened to the Dreaded Killer Bees? https://kreolmagazine.com/music-entertainment/reflections-on-life/what-happened-to-the-dreaded-killer-bees/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Stefanie Powers began her career at age 15, dancing for famed Broadway choreographer, Jerome Robbins. She was put under contract to Columbia Pictures in the final years of the Hollywood star system. While under contract, she appeared in 15 of the 31 motion pictures she has made, co-starring with screen legends such as; John Wayne, Maureen O'Hara, Lana Turner, Ava Gardner, Cliff Robertson, Elliot Gould, Roger Moore, Donald Sutherland, Bing Crosby, Glenn Ford, Lee Remick, James Caan and Sammy Davis. She recently co-starred with Richard Chamberlin in the critically acclaimed independent film, THREE DAYS OF HAMLET. Her first television series, "The Girl From U.N.C.L.E.," marked a milestone in U.S. television's history as the first hour long series featuring a female in the leading role. Her television career includes over 25 mini-series, over 200 episodic guest starring appearances, 35 movies for television and two more television series, "Feather and Father" and the long running "Hart to Hart," starring opposite Robert Wagner, now celebrating its 45th anniversary. She became a member of the Screen Writers' Guild of America in the 1980s and has produced several of the screenplays she has written, one of which, "Family Secrets," was not only a stepping stone for the careers of James Spader and Gary Sinise but it garnered her a nomination for the best screenplay of the year by her peers in the Writers' Guild. Her writing has extended itself to a memoir called, One From The Hart, published by The Robson Press. Throughout her career she has never neglected her theatrical roots, appearing in productions of; How the Other Half Loves, Under the Yum Yum Tree, Sabrina Faire, A View From the Bridge, Oliver, Annie Get Your Gun, the West End debut of Matador, off-Broadway in The Vagina Monologues, back to the West End with Robert Wagner in Love Letters, which they also toured the United States with, becoming the cast most associated with the play after over 500 performances. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

#1 ACS #1024 (feat. Elliot Gould, Alison Rosen and Bryan Bishop) Recorded 02-27-2013 – Release Date 02-28-2013 #2 ACS #1022 (feat. Grant Lee Phillips, Dave Dameshek, Alison Rosen and Bryan Bishop) Recorded 02-25-2013 – Release Date 02-26-2013 #3 ACS #637 (feat. Jordan Rubin, Alison Rosen and Bryan Bishop) Recorded 08-14-2011 – Release Date 08-15-2011 #4 ACS #1042 (feat, Dave Dameshek, Jay Mohr, Sonny Carolla, Lynette Carolla, Alison Rosen and Bryan Bishop) Recorded 03/25/2013 - Release Date 03/26/2013 #5 ACS #1917 (feat. Kevin Pollak, Dr. Drew, Jo Koy, Gina Grad and Bryan Bishop) Recorded 10-04-2016 – Release Date 10-05-2016 Hosted by Superfan Giovanni Request clips: Classics@adamcarolla.com Subscribe and Watch Clips on YouTube: https://www.youtube.com/@AdamCarollaCorner

#1 ACS #1024 (feat. Elliot Gould, Alison Rosen and Bryan Bishop) Recorded 02-27-2013 – Release Date 02-28-2013 #2 ACS #1022 (feat. Grant Lee Phillips, Dave Dameshek, Alison Rosen and Bryan Bishop) Recorded 02-25-2013 – Release Date 02-26-2013 #3 ACS #637 (feat. Jordan Rubin, Alison Rosen and Bryan Bishop) Recorded 08-14-2011 – Release Date 08-15-2011 #4 ACS #1042 (feat, Dave Dameshek, Jay Mohr, Sonny Carolla, Lynette Carolla, Alison Rosen and Bryan Bishop) Recorded 03/25/2013 - Release Date 03/26/2013 #5 ACS #1917 (feat. Kevin Pollak, Dr. Drew, Jo Koy, Gina Grad and Bryan Bishop) Recorded 10-04-2016 – Release Date 10-05-2016 Hosted by Superfan Giovanni Request clips: Classics@adamcarolla.com Subscribe and Watch Clips on YouTube: https://www.youtube.com/@AdamCarollaCorner

EP. 60 Jeff WitjasPartner | Senior VP, Talent at IAGMargie reconnects with her old friend, talent agent, Jeff Witjas in a conversation spanning decades.  You've heard of people starting out in the mailroom at William Morris… well, that was Jeff Witjas in the late '70's.  During his 25 years at WMA, and later as Senior VP of Talent at APA, he has enjoyed much success and worked with such icons as Betty White, Jerry Lewis, Mary Tyler Moore, Bob Hope, George C. Scott and many more.  Now a Partner at IAG, his current roster includes Smokey Robinson, Jason Momoa, Elliot Gould, Jon Seda and Lucille Soong, among others.  Jeff and Margie trade stories and laughs in this very enjoyable podcast.

EPISODE #424-- We continue to celebrate Pride Month by going to. . . Canada? Huh. That can't be right. Anyways, we talk the Hitchcockian thriller THE SILENT PARTNER from Daryl Duke and Curtis Hanson, starring Elliot Gould and Christopher Plummer. It's properly sleezy-- just like us! We also talk the BAD BOYS saga (including the latest feature RIDE OR DIE), the BEVERLY HILLS COP saga (including the latest film, AXEL F), as well as the documentary GOODNIGHT, OPPY (2022), the Oscar-nominated AMERICAN FICTION (2023), MURIEL'S WEDDING (1994), and, finally, the insane and illegal RAP WORLD (2024). Big week for movies. And queer people. And Canada. Something for everybody. Join the cause at Patreon.com/Quality. Follow the us on Twitter @kislingtwits, on Bluesky at kislingconnection.bsky, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

First, Adam welcomes improviser & comedian Leah Knauer to the show as they discuss Leah's teenage crush on Dr. Drew, the versatility of female impressionists versus their male counterparts, how Adam is the “epitome of a Gemini”, and Leah's self-proclamation of being a witch. Next, Adam and Leah continue their conversation going over the news, including a massive drug tunnel found in Tijuana, Salt-N-Pepa's Sandra Denton getting kicked off a Southwest flight, and getting into the lurid details of Kim Kardashian's salmon sperm facial. Lastly, Adam is joined by actor Patrick Fabian (Better Call Saul) as they get into Patrick's time on the SAG board with Elliott Gould, the downfall of Joe Paterno at Penn State, the debilitating rejection of the audition process, their similar paths to taking improv classes, and whether men can actually get by with only one bowl, one spoon, and one cup. For more with Patrick Fabian: ● Watch - ‘The Way We Speak' available on VOD platforms July 23rd ● INSTAGRAM: @MrPatrickFabian ● TWITTER: @PatrickFabian ● WEBSITE: http://patrickfabian.com For more with Leah Knauer: ● INSTAGRAM: @LeahKnauer ● TIKTOK: @LeahKnauer ● WEBSITE: http://leahknauer.com Thank you for supporting our sponsors: ● http://simplisafe.com/Adam ● http://OReillyAuto.com/Adam

Dave is a bi-coastal, classically trained, character actor who continues to work steadily in TV, Film, Commercials, Web-Series and Theatre. He received a BFA in Acting from Boston University's College of Fine Arts. After graduation, Dave moved to New York City and became very successful in TV commercials and continued advancing his career by working steadily in the theatre. Shalansky then moved to Los Angeles where he gained momentum working regularly in TV. Dave now continues to work on both coasts. His select theatre credits are: Off-Broadway: King of the Jews by Leslie Epstein (Critics Choice Award Nomination, 2023), Toby Belch in Twelfth Night, Stefano in The Tempest: both at the Shakespeare Theatre of New Jersey, Balm In Gilead: Imua Theatre, Dirty Blonde: Florida Studio Theater, and Maggie's Riff: The Vineyard Playhouse. Select TV credits: Recurring Guest Star on Grey's Anatomy, Guest Stars on Law and Order SVU, FBI: Most Wanted, playing Henry Kissinger on The Offer for Paramount+, How to Get Away With Murder, Elementary, Famous in Love, Divorce (with Sarah Jessica Parker), HBO's Vinyl (with Ray Romano), The Mysteries of Laura (with Debra Messing), and Nurse Jackie (with Edie Falco). Also Dave has had supporting roles in such indie films such as: Rosemead with Lucy Liu, The Missing Peace (written and directed by Michael Raymond-James), A Killer Romance, Divorce Invitation (with Elliot Gould and Paul Sorvino) and According to Greta (with Hillary Duff and Ellen Burstyn). Other select TV credits include: Six Feet Under, Legends, Newsreaders, Mob City, Perception, Lie To Me, Ringer, Castle, Southland, and ER. Dave is probably best known for his recurring Guest starring role of Harry on the Gilmore Girls. Dave is monumentally grateful to his wife and daughter for their endless love and support. ▬▬▬▬▬▬▬▬ DAVE SHALANSKY ⌲ IMDb: https://www.imdb.com/name/nm1682494/ ⌲ IG: https://www.instagram.com/dshalansky/reels/ ⌲ LinkedIn: https://www.linkedin.com/in/daveshalansky/ ▬▬▬▬▬▬▬▬ The Moving Spotlight Podcast ⌲ iTunes: https://podcasts.apple.com/us/podcast/the-moving-spotlight/id1597207264 ⌲ Spotify: https://open.spotify.com/show/7cjqYAWSFXz2hgCHiAjy27 ⌲ Patreon: https://www.patreon.com/themovingspotlight ⌲ ALL: https://linktr.ee/themovingspotlight ▬▬▬▬▬▬▬▬ #BFA #BostonUniversity #SandyMarshall #Improv #CharacterActing #ClassicallyTrained #Shakespeare #GreysAnatomy #LawAndOrderSVU #SVU #TheOffer #Emmys #TVTime #iTunes #Actor #ActorsLife #Believe #Success #Inspiration #Netflix #Hulu #Amazon #HBO #AppleTV #Showtime #Acting #Artist #Theatre #Film #YourBestBadActing #Content #CorbinCoyle #JohnRuby #RealFIREacting #TMS_Pod --- Support this podcast: https://podcasters.spotify.com/pod/show/the-moving-spotlight/support

Frequent Bronson collaborator Robert F. Lyons joins the show! We are beside ourselves with excitement to share our interview with 3 time Bronson Co-Star, friend and Hollywood Legend Robert F Lyons. He has worked in TV and Film with everyone from Elliot Gould to the Monkees. He was in Death Wish 2, 10 to Midnight, and Murphy's Law which are Cannon Classics!!

What's up dudes? Adam Pope from Wizards! The Podcast Guide to Comics and The Retro Network (Geekster) and William Bruce West from Remember That Show? and West Week Ever are here with me to talk all about the sitcom E/R! Is it a comedy? Is it a drama? Why is George Clooney here?It's Christmas Eve in the E/R, and the staff is almost finished working their shifts. Unfortunately, a big blizzard prevents their replacements from relieving them. It doesn't help that Dr. Sheinfeld's daughter is missing and that MTV VJ Martha Quinn walks in with hurt ribs. Jenny finally shows up with news that her mother, Sheinfeld's ex, is remarrying. One injured paramedic later, and they agree to talk it over later.Nurse Julie also is trying to ditch the E/R to get to her hot date at The Galaxy. Dr. Sheridan fires her for trying to get out of work. Martha Quinn is ready to be discharged and agrees to meet Jenny. Unfortunately, with Clooney's Ace around, Jenny's 15yro hormones take over and she ignores Martha. Julie sprains her ankle and Sheridan rehires her. All's well that ends well.Wreaths and trees? Yep, in the background. Hanukkah presents? Yep, meeting Martha Quinn. Fixing parking tickets? Well, you can ask, but Fred won't do it. So grab your stethoscope, put on your warm clothes, and work your shift to this episode!Wizards!Twitter: @WizardsComicsIG: @wizards_comicsFB: @TRNsocialGive us a buzz! Send a text, dudes!Check us out on Facebook, Twitter, Instagram, Totally Rad Christmas Mall & Arcade, Teepublic.com, or TotallyRadChristmas.com! Later, dudes!

Welcome to Bottle Episodes! The show where Daniel Crow and David Piccolomini watch the best of terrible television! This week, it's Baby Bob! Chicago teamster child Bob is talking and parents are WORRIED. Elliot Gould and Holland Taylor add gravitas to a sitcom that is 7 years too late. Jim Rash shows up though, so David was willing to forgive immediately. Baby Bob Bottle Episode: S02E03 Reality Bites Watch Baby Bob on Youtube, or the Link Follow David on Instagram @DPicComedy and check out his special Goblin King Follow Crow @DanielFCrow  

This is a free preview of a paid episode. To hear more, visit smokeempodcast.substack.comParticipants in April's First Sunday Zoom kindly submitted to being recorded while discussing the 1973 film version of Chandler's The Long Goodbye, which we watched as a group. How did people feel about Elliot Gould playing the classic 1940s gumshoe? What about all those naked women (too much, too little)? And was it possible to appreciate director Robert Altman's update only once you've gone through the looking glass of post-Helter Skelter Los Angeles?

On this edition of Parallax Views, last week a number of prominent Jewish Americans came together to sign an open letter voicing opposition to AIPAC (American Israel Public Affairs Committee) and its influence on both major American political parties. A statement in the leader reads, "Given that Israel is so isolated internationally that it could not continue its inhumane treatment of the Palestinians without U.S. political and military support, AIPAC is an essential link in the chain that holds in place the unbearable tragedy of Israel/Palestine. In coming U.S. elections, we need to break that chain in order to help free the people of Israel/Palestine to pursue peaceful coexistence." This open letter comes at a crucial time given Israel's war in Gaza and mounting concerns over the humanitarian crisis faced by Palestinians at this very moment. Prominent signees include actors Elliot Gould and Wallace Shawn, journalist Martin A. Lee, playwright Tony Kushner, and previous Parallax Views guests such as Ariel Gold, Dave Zirin, Mitchell Plitnick, and Samuel Moyn. Given AIPAC activities against progessive candidates in the Democratic Party, this letter should catch the eye of progressive voters and activists. Alan Minsky, executive director of Progressive Democrats of America and one of the main forces behind the letter, joins the show to discuss the letter, AIPAC, and related issues. Full text of the open letter below: A Statement from Jewish Americans Opposing AIPAC's Intervention in Democratic Party Politics We are Jewish Americans who have varying perspectives. We've agreed to come together to highlight and oppose the unprecedented and damaging role of AIPAC (American Israel Public Affairs Committee) and allied groups in U.S. elections, especially within Democratic Party primaries. We recognize the purpose of AIPAC's interventions in electoral politics is to defeat any critics of Israeli Government policy and to support candidates who vow unwavering loyalty to Israel, thereby ensuring the United States' continuing support for all that Israel does, regardless of its violence and illegality. Given that Israel is so isolated internationally that it could not continue its inhumane treatment of the Palestinians without U.S. political and military support, AIPAC is an essential link in the chain that holds in place the unbearable tragedy of Israel/Palestine. In the coming U.S. elections, we need to break that chain in order to help free the people of Israel/Palestine to pursue peaceful coexistence. In the same 2021-22 election cycle in which AIPAC endorsed Republican extremists and dozens of Congress members who'd voted against certifying Biden's victory over Trump, the AIPAC network raised millions from Trump donors and spent the money inside Democratic primaries against progressives, mostly candidates of color. AIPAC is now vowing to spend even more millions in the 2024 Democratic primaries, targeting specific Democrats in Congress – initially all legislators of color – who've advocated for a Gaza ceasefire, a position supported by the vast majority of Democratic voters. AIPAC's election spending increasingly works to defeat candidates who criticize the racist policies of Israel. In contrast to AIPAC, we are American Jews who believe that U.S. support for foreign governments should only be extended to those that respect the full human and civil rights, and right to self-determination, of all people. We oppose all forms of racism and bigotry, including antisemitism – and we support the historic alliance in our country of Jewish Americans with African Americans and other people of color in the cause of civil rights and equal justice. Therefore, we strongly oppose AIPAC's attempts to dominate Democratic primary elections. We call on Democratic candidates to not accept AIPAC network funding, and demand that the Democratic leadership not allow Republican funders to use that network to deform Democratic primary elections. We will support candidates who are opposed by AIPAC, and who are advocates for peace and a new, just U.S. policy toward Israel/Palestine.

Doug Sivco discussed early kids TV; watching SNL in high school; going to Rutgers and being on the radio; trying out to be an NBC page; NBC Nightly News; Space Shuttle Columbia; Election 1980; literally bumping into to Ted Kennedy; Letterman morning show; getting the job at SNL; taking messages for the cast; remembering hosts Elliot Gould, Chevy Chase, and Rodney Dangerfield; Burt Reynolds saves his butt; getting his brother in almost every week; carrying out Mick Jagger; escorting out Deborah Harry; Gabe Kaplan being a jerk; last episode and after party; the new cast; hanging out with Eddie Murphy; Joe Piscopo, Charles Rocket, and Charlene Tilton; finding Cheap Trick's guitar in the green room; working at WNBC; leaving to do news in Alexandria, La.; going to Wilmington, NC and then Harrisburg, PA; the grind of local news; covering Penn State & Philly sports; bloopers; R. Budd Dwyer; went to work for Dean Witter; his current job; living in Cape Cod; community theater; meeting Gilbert Gottfried and being smitten by Linda Ronstadt and Jamie Lee Curtis

Chickens, it's the year of Barbra! Are you ready? Anne and Damian are back with a special “just us” episode to officially launch the You Might Know Her From Patreon–link in below! Please savor the final just us episode on the regular feed. What we're getting into: Jason Gould,, the progeny of Barbra and Elliot Gould, as well as Alexis Kalehoff, the daughter of Broadway star Andrea McArdle. Anne also  finally saw Maestro and May December and we're discussing them deeply including Bradley Cooper's fake liver spots. Plus, we are READY to discuss Barbra's memoir and ready to book club Madonna's brother Christoper Ciccone's book.  Our Patreon has arrived:   www.patreon.com/youmightknowherfrom Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this episode: Alexis Kalehoff and Andrea McArdle singing “Take Me or Leave Me” the lesbian anthem from Jason Gould's album Dangerous Man Lorna Luft's album, Songs My Mother Taught Me Should we go on a Broadway cruise? Joe Machota was in Mamma Mia forever and now is a high-profile agent Uma's dialect work in Red White and Royal Blue Uma Thurman in The Producers “If You Got It, Flaunt it” Alexis McArdle's dad wrote the theme for The Price is Right and Monday Night Football and Double Dare  This month Anne watched Maestro, May December, Zone of Interest, Nyad Jodie Foster Nyad Oscar clip @ 1:39 mark is wild a la Melissa Leo in The Fighter We love Phyllida Lloyd (“Philtitta”) Julianne Moore in old age makeup in The Hours Bradley Cooper is crying with Bernstein's kids Here are his liver spots as Leonard Bernstein Tick Tick Boom movie surprisingly good at capturing the moment of invention Should we revisit De-Lovely and dear god Beyond the Sea? Wicked Stepmother co-starring former guest of YMKHF, Colleen Camp (Ep #108) Barbra's dinner with Ryan Murphy, Lady Gaga, John Travolta (presumably a Gypsy meeting) Download Libby!  Madonna's brother, Christopher Ciccone wrote a book, Life with My Sister Madonna Let's learn about Barbra's assistant, Renata Whoopi's book is forthcoming (May 2024)! / Anne read Frank Langella's v dishy book

The Czar of Noir Eddie Muller joins us for our epic SEASON 2 FINALE. Eddie takes time out of his busy #Noirvember to chat about his new book NOIR BAR: COCKTAILS INSPIRED BY THE WORLD OF FILM NOIR and his even newer hardboiled kid's book, KITTY FERAL AND THE CASE OF THE MARSHMALLOW MONKEY. He also tells an amazing story about ELLIOT GOULD from the just-concluded TCM Cruise that you won't want to miss + insights into Kim Novak and Ernest Dickerson (DP of DO THE RIGHT THING, MALCOLM X) from the Cruise. We also talk about the history of child endangerment in noir and how you can't do a lot of this stuff today. If that wasn't enough, Eddie sticks around to pair cocktails while we pair cannabis with a pair of movies from his NOIR BAR book. First, Edmond O'Brien has been slipped a Mickey full of luminescent poison and only has a few days to find out who murdered him and why in D.O.A., a frantic, sometimes comical, and essential noir from 1949. And then, Golden Age of Hollywood screenwriting giant Ben Hecht writes, directs and produces SPECTER OF THE ROSE, a bizarre ballet noir with a wealth of dialog that will bring you to the brink of madness! No need to write a lot about these movies here because we go long in this episode, but it's our last one for a while (kinda). Big thanks to Eddie and apologies to Kathleen for keeping him so long. Eddie's NOIR BAR is available from Larry Edmund's Bookshop in Hollywood, CA: https://www.larryedmunds.com/product-page/eddie-muller-s-noir-bar-cocktails-inspired-by-the-world-of-film-noir As are signed copies of KITTY FERAL: https://www.larryedmunds.com/product-page/kid-noir-kitty-feral-and-the-case-of-the-marshmallow-monkey We won't be doing a HOLIDAY SPECIAL this year but there will be a Barbie under your Christmas tree next month, so please subscribe so you don't miss the LOST BARBIE EPISODE. We can finally post it now that the SAG AFTRA strike is finally over. (Thank God!) MUSIC Theme song & Christmas Funk: Chaki the Funk Wizard "Rinse Repeat" by DivKid via YouTube Audio Library Movie audio courtesy of Archive.org Check out our new website: www.oldmoviesforyoungstoners.com Thanks Rosie! Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com

When trailblazer and Native media maker Sterlin Harjo first experienced Robert Altman's The Long Goodbye one solitary day during the pandemic, he says he floated through it. Equal parts dreamy and dark, Altman's 1973 film adaptation of the 1953 book by Raymond Chandler delivers an anti-heroic, wise-cracking Elliot Gould as detective Philip Marlowe and takes place in a Los Angeles reshaped by the cultural upheaval of the 1960s. As Marlowe untangles the case, he encounters a wild cast of characters and reveals the city itself, from Hollywood to Malibu. We learn what Sterlin borrowed from Altman for his hit show Reservation Dogs, a central difference between western and indigenous storytelling traditions, and how Oklahoma noir might just be the hottest new thing. Hosted on Acast. See acast.com/privacy for more information.

Caitlin and Eric welcome Brit and Erin aka Car Crash Collective to the show to talk about car crashes, readings in LA, Sufjan Stevens, Elliot Gould, Tawny Frogmouth's, Harry Potter, doing crack in the apocalypse PLUS we play one of the most traumatic rounds of MASH in the history of Goth Yearbook! Rate, subscribe, and review our podcast on Apple Podcasts Follow us on Instagram, Twitter, and Spotify Check out our merch on https://www.caitlindee.com/ Find bonus episodes on our Patreon for $5/mo plus personalized playlists! Episodes include deep dives into movie classics, scene readings with special guests, and Doug (TV show) deep dives. That's showbiz, baby! xo, Caitlin Dee, Thee Eric Wynn, Murph, Dinah, and Prince Charming --- Support this podcast: https://podcasters.spotify.com/pod/show/gothyearbook/support

The Maladjusted Misfits dig into episode number two. Ross finds out his ex-wife, Not-Carol, is pregnant. Rachel returns her engagement ring to Barry. Monica becomes stressed when Elliot Gould and Christina Pickles show up as her and Ross's parents! What could Jo & Adam think of these events?The One to Follow Misfits on Facebook: The One Where We Talk about FriendsThe One to Visit Misfits on Instagram: The One Where We Talk about FriendsThe One to Email The Misfits: themaladjustedmisfits@gmail.com

National chop suey day. Entertainment from 1989. Ishi meets civilization, The Fugitive finale, Soviet Union detonates nuclear bomb. Todays birthdays - Jean Lafitte, Ingrid Bergman, Isabel Sanford, Richard Attenborough, Elliott Gould, Michael Jackson, Rebecca De Mornay. Ed Asner died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Chop Suey movie sound trackRight here waiting - Richard MarxI'm still crazy - Vern GosdinBirthdays - In da club - 50 Cent http://50cent.com/The Jeffersons TV theme songABC - Jackson 5Exit - It's not love - Dokken http://dokken.net/https://www.coolcasts.cooolmedia.com/show/history-factoids-about-today/

Barry Blaustein joined me to discuss watching political events of the early 1960's on a b/w TV; his comedy influences; going to school for broadcast journalism; "Broadcast News"; going to LA and getting jobs on specials; working on The Mike Douglas Show; submitting for SNL; Jean Doumanian asking him to write more, not doing it and getting hired anyway; the writing staff did not intimidate him; Elliot Gould and the Accordion Killer; Malcolm McDowell; Ellen Burstyn and Raheem Abdul Mohammad; his dad coming up with "Is that velvet" from "Coming to America"; writing "LFNY" for Eddie on the seventh show and having people upset; Tommy Torture and Ray Sharkey's erratic behavior; Karen Black episode; Charlene Tilton, Mr. Robinson's Neighborhood and Charles Rocket's f-bomb; writing a Nick the Lounge Singer with Bill Murray; the Writer's Strike; first show back with Little Richard Simmons, Prose and Cons, and Khaddafi Look; show two with Buckwheat; John Mulaney was born in 1982 when he was at SNL; Ted Cruz being a fan of his work; Velvet Jones; Donald Pleasance and Fear; "Hidden Photo"; Michael O'Donoghue; writing the Mick Jagger variety special for Tim Curry; "retiring" Velvet Jones and The Jersey Guy; Gumby; Larry the Lobster; appearing on camera; Ebony & Ivory; going out to L.A. to write for Chevy hosting via satellite; Drew Barrymore; Eddie hosts and Steve Martin makes a cameo; Lily Tomlin; working with Rick Moranis, Sid Caesar, Stevie Wonder and Ed Koch; leaving the show and not being allowed to tell Eddie; Pam Norris; "Coming to America"; being a Mets and Clippers fan; writing the "Police Academy" movies and their humungous success in Russia; What's Alan Watching?; going back with Eddie in 2019 to SNL;

Bill Boggs is an Emmy-Award winning TV Talk Show host, producer & author who began his career in comedy. His TV credits include the long running Midday Live out of New York City. He was the executive producer of the groundbreaking The Morton Downey Show and was the co-creator & host of the syndicated Series Comedy Tonite. He has interviewed some of the most notable personalities of all-time, including a rare talk show interview with Frank Sinatra. John Belushi, Martha Stewart, Brooke Shields, Elliot Gould, Carly Simon, Sammy Davis Jr., Yul Brynner, Jerry Lewis, Howard Stern are among the hundreds of bold faced names he has interviewed in his storied on-air career. Bill is the author of the 2023 book Spike Unleashed: The Wonder Dog Returns (sequel to The Adventures of Spike the WonderDog).  

On this episode of The Snub Club, the crew discusses 1969's Bob & Carol & Ted & Alice. Directed by Paul Mazursky and starring Natalie Wood and Elliot Gould, Bob & Carol & Ted & Alice was nominated for four Academy Awards but lost everything. In this episode, Danny, Sarah and Caleb discuss New Hollywood and polycules.   The Snub Club is a biweekly podcast about cinema history where we discuss the film from every year's Academy Awards with the most nominations but no wins. Hosted by Danny Vincent, Sarah Knauf, and Caleb Bunn!   Follow us everywhere! Twitter: https://mobile.twitter.com/SnubClubPod Instagram: https://www.instagram.com/thesnubclubpodcast/ Facebook: https://m.facebook.com/permalink.php?story_fbid=108436691341808&id=108435618008582&substory_index=0   Theme music: Frisbeat by Blue Wave Theory

This week, Emmy nominated Writer/Producer Jonathan Fener, (American Dad!, iCarly, The Mindy Project, and many more) is on the podcast discussing the importance of having access to industry professionals, getting his footing in the industry, and working in the multi-cam world.Show NotesJonathan Fener on IMDB: https://www.imdb.com/name/nm0271779/Jonathan Fener on Twitter: https://twitter.com/jfenskiMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptMichael Jamin:I always say, you're kissing the wrong asses. Kiss the asses of assistants because they're not go, you know, they don't get their asses kissed. They, they love it. I mean, who wouldn't get, give 'em some attention. They get abused all the time, then they rise up eventually. So, yeah, those are the ones. You gotta be nice to the assistants always, you know.Hey everyone, it's Michael Jamin. Welcome back to Screenwriters. Need to hear this. I have a wonderful guest today. This is a, this is a, I'm gonna tell you the story, how, how we met. So, as you know, the Writers Guild of America's on Strike, and my next guest is a well-known Setcom writer, although we've never worked together over the years. So our paths, you know, we haven't really crossed, but we know all the same people. And then we started, we were on the picket line outside of CBS Radford, and we started chatting and we had a really nice talk. And I was like, well, this, I gotta bring this guy in the podcast. So everyone, if you're driving your car, please pull over, put your hands together. A warm round of applause for Mr. Jonathan Fener. He is, let me just give you some of his credits before I let him talk.You'll notice it's a 45 minute podcast, and I, I do talking for about 44 minutes of it, but I'm gonna talk about your credits. He, he wrote on Bette, the Bette Midler show, Veronica's Closet, do-Over Kid, notorious. It's all relative Method. And Red Father of the Pride, you remember that one with Siegfried and Wright the 78th Annual Academy Awards. I wanna talk about that. American Dad. We know that happy endings, old Soul telenovela, the Mindy Project. How come that wasn't a show? Why was that? Just a project. Trolls Holiday, Elliot to Vegas, American Housewife, trolls, holiday in Harmony. We'll talk about that. And most recently, the iCarly reboot as well as well Mullaney. But guys, this guy's been around the block. John, thank you so much for being on the show.Jonathan Fener:My pleasure. Thanks for having me. Thank.Michael Jamin:So, I wanna find out, I wanna know all about your, your history. Let's take it back from the beginning when your great grandparents met. Let's really do a deep dive into your life. ,Jonathan Fener:Eastern Europe.Michael Jamin:Eastern Europe. Let's justJonathan Fener:Do, yeah, let's go back to Eastern Europe.Michael Jamin:But tell me were you, were okay, so how did you first break into the business and did you always know you wanted to be a, a, a setcom writer?Jonathan Fener:Yeah. I, I, even when I didn't know that's what I wanted to do, I, I look back and I'm like, oh, that's what I wanted to do. You know, I, I feel like I'm part of a, a generation that you know, back to watching television shows, videotaping, you know, Saturday Night Live and Uhhuh and sitcoms and, and like I used to audiotape them toMichael Jamin:StudyJonathan Fener:Them and watch. Yeah. And, and, and like, I would, I would watch Saturday Night Live, even when I was old. It wasn't old enough to like watch it. I would tape it on the VCR that we had, the, the one that popped up Yeah. At the top. And then and then I would have an, and then in the morning I'd watch it all day. And I would, and, and I used to make mixtapes, I guess video mixtapes where I would like, like mix and match different sketches that I liked. And then I and I used to listen to those all the time. And then I would also, I'd watch television shows. I did do that thing where I, I would tape television shows and then I would try and like write out the script. I didn't, I didn't know what the formatting was, so I always was interested in Yes, you'dMichael Jamin:Write it, what kind of word for word? Or you'd write your own,Jonathan Fener:I'd write it word for word. I would transcribe.Michael Jamin:Because that made you a writer then. Did you think that was, what was the point of that?Jonathan Fener:Well,Michael Jamin:,Jonathan Fener:It's like this this, this is gonna sound douchey maybe, but I remember reading this quote, I, I, I think Hunters Thompson once said that he used to just type pages of the Great Gatsby, just to feel oh, what it was like to really, to write those words. Yeah. and so you can draw a direct line between me and Hunter s Thompson and The Great Gatsby. Yeah. And, you know, the Bette Midler show. Like, they're basically one to one.Michael Jamin:But then, and Okay, go on. So then, then as a kid, you,Jonathan Fener:Well, I always was a, I was a huge comedy fan. I was a huge movie, television, e everything fan, standup comedy. I loved standup comedy. Right. So was always too afraid to do it. But yeah, I mean, I always knew I wanted to be part of making that comedy, you know, television, movies, all that stuff. So I went to Fast Forward, I went to usc. I, I I didn't go to the film school, but I, I just was, just wanted to be in la Oh. And I guess sort of the way sort of goes, you, you get outta school and, and I, I knew a guy that I went to school with who worked at a talent agency, and he got me a job as a messenger when they were still inMichael Jamin:Existence as a messenger. And so you were driving around town delivering envelopes.Jonathan Fener:That sounds terrible. Thomas Guide. WithMichael Jamin:Your ThomasJonathan Fener:Guide, right? No yeah. In the heat and the traffic. And howMichael Jamin:Long did you do that for?Jonathan Fener:I was probably a messenger for about, I don't know, matter of months, maybe like 3, 4, 5 months. And then a desk opens up and then you're, you're answering phones, so, oh, soMichael Jamin:You didn't have to go to the mail room, you went from Messenger toJonathan Fener:It really wasn't a mail room. I, it was a very small town agency. Okay. It, it was called the Herb Schechter Company. Sure. I dunno if you ever No, I've heard. And it was like back in the day where, you know, he mostly represented like TV writers. They had a whole below the line department. It was a small agency and they didn't really have a male. One boutique. Yeah. Boutique. Boutique. They had a lot of like, guys that were like supervising producers on Magnum, stuff likeMichael Jamin:That. But that's a good, but then, so how long, cuz you know, I was a, I was an assistant at William Morris for three days. I got fired on my second day and I go, but I stuck out the week. I finished the week . So I, I applaud you for being like, it's just a hard job being an assistant for an agent, because I found it was,Jonathan Fener:Yeah. Yeah. I mean, I was an assistant for a lot of different people. I was, I, and it, I think it helped that it was kind of, I, I don't know if low, I guess low stakes, cuz it wasn't like, I wasn't at caa. I wasn't at, you know, William Morris. I was at this tiny little agency and this woman I worked for was, you know, she represented like stunt coordinators and, and oh, like that. So not that, look, I still had to do the like, rolling calls thing and all thatMichael Jamin:Stuff. But did you, but did that, did that give you context? Like what did that, what what, what was your takeaway from doing that job for howeverJonathan Fener:Long? Honestly, a lot of the jobs I had until I was a writer were, it taught me what I didn't want to do. Yes. I'm like, oh, I work for an agent. I don't wanna be an agent. Right. And then there's like a network of assistances mm-hmm. where, you know, there was another agent there, this really nice woman named Deborah Lee. I still remember her. She she called me in one day. She's like, what do you want to do? What are you doing? I'm like, I don't know. You know, I mean, I, I think I wanna write, but, you know, may maybe I wanna be a creative exec. I just, I wasn't sure. Okay. So she was like, well, I have a friend who works at Fox and they need an assistant. So, you know, if you wanna get outta here and go work there.And I was like, great. So I went to go work for this other woman and then I just met, I would just meet assistants and they would offer me other jobs. I worked for this guy. My biggest assistant job was I worked for this guy John Matian, who was the president of Fox Network. Mm-Hmm. . So that was the first time where I saw an entire television season from pitches, development scripts and shooting all the way through. Right. Cause I was on his desk and I read every script that came across his desk that was like, I don't know if you remember that guy, or even like, that was the year, that was like in the early mid nineties when they were like, maybe gonna try and do like friends. Like they had this show called Partners and Ned and Stacy andMichael Jamin:Ned and Stacy. Yep.Jonathan Fener:It was becoming a little bit more of like, let's try and make a, a friends clone. So like the XFiles was happening then, right? It was just like, it was, I had one year where I had an entire overview of television and I'm like, and then I would read the scripts and I'm like, I think I can, I I can do this. I can. SoMichael Jamin:Did who, where did you learn to write then? What do you, what was the next step?Jonathan Fener:I just figured it out. I mean, I think that what happened was I met my partner who was my friend Josh by Cell. And we were buddies. And he was at UCLA in screenwriting school actually. Okay. And he was actually writing with his dad. He, him and his dad were writing a script together. It was, it was very, and I was, we would just talk about stuff. And, and then, so the story is that we had another friend who was a PA on this show called The Single Guy. Yep. Remember that show with Jonathan Silverman? Yes.Michael Jamin:Jonathan Silverman. Yep.Jonathan Fener:Yeah. The Brad Hall show. And we, he used to bring home scripts every week and we would read them and we were like, I can't remember, one of us pitched an idea, but funny if they did an episode, whatever, like in real time of whatever. And then we're like, we should write it. Let's just write it. We know how to do it. We should just write it. So we sat down and wrote this script and it was, I thought it was pretty good. And , we, we, and, and again, the assistant network was we knew somebody who was an assistant to Richard Whites at the time. Yeah. Who was a young guy. AndMichael Jamin:And young agent. He was I c m probably, right?Jonathan Fener:Yeah, yeah, yeah, yeah, yeah. And, and it was just one of these things where like, after a while I was assistant for three, four years and I had access cuz all the young people that I was working with were now becoming executives or agents. Yeah. So there were people you could actually hand your script to. They would read it as opposed to just throwing it in a pile. Right. And the, the, the long and the short of it was Richard read the script because Brad was a client of his, and I remember he called me at my house and he was like, your friend Mallory gave me your script. I think it's funny and I think that you need to write something else because no one will read a single guy. He's like, I only read it because I represent Brad, but no one will read. He's like, you have to write friends, you have to write Seinfeld, you have to write news, radio, whatever. So Right. That, that was kind of the first thing where we were like, Hey, we can maybe do this. Let's doMichael Jamin:This. That's interesting because this is what I say. Cuz people always sit and they're like, well, do I have to move to Hollywood to break into Hollywood? It's like, well, this is how you do it. You get these jobs, you know, you become an assistant and you network or you get on the network and then that's how you make connections. So that's what you did. I do. I wonder, do you think the assistant network is still strong now? I mean, so everything's changing so much.Jonathan Fener:Yeah. You know, it's a good question. You know, it's like, that's the age old question. Like, how do you break in? And, you know, I feel for years now that like, maybe that's not the way it's done anymore. May maybe I'm just looking at like, stuff as like an older guy where like I look at people and I go, I don't know. Can't you make your own television show on your phone? Or something like, I, but you know, you, you still need some kind of access, I think. And maybe I don't even, maybe I don't, I can't wrap my mind around it a little bit. But like, it just seems like if you do, if you write something, if you make something, someone's gotta watch it. Someone's gotta see it. Mm-Hmm. that can make a decision for you or, or help you. Right. And that's about, that's about that relationships.Michael Jamin:But then how did, so what was your next step? How did you get on staff?Jonathan Fener:We wrote a bunch of specs and we had some friends that were becoming agents. A guy that I, I, I was, I was an assistant with a guy who became an agent and he was a paradigm. We, we kind of, we worked with him for a little bit, but it was, we, cuz like we were friends and like, when things don't go so well sometimes mm-hmm. , it's like it's messing up the relationship. So I think we just were able to get, look, we, we, we, anybody that would read our script, that was a, that was a young agent, we would somehow try and get to them. And everybody passed. One guy at I C m mm-hmm. was signed us. I mean, I, I remember very clearly getting a phone call. I, I, you know, my partner and I, Josh, our birthdays are a week apart. We really were like, you know, we were friends, we were, you know, we, it was like intertwined lives. But we were having like a joint birthday party mm-hmm. . And we got a phone call that, you know, they wanted to sign us. And that was a big, big fuckingMichael Jamin:Deal. And, and what, and they submitted you to which show? What was the first show then?Jonathan Fener:Well, this is funny how things work too. So his one big connection was this woman shit. Her name was Debbie. This is Embarra. I, that's okay. She, she ran Bry, Kaufman Crane. She was like their development person.Michael Jamin:Right.Jonathan Fener:And I feel bad that I don't remember her name cuz she was sweet. And, but that was a good relationship that he had. Mm-Hmm. . So they submitted us for Veronica's Closet. Right. The, it, it was, it had done a year. It did. Well, you know, Christie alley's back to TV and it was, I mean, it was Thursday night. Yeah. Nbc I mean, it was a huge, huge show. AndMichael Jamin:Let's take it back for a second. That used to be a big time slot. Thursday night, n b slate, nbc. Now I don't even know what now. I don't know what they, what they're doing there, but maybe some, it's reality. It's soJonathan Fener:Fire, something fire.Michael Jamin:Is it some dump Dumpster fire? But that's the one. So, but it's, so, but this is something else that you bring up which I think is really interesting. Like, people always say you're kissing, I always say you're kissing the wrong asses. Kiss the asses of assistant because they're not go, you know, they don't get their asses kissed. They didn't, they love it. I mean, who wouldn't get, give 'em some attention. They get abused all the time, then they rise up eventually. Yeah. So those are the ones you gotta be nice to the assistants always, you know,Jonathan Fener:Oh, yeah. Christmas, you know, send them, get the, get the gift card, do the thing. Yeah. I mean, you know, they'll put your call through. I mean, look, I mean, they can do only so much, but yeah, it was, it's just, again, everybody, even if it's the same trajectory, everybody's story is a little bit different, you know? Yeah. And you know, it, it was, I think we were, I think we were lucky, but it was also, it was a, it was, you know, I, I hate to sound like I'm a thousand years old, but it was a very different time. Yeah. And, you know, staffing was like, almost were all seemed like so many opportunities. And it was just like, it almost seemed like, it wasn't like, you know, if I'm gonna get staffed, it was sort of like, where am I gonna get staffed? And, and but, but you know, you sweated out and I never felt like that. I mean, and for every, we, we, I don't think, you know, look, I, I think we were good and, and, but and still are. But you know, I never felt like we were juggling offers . Yeah. You know, it was definitely like, you know, okay, we got this gig and, and you know,Michael Jamin:Yeah. People don't, people don't realize that as well. Like, once you're in, it's great. It, that first job is hard, but you're, then you always gotta worry. You gotta worry about your next job. None of it's, you know, if people think well, you know, it is like you must have it made, but you don't, you never have it made. You're always hustling.Jonathan Fener:Never.Michael Jamin:What did you feel your first season as a staff writer? Did you feel comfortable? Did you feel like, oh, and over your head?Jonathan Fener:Honestly, no. I, I, I can say that with confidence. I felt like I got there and I was like, yeah, this is what I should be doing. Oh, you said I'm not just Yeah. You know, look, we were the youngest guys that, you know, we were the staff writers. Right. The baby writers. It was a very challenging place to work. I mean, you know, Bry, Kaufman Crane, you know, look, we, I could, we could do an entire podcast on just working on b Brianca's Closet and just literally being down the hall from season five of friends. It's like the Beatles. Yes. They, they, their, their dressing room is down the hall. And I'm, you know, with Jerry the Pacemakers or something. Not that, not that. That's, that's a great reference, by the way, for all your younger,Michael Jamin:I don't, I don't know. Listener. Yeah.Jonathan Fener:Just some, but it was like, and the show was, you know, it, it was what it was. It was funny. There were tons of funny people on that show, people I still talk to, to this day. Honestly, but it was like the, the culture of that. And I think it, it's a, it's, it's not a news story in sitcoms. But, you know, we worked, we watched the Sun come up all the time, and it was really, that was my first step. It was like, I had never done it before, but I was like, I knew immediately. I'm like, this is not the way it, this is not the way it should be. Right.Michael Jamin:Was it cause stories were being tossed out? Or notes from the network or what?Jonathan Fener:Yeah, it, it was poor, poor management.Michael Jamin:Oh, time management. It wasJonathan Fener:Poor time management. You know, I would say like, you know, you're, when you work on a, on a show with terrible hours, you're just like, you're a victim of somebody else's badMichael Jamin:Work. Well, there's, there's that. Yeah. Yeah. I always felt very when we were running a show, I was like, I always felt I would crack the whip just because I felt like I want people to go home. I want stop messing around. And, and I was a hard ass in that way. Cause I wanna go home and I think you wanna go home too, don't you? You know, like, let's just work and go home.Jonathan Fener:Those are the ones, the ones that don't want to go home. Those are theMichael Jamin:Worst. Yeah. Those are the worst. Right. Did you, were you on many shows like that, where you felt like a hostage ?Jonathan Fener:No. well, let me think. Not really. That was the worst. And then there were a couple other shows that were rough, but I think that, like, as time went on, I definitely got lucky as time went on that I, I worked for de Decent people.Michael Jamin:Well, you also had another show that was basically the stepchild, which was American Dad compared to Family Guy. I mean, family Guy. Was this behemoth, not that American Dead was any slouch, but you were still in the shadow of a, a family guy, right?Jonathan Fener:That's right. The other one. Yeah. Yeah. The other show. Which, but that Yeah. And that, that was good point. No, but it was, it was and animation was something that I, you know, we got into pretty early on too. And I really, really liked that. And you know, there, there's animation usually is not terrible because the deadlines are, are way far apart. Yeah. Like, as far as like, you know, like Multicam is probably the worst because it literally, you gotta rewrite itMichael Jamin:Tonight at four, at four o'clock you start your day basically. Yeah. AfterJonathan Fener:The run Yeah. Run through is it ruins your whole night. And then it's like someone has, like, if you're doing single camera, you know it, you're usually reading a script for the next week. So, you know, you want to get it done by tonight, but, you know, maybe you can leave a couple of jokes and then the next day you can like, sort of clean it up. Right. But like Multicam, they're, they're at rehearsal at 9:00 AM so they need a script.Michael Jamin:Yeah. Yeah. And that was your joint. You were on the Warner Brothers slot. All right. So then, so then what happened? You, I'm gonna, I'm going with your credits over here. So Veronica's closet. And then what about, what was, you were there for, well, how many, well, how many seasons was that? The show was what? Two seasons?Jonathan Fener:They did? Th they three. I was on the last two.Michael Jamin:The last two. And then when it was done, what happened?Jonathan Fener:When it was done, I was like, I, I did it. I, you know, no, I, I was like we, we just got back out in the staffing pool, you know?Michael Jamin:Right. And then you just jumped.Jonathan Fener:We, we, yeah, that was the next, the next season we went to, we got on the Bette Midler show, which at the time was like massive. It was massive. ThatMichael Jamin:Was massive. And then,Jonathan Fener:And that's another, I'm sorry to interrupt. I was gonna say, like, that's an interesting story where, you know, I don't know if you think of 2 26 year old guys as like, yeah, we gotta get those guys on the Bette Midler show. Mm-Hmm. . But our agent submitted us, and at the time we were even thinking to ourselves like, what, what samples can we write that are a little different? So we wrote a Buffy, the Empire Slayer Script, just cuz like, we liked the show and Right. The tone. And so we wrote that and then, and I think we were like, maybe we can look and see about, you know, maybe getting on like an hour or something like that. And then the, it just so happens that Jos Whedon, I think worked for the guy that created that show, Fette.Michael Jamin:So I was gonna say, I wanted to say Cohan and Nik, but no, that, I don't think that's right. Who created it?Jonathan Fener:Jeffrey Lane.Michael Jamin:Jeffrey Lane, of course. Right,Jonathan Fener:Right. Who was a big mad about you, dude.Michael Jamin:Yes. And then, then working for Bette. I mean, that's, that's a whole other thing. You have this oversized star, really a giant star. And she must have had a lot of creative input.Jonathan Fener:Yeah, yeah. You know, she had opinions, but no, she was it was, it was nuts. I mean, you know, they picked that show up for a full season, which even, even then wasn't a thing. And she, she just was like, like such a massive force, you know? Yeah. Almost too big for television. I would even say, like, I remember thinking, she's on the stage and I'm like, and I mean the sound stage. Like I can see her playing Caesars just live or in the movies where she's gigantic. But there's also, there's, there's, I don't know if muting is the right word, but you know what I mean, like, like, there's just something about those mediums that like, sort of, and, and I just think on tv she just was like, massive. Just like, but, but, you know, really funny. And, you know, she did everything. You know, she sang the Rose and she, it was like, pulled out all the stops. It was just, it was almost like, and I don't think she knew what being on a television show entailed. I think when you take people that have never worked on TV and put them on tv, they're like, I have to come back again tomorrow. And Yeah. Tomorrow. And it's a new script today. And like, they're used to shooting films, but even like, it, it's, it's a grind for everybody. Yeah.Michael Jamin:Yeah.Jonathan Fener:SoMichael Jamin:She, she became a little cantankerous. You think ?Jonathan Fener:She, I think, yeah. No, she, she, she, you know, she liked me. she liked me and my partner. We, we wrote this episode actually with Kobe Bryant in it.Michael Jamin:Oh, okay.Jonathan Fener:And I think they were like, get the young guys to write this. And Kobe was, and he agreed to do the show. I think his wife was a huge Bette Midler fan. He, I think he said, I mean, he was nice guy. I remember meeting him and the show, I mean, think about this. We shot the sh we shot our episode in the forum. Like, and, and the, the, the plot of the show is that, that becomes like, she basically accidentally gets onto the court and she starts dancing with the Laker girls. IMichael Jamin:Don't know, but it was a multi happened. It was a Multicam, right?Jonathan Fener:Yeah. But they just, they shot it on the forum, I mean, on form. They, and it was, it was the kind of thing where it was like, whatever it cost, it cost,Michael Jamin:Right.Jonathan Fener:They booked the forum and, and that episode sort of turned out okay. And then I think she felt like, oh, these guys get the show. So they took us out, she took us out to lunch, and she's like, what should, what should the show be? You guys see that? OhMichael Jamin:No. Oh no. And you guys are, you guys are story editors at this point. Right. See, that would be panicked about that. That's not good.Jonathan Fener:Co Cohen was at that lunch too.Michael Jamin:Oh, she took Rob. See, that's the thing. She lovedJonathan Fener:Rob, loved Rob.Michael Jamin:My, my rule of thumb early in my career is don't let the actors know your name cuz only bad things can come of it. . And then, and then, right. So she takes you and now you're, maybe you don't wanna talk about this, but I, that puts you in a difficult position because she should be taking the showrunner and the showrunner should be bouncing you. She should be bouncing the ideas and not, you know,Jonathan Fener:You know. Yeah. It was a Yeah, it was. I mean, I didn't know. We were just like, well, you know, just more do more of this stuff. Right, right. You know, we'll, you know, go to a baseball game. Or, I, I just think she, I, I, look, I think that she was searching for what the show was. I think the showrunner was, I think they just were, and it was a, it was a weird, not a weird premise, but it was like, she, she played a character named Bette, and she played Aer that was a famous Hollywood actress and had been in a movie called The Rose and all these things that were true. Right. But she kept saying, I'm, but I'm not Bette Midler.Michael Jamin:She would say that in the show, but I'm not Bette Midler. She would say, she would say that toJonathan Fener:Us. Oh, okay. Cause we would write jokes and she's like, but I'm not Bette Midler. And we're like, but you were in The Rose. And we're like, okay. Bette Schidler. You're bet. Schidler. Yeah. And, and, and a lot of stuff that happened to her in real life we would try and put into the show. But it was like, it was just one of those things where we were just trying to find our footing and, and, and never really found it.Michael Jamin:Wow. But that's pretty cool though. I mean, hanging out with Bette Midler's pretty cool. SheJonathan Fener:Was something else, man. She was like a, like I said, like a force, like just funny and, and just larger than life. AndMichael Jamin:You know, but we were, we didn't just shoot me. And and George Siegel, of course, in the seventies, there was no bigger actor than George Siegel. And he wasJonathan Fener:Huge. Yeah. Funny.Michael Jamin:And then c just shoot me. And we wrote an episode and he, George could not have been a sweeter guy, such a nice guy and great sense of humor. But there was one episode he, I guess he wasn't happy with what he was playing. Maybe he didn't have enough lines, or maybe he thought his storyline was dumb or whatever. . But I remember he, we were all the writer's rehearsal. And George goes, you know, I was nominated for an Emmy. I'm sorry. He was, you don't have nominated for an Oscar. You know that. Right. And one of the writers goes, yeah, that was a long time ago. George. Get in the dunk tank. . And George thought that was so funny. I mean, he like, to his credit, he just laughed. He thought it was great. .Jonathan Fener:That's so funny.Michael Jamin:That's what's fun about working with some of these, you know, some, some of these old timers are great, some of them are, you know, a little di difficult. Who knows. All right. So then what, at what point did you guys start developing your own shows? Cause that's always a big leap.Jonathan Fener:You know, we, we were kind of like wanting to do that early. And I remember that was another thing that was not encouraged. Yeah.Michael Jamin:Not then itJonathan Fener:Wasn't at all. It was just sort of like, it was the tail end of it, but it was kind of just like, here's the model. Get on staff. Mm-Hmm. work your way up to producer, supervising producer, get a deal. Mm-Hmm. and then you develop. Right. So that was the, that was the the road. But we were like, no, we have some ideas. And you know, if they don't wanna listen to us at, at nbc, then maybe they'll listen to us at mtv. So we had heard that MTV was looking to develop shows. Cheap show. I mean, it's like that thing every, like couple of years. MTV's like, we wanna do scripted. And then they would hardly ever do it, but Right. We had this idea that we would do cuz they wanted to repurpose videos, but somehow do it in a scripted way.So we had this idea that we would do like Dream on, but with music videos. So it was about a kid whose interior monologue was music videos instead of old movies. Right, right. And like, just seemed it was like risky business, but the kid is 16 and he's just that. So we sold that. We actually sold that and wrote it and it never got shot. But that was like, pretty early. That was like a couple years in. And we sold a movie. Like, we were kind of like trying a bunch of stuff. But I think that we early on were like, I feel like we should do our own stuff too. Uhhuh . So I always have said like, like, like I don't, I don't know what it's like to have just like one job. I always feel like I was doing two things at once. So like, eventually if people are always like, they're on staff, like I was always on staff. And then on the weekends I was working on the other thing.Michael Jamin:You see, people don't understand how exhausting that is cuz you're on staff, you're working very long days and then on the weekends you're working more. You know, it's, it's, it's good for you when you're, you know, it's hard. It's hard to do that. Yeah.Jonathan Fener:It was hard. And I think it was the right look. I wasn't, I was, I was, I was married, but I didn't have any kids and mm-hmm. , you know, but it's, it was tough, man. I mean, you know, and, and that was back before you, we were zooming. So like, we would go, I'd go to Josh's house, he'd come to my house, Uhhuh, . I mean, we used to literally meet in the middle and trade.Michael Jamin:Oh. Cause you guys, you guys let, did you live far apart from each other?Jonathan Fener:Yeah, yeah. We, we, we, yeah. UsuallyMichael Jamin:Trade far discs. So I'm, I'm skipping ahead a little bit, but, but I'm curious to know, well first of all, I wanna know how, what was the academy, how did you work on the Academy Awards? How did that come about? That's such an odd term for you thatJonathan Fener:Yeah, that was, that was the connection. There was, that was the year John Stewart hosted, I don't know if that was his first time. I know he did a bunch of times. It was the year of crash crash one. Okay. The best picture. And like Philip er Hoffman one for Capote, but John was Right. Was hosting and he brought out like a bunch of daily show people. And my partner went to college with a guy, Ben Carlin. Yes. Who I kind of became friends with too, because of those guys. So, so Ben was running the Daily Show. He was one of the eps. And so when he came out, he called me and Josh and a couple of other guys and asked if we wanted to be part of the staff of people. Basically they, the, the Daily Show guys wrote the monologue. They asked us the la guys to write like short film parodies of the nominees.Right. So, and then, you know, maybe help out with the, and and, and on on show night we would be part of the joke room cuz they're writing jokes throughout the night. With like, I mean, Bruce Lance was there mm-hmm. and some local school guys were, were there. But so yeah. So we basically pitched like 20 little short filmed things and they picked five or six of 'em and then we got to produce them and, and, and all that. But we were part of that whole thing. That sounds fun. Yeah, it was really fun. It was really, really fun. And like on show night, we literally, they put us down in this basement and we are like watching the show live and it was like instant messaging. If whatever, who, if somebody won something, we would like shoot a bunch of jokes up to them and the wings. ButMichael Jamin:Did you have to wear a tuxedo to do that? Yes. In my mind. You, I knew it in my mind, you have to wear a tuxedo even though you're not gonna be on camera, but you're at the Oscars. Wow. They tell you thatJonathan Fener:Because Yeah. Be because we were, I mean, it was really cool. I mean, we got, went, went to, you know, my, my wife and, and Josh's wife and, and all the wives got to go to the show. Right. They got tickets to the show. We were downstairs and then afterwards we went to the governor's ball. Right. I mean, it was really, I mean, we had access.Michael Jamin:That's a trip.Jonathan Fener:That's, it was, that didn't get a gift back. I was really hoping I'd get like a, because I always, I'm like, there's like a trip to Australia in there or something, but I,Michael Jamin:But you got a nice, you got a nice paycheck that's got that kind of counts for something.Jonathan Fener:I don't remember how much we got paid. I don't know if it was, I, I feel like, I don't knowMichael Jamin:Now what about it was great. What about the Mindy Project? Cuz that was like a big, that must have been a big experience for you.Jonathan Fener:Yeah. Yeah. That was, that was fun. And, and that when we were, we had a deal at Universal mm-hmm. . And we had, we, we were kind of lucky. Like we, that was when I worked on the Malaney show and Right. We did a lot of development when we were there and we supervised and ran a couple of shows there. But that was sort of towards the end where they just asked us to come and help out.Michael Jamin:Okay.Jonathan Fener:Oh, for a season. Yeah. And it was it was like, it it is one of those things though, where it was a very tight, well-oiled machine and we, and it was, it was fine. It, it was, it was kind of funny though cuz it was like, you, this sort of happens where, you know, you, you write pilots, you shoot pilots, you run shows, but then sometimes you're a staff guy again. Yeah. And that was a gig where we were sort of like, alright, we're part of this staff. And, and everybody there was like, really funny, really smart. Like, I think, I think that writer's room literally had like three former Lampoon editors, Uhhuh and just like really, really funny smart guys. Right. And women. And we just were like, okay, we're just pitching jokes.Michael Jamin:You're, oh, okay. And then so that, that's, that's the whole experience. But did Mindy run the show? Was she the showrunner at,Jonathan Fener:I mean, she, I she, she had, there was a guy named Matt War Burton, who was sort of running the room mm-hmm. When she was gone. Because the most impressive thing was that she, she shot all day. Yes. Because it was seeing the camera show. She was the star of the show. But she came in at lunch, Uhhuh . And Matt would pitch her and she very efficiently was like, I love this. I love this. What if this happens? What if this happens? Gotta go. And so she, she had the final say. Right. But she was busy, you know. Yeah. And, and that, I I'm trying to think Melany was that way too, but Melany was really part of the writing and that was also a Multicam. So,Michael Jamin:And that was probably, it's, that Melany show was probably three years too soon. Like, you know, like before he really became huge.Jonathan Fener:Yeah. Yeah. That was, you know, I, I think that, that, this was my opinion and I'm not like making this up. And I remember we used to talk, like John was trying, I feel like John was trying to do something where, you know, everyone just looked at it and at face value and said, oh, it's Seinfeld. He's just doing Seinfeld. But Uhhuh, I think he really, really liked the, the medium. He liked multi-cam, but there was a part of it that I think was a little bit satirical. Mm-Hmm. . But it really, I, I think that if you didn't know that you're just like, oh, he's just, is just a, you know, like I feel like some of the stories that he pitched he felt were funny because it's like, oh, this is kind of a clammy story. But I, but I think it's funny in like, I'm doing it with a wink. Right. But I think people maybe saw it and said, there'sMichael Jamin:No wink. I don'tJonathan Fener:See the wink. Yeah. There's no, yeah. And, and, you know, but it, it was, it's not that it was the wrong vehicle because it was his show. And, and, and he is the funniest guy in the room always, you know? Right. I mean, and NA, see Petra was on the, was in the cast too. She was really funny. There was a great cast. Elliot Gould was on that show. Martin Short was on that show. Yeah. It was like, it was, it was, it was really, really fun. But yeah, maybe it was, I, I think maybe he was trying to like rein, not reinvent the multi-cam, but just like, turn it on 10 a little bit. Right. And it maybe wasn't, no one was like, ready for that.Michael Jamin:Hey, it's Michael Jamen. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michael jamin.com/watchlist.Did you, cause whenever we developed for comics, we, you know, we wound up studying, then we read, we watched the act, we read, listened to their, whatever the audio books or, you know, read their, did you do the same as well forJonathan Fener:I just knew you mean for that show or for,Michael Jamin:Well, for Malaney or, or for any, any comic that you're writing for. Really. Or even like Bette, you know, for example,Jonathan Fener:Well, Bette, I mean, we definitely like combed through her career and her life and mm-hmm. tried to get stories from it. Mm-Hmm. yeah. Whenever, and, and, and, and, you know, the, the Mullany thing, we, we kind of like, we were also, that was a period of time where like, we were on that staff for a period of time, and then we had a pilot picked up and went to go shoot it. Oh. So we were sort of there for a, a specific period of time. But like, that show was all him to me. I mean, he ran that with a guy John Pollock, a good friend who who's also like, he, he's, he's such a good, he's a pro guy. He's a pro and, and can guide things. He's so funny and smart. But so I think that, that they really clicked well. And there were a lot of really funny people on that staff too. But yeah. Yeah. I, I think that to answer your question, it's always good, especially if you're dealing with somebody who's gonna put a little bit of their lives into it, to just mm-hmm. because I mean, frankly, you, you kind of want to like, connect with them too. Like, it's something that they can connect with. Right. Unless they don't wanna do it. Unless they wanna be completely a different person if they're being some version of themselves. Yeah.Michael Jamin:What's so odd is that you and I have never worked together, even though we've worked with so many of the same people, you know? Yeah. It seems, it seems like very odd that, you know, how how did that never happen? But how do you see, like, so okay, we are on strike. How do you see the business now? Like, what do you, like, what's your take on the past, I don't know, three to five years? You knowJonathan Fener:Everything's going great. It's great.Michael Jamin:Everything's perfect.Jonathan Fener: and just getting betterMichael Jamin:.Jonathan Fener:I, everybody knows what's going on. Yeah. no, I I think it, to me it feels like it's a massive sea change. Yeah. It really feels like even having lived through the first strike, like that was streaming was just kind of coming around and, you know, Netflix was a thing and, but now everything has completely been disrupted and mm-hmm. , I just think that I mean look, this is nothing new, but like, you know, to, to me, cable seemed to be working okay. And then streaming came in and it just seemed like there were no parameters. It's like all the streaming services come, came around. And I understood economically that like all the studios are gonna want to have their own thing mm-hmm. and not have to license it to anybody anymore. But without the structure of a, of a schedule, like a nightly schedule, it's just like, it just became a bottomless pit.Yeah. And so there was this five, you know, it, it was the, it was the old, it was the, the Wild West again. And there's a billion shows. And I, I, you know, some of these studios I guess were just like, wait, this is so expensive. Like a full staff for every show and we're making so many shows. We need to, now, now it's like we overspent now we need to back up a little bit. And then, but in the meantime, to me, I just felt like it was, like the rules got changed where there was a somewhat of a model in network television and even cable where it's like, we're gonna pick this show up for X number of episodes. We're gonna have this many people on staff. That's the way it's done. Mm-Hmm. . And then now the, it's like, oh, we have this new area of streaming. We're just gonna do things differently. Now we're gonna hire three people. Mm-Hmm. , or the guy that created the show is just gonna write 'em all and then shoot 'em all. And it, it just, I don't, it's, it's, you know, I mean, all I can know, all I can do is keep doing what I do, but it's, you know, it seems more, it, it really seems, it feels like the ground underneath us is that much more Yeah. Shaky. Really shaky.Michael Jamin:How do you, and what's your take? I don't know if you work a lot with, well you know, young, well, let's see. I actually, I have two questions I wanna ask you cuz your last, your last network show was probably was what The Mindy Project? Cause I haven't worked, I haven't worked in the network for a while. It's all been cable. Right.Jonathan Fener:The last network show I worked on was American HousewifeMichael Jamin:Oh. American House. So it's so interesting. Which wasn't even that long ago. And so you're working with young, there's bigger staffs on network. You're, they're bringing in younger writers. What's it like? What, what are the kids like? Do you think they're different these days on network shows?Michael Jamin:Because we had a hierarchy. We had, there was a pattern. There was a, you know, all broken.Jonathan Fener:Yeah. Yeah. Yeah. I, I, I, I think it's probably better. I mean, I worked, I worked in some rough rooms and then I worked in some more, you know, I certainly, I don't feel like I ran a rough room. What do you mean?Michael Jamin:What do you mean by rough room? What were they like?Jonathan Fener:Just a, that the, the real hierarchy. Like when I was a staff writer, you were not really expected to talk very much. Right. It was kind of like sit and listen. Right. But and then I'd say I'd, I'd pitch something and they'd be like, not now. And I'd say, I'm sorry. And they'd say, don't be sorry. Just be quiet.Michael Jamin:. Don't be sorry. Don't let happenJonathan Fener:Again. Don't be sorry. Just be quiet. I, I, and like, look, that's the, that's the, it was always done with a joke. You know what I mean? Right. And, and like, I don't ever feel like I was treated cruelly. Mm. I mean, I mean, I guess I, I guess it was cruel that, you know, I did feel like I was held hostage and, you know, yeah. Going home at 6 30, 7 o'clock in the morning in, in rush hour traffic the wrong way. Like yeah. My nights and days were mixed up. But like, eventually what I was gonna say was I just feel like there was something to earning it a little bit. You know, I, I just feel like, you know, even even those first jobs, like, especially like Bright Coffman Crane, I remember there were certain things that you, like, they were big on floor pitching Right.On, on, on, on show night. And that's great experience. I mean, look, multi cams aren't around as much as they used to be, but like, I remember learning a ton. Like, I, I can still shoot back to the time we were on show night and a joke bombed, and then you just huddle up mm-hmm. and you're just staring at each other and everyone's thinking, and you gotta come up with an alt. And people are pitching stuff and it's like, and you pitch a joke and everybody laughs and you're like, oh my God, you're theMichael Jamin:Hero.Jonathan Fener:Amazing. And then, yeah. And then, and then they put it in and itMichael Jamin:Dies and it, and it dies. Yeah. That's what a flip joke. People listen. That's what a floor pitch is. I'm showing that on a multicam, you at the last minute throw a joke in after one bombs. SoJonathan Fener:Yeah. Right. And then you finally, you, you give up and you just pitch a joke with the word nipple in it. . And people laugh at that and you're like, ah, I hate myself. Yeah. But no, but, but I, I think that now, you know, ha like being the older guy and, and even, you know, running a show, like, there, there is a, there is a certain level of like, everybody has an equal voice mm-hmm. . And, which I think is good, you know, but I also think that there's, it's not that you are less than at all. To me it was always about like experience. Mm-Hmm. . Like, you, you just gotta, you know what it is, it's about, it's, there's, there's no substitute for being able to read the room. Yeah. And there are people sometimes that are younger and less experienced and they, they pitch an idea and no one says anything, which is like the night, it's, it's, you know, the worst is if someone says, that sucks. Right. But if you pitch a joke or a story and no one really like, jumps on it, no one Yes. Ands it, you know what, let it float away because Yeah. You know, and then if you re-pitch it and then you re-pitch it,Michael Jamin:You're gonna get yelled at, you'reJonathan Fener:Gonna get yelled at. Like, that's just not cool. And I feel like sometimes maybe people don't like that anymore. You know? Yeah. Like, you're not supposed to do.Michael Jamin:Yeah. I hear you. What, what? Surprised It's so hard. There's a huge learning curve on their job. And when someone pitches an idea, if it's a good idea, it really doesn't matter who it comes from, but it's pretty obvious when it's a good idea. The right. Like the, the senior writers are, oh, that's good. Right. And if you're new inexperienced, you just don't know what's, what's a good idea from a bad idea. And I think they sometimes get a little offended or hurt. It's no, it's, it's not, it's not, it's not, it's just the idea. It's not you, you know? Right. The idea didn't land.Jonathan Fener:Sometimes it's them. No. Sometimes it'sMichael Jamin:ThemJonathan Fener:. But yeah, it's, it best idea wins always, always, always. Yeah.Michael Jamin:Best idea. Gets you homework faster and so and so. Yeah. I know. Well, I was gonna ask you something else. Oh. Oh, that's, that's how I was gonna say we met, we met years ago. Cause you were running a show, which is an interesting thing that you did was said you were running a show called Awesome Town, but you were running it. Someone else with less experienced writer wrote it and you guys were brought on to supervisor it. Right,Jonathan Fener:Right, right.Michael Jamin:It was like, so talk about your experience doing that kind of stuff.Jonathan Fener:That was the first time we'd ever done that. We've, and we've done that a bunch just because I feel like my partner and I, that's not really something that a lot of people love to do, like run other people's shows. Everybody wants to, you know, get your own thing. And we were writing our own pilots at the time too. But if you get enough experience, honestly, you know, my feeling is you want to have as many skills as possible in this business because mm-hmm. , you know, you want to just have another arrow in your quiver.Michael Jamin:Yeah.Jonathan Fener:That's the right term. But like, so i, if you can successfully help someone just guide the ship and it's their show and they've never done it before, cuz that's a really hard job.Michael Jamin:Were there creative struggles though, between you and them at all when you do this?Jonathan Fener:No, honestly, no. I really feel like it was this guy, Adam Ste. Hillel, who's like super nice guy. He he's like big feature guy now. I think he wrote Black Adam. Mm-Hmm. , he like, works with the Rock a lot and, and he created Undateable with Bill Lawrence too. Mm-Hmm. . So he's, he's had a bunch of stuff. No, he's very nice guy. Very funny. And it was actually kind of cool that he got this job on, it was basically just about the, these four like early twenties friends and negotiating life afterwards and they threw a lot of stuff. It's funny, I remember they, they picked the show up because I feel like a, b C was looking to do something in the younger space. Right. But it did, it was one of those shows. It wasn't, it was very low concept. And there was a whole opening teaser that we, I I always suspected, this is why it got picked up cuz it was very, it was very American pie.It was like kind of dirty and there was like a couple and somebody had peanut butter on them and a dog was looking and Right. You can imagine. So but I remember thinking like, this is why they picked it up because this is outrageous. There's no way they ever shoot this though. Right. Which is like, that's like an age old story in tv. It's like the thing they love about it. Mm-Hmm. is the thing they cut first. It's exactly right. You know, it's like you, you, you pick up a show called like Immortal because the, the lead character ha has been alive for a thousand years. Uhhuh. And then the first note is, can we make him immortal please? Yes,Michael Jamin:That's exactly right.Jonathan Fener:Yeah. but, and you do it cuz you're like, oh, they just they just picked up the show. They just gave me a budget and Right. But so they, they made a bunch of changes to this show and including changing that entire teaser. But it was, it was just an opportunity that came because again, like I think we had written a pilot for the studio that made it and they needed somebody we, like, we had just gone through, you had a deal,Michael Jamin:You probably had a deal at the time, an overall deal. Right.Jonathan Fener:I don't know if we had it like, you know what we did, I think we had just sold a pilot to like 20th Uhhuh . And it was like a very good experience, but we just, it just was one of those shows that like almost got there but didn't Yeah. But then, then they picked up all their other shows and they're like, oh, we're gonna pick up this show with these guys. And we had a good relationship with the development people that like, you know, maybe John and Josh can help with that. So that was awesome. That was, that was like, and I remember like, we cast whoever we want. Like we changed roles because we found, like I'd never seen Brett Gelman before and he came in and was so funny. We're like, we're putting him in this show somehow. He was easily 10 years older than everybody. Well, was supposed to be a coworker, Uhhuh, , ally Wong came in, we're like, Uhhuh, let's create a intern. But it was like, it, it, it was like, it was the first it was a good gig to get. And then from there we, we got a bunch more of those gigs to sort ofMichael Jamin:Like, see, that's, that's a talent, because a lot of, I think sometimes when you have a no, a young creator will create a show. Then they assign a showrunner, and sometimes the showrunner's like, well, listen, my name's on this too, and I don't want this to have, I don't have a stink on me if this is terrible. So they kind of turn into what they want it to be. It doesn't sound like you did that. It sounds like you were very much trying to realize the vision of the person who created these shows, which is nice of you.Jonathan Fener:Yeah. I mean, I don't, maybe that's just the way that we are. I mean, I just feel like that's the fir like, and I'm, look, by the way, that's probably a good way to get the gig, is to go have lunch with them and go, listen your show, man. We're just here to help you carry the water from here to there. Right. And we know how to do it. And but that it's the truth. I mean, honestly, I like, I don't want it to be bad, but like, you know, and like, I'll tell you what, I think I'll give you my opinion, but also like, again, I don't know anybody that could ever do that, show that job alone. Like, it's, it's miserable and not mis, you know what I mean? And we we owe, and plus, you know, you could relate to this too, just being, I mean, being on a writing staff is collaborative anyway, but being in a writing partnership, you just really learn how to negotiateMichael Jamin:Mm-Hmm. Jonathan Fener:Compromise. Mm-Hmm. and talking it out. And, you know, single writers tend to be really, you knowMichael Jamin:Yeah.Jonathan Fener:Hold onto their stuff cuz there's mm-hmm. Never any other counterpoints. So I feel like we have the right skillset forMichael Jamin:That. Yeah. There's also a sense of, there's so many decisions to be made. If I don't make this one decision, that's okay. I gotta make a million other decisions. So it's okay if I didn't, if I don't make this one decision, you know, there's a lot to do.Jonathan Fener:Yeah. I don't need to be in wardrobe. I always say that. I don't need to be, I don't need, I I you can do rack check. I don't need to do that.Michael Jamin:Yeah, yeah. There's exactly, there's exactly, there's a ton. I, when we ran Marin, we, the the wardrobe people loved us cuz they chose us choices. And I go, what do you think, you know, well this one. And I said, well, why do you think that one, they gimme reason. I go, all right, sounds like you know what you're doing, . Sounds like you got a good idea there, so let's do what you say.Jonathan Fener:Yeah. Yeah. I mean how, how many episodes did you do of Maryland?Michael Jamin:We did four seasons. I, I want, it was probably around 50. Cuz each show, each season was, I don't know, whatever, 12, 13 or something like that. Uhhuh . So, yeah. But that was I c and that was a pleasure because it was low budget. They just leave you alone. It was wonderful. So, yeah.Jonathan Fener:And I mean, did you finally that it was, was it hard to produce? Because I mean, how big was your staffMichael Jamin:The first season? So that was a show that was created by this guy Duncan Birmingham. We didn't create it, but he wrote the pilot. He was a young writer. He wrote the presentation and then with Mark, so that season, the first season when they picked it up, it was Mark Marin, who's very good writer, but had no writing experience for sitcoms. He's a, you know, standup, this guy Duncan Birmingham, who was a, a young guy who they just, they they could exploit. So he had no experience and it was me and my partner, and that was it. So we, the ones with any real sitcom experience. And then, but then as each season one, we picked up a couple more writers and then we rounded it out. But but it was a great, it was a wonderful experience, but the budget was tiny. The budget was, it was like nothing. It was nothing. Yeah. And we shot each episode in two and a half days, soJonathan Fener:Really?Michael Jamin:Yeah, it was, yeah. As long as someone's finger wasn't in front of the lens, we got it. , let's move it on. So yeah, that was, that was such a great experience. And, and, and no one remembers that. No one remembers, you know, like, hey, the show, it wasn't that perfectly lit. Yeah, that's okay. But people liked the writing. They like the acting. That's the important thing, you know. So what if the camera went like this a little bit ?Jonathan Fener:Right. my, yeah, my partner always was like, when you're like, he's like, they're doing laundry. They're paying their, they're paying their bills while they watch this. Like, they like the people. Oh,Michael Jamin:Oh, yeah.Jonathan Fener:Yeah. They're like, they're, they're, they're like, they're listening. They're half, you know, they're, they're not,Michael Jamin:Not even anymore. Now they're on their phones and watch. I mean, now they're really not watching the show. . He's Right. Cause like everyone, you know, Siebert, you say the same thing you'd say. Like Yeah, they're, they're reading People magazine, not any anymore. They're not, now they're on, they're watching the show and on TikTok and getting text messages, , they're not paying attention.Jonathan Fener:They're reading the live tweeting. Yeah. Of other people read, likeMichael Jamin:Watching the show for them, so. Right. It's an odd time, but yeah. So what do you s so what do, what excites you then going forward? What, as we, as we wrap it up, what is your, like what excites you now?Jonathan Fener:In entertainment?Michael Jamin:Yeah. Or just, yeah. As a, as a writer. Yeah.Jonathan Fener:I still, I mean, I like what I always liked, honestly. Like, I feel like right now I want to, the thing that I want to do is I, I want to try new things, but I also, I know this is like, but but, but, but also I feel like as I get older, like you have to, you have to always write what's sort of like, I don't know, is like personal to you. Like, I don't know, this is, because then it sort of seems inauthentic. Right? but having said that, like I think that I, I would really like to get back into animation mm-hmm. , I feel, I feel like I, I know it's like, I feel like features, like, like I feel like weirdly streaming has opened that up. Mm-Hmm. a little bit too, cuz like, you know, it's hard to get a movie out in the theaters. I mean, especially now. Yeah. it's not a Marvel thing or something like that. So like, there might be like avenues to go with with streaming movies and stuff like that. But like, I don't know. That's, I mean, it's, it's, it's, I I feel like I don't have any, a good answer to that question because I still really, like, I, I still feel like I always have ideas, Uhhuh, but and, and honestly like more often than not, like I'm looking to collaborate with more people. Yeah. Different people, you know, becauseMichael Jamin:Not necessarily on air talent, but writers as well.Jonathan Fener:Other writers. Yeah. Yeah. I just feel like, you know, if you're lucky you have a long career and mm-hmm. a lot of different types of careers and, you know, my partner and I always said like we we've sort of had an open marriage a little because mm-hmm. , we started out together, we, and, you know, you work very closely with a writing partner and, and we worked together for many, many years and then we sort of split on staff for a while, and then we came back together mm-hmm. for a while, and then now we're separate again. ButMichael Jamin:Was that hard for you when you're writing after you split to start writing alone? Let's say even on staff, cuz this is the first Okay. You usually, you have somebody to bounce an idea off of. Now you're, you're on, you know, you're looking at that blank page by yourself.Jonathan Fener:Yeah. Yeah. It's hard. Mm-Hmm. , it's hard to be in that. It's, it's, it's definitely hard. And I feel like I'm getting better at like, sort of reaching out to mm-hmm. other writers and just sort of like, can you look at, because it's like my wife can't hear it anymore, you know? Yeah. Like, go walk into the kitchen. It's like, would this character say that? She's like, I don't know, like, what are you talking about? So I have to, I I I just feel like you have to, I guess you, you learn to sort of like mute your ego a little bit mm-hmm. and just sort of like, let o let other, like, sometimes you just have to talk it out and, and that's what a partner was for, you know. Yeah. but I don't even know if I answered your question. That'sMichael Jamin:Okay. We're just, we're we're chatting. What about, what about advice for aspiring writers? What do you, what do you tell them? Either about the craft or about the business?Jonathan Fener:I mean, to get in nowMichael Jamin:Mm-Hmm. .Jonathan Fener:I think that starting out the, the best thing about now to me mm-hmm. , is that it seemed like in the beginning when we started, it was really all about like, what's the speck of the big show.Michael Jamin:Mm-Hmm. ,Jonathan Fener:Which there's a, there's an art to that, you know, beca

It's another MINISODE in which me and David Ganssle continue making our way through the Not On Disney+ Month shortlist in alphabetical order. In this one, we briefly discuss the 2004 Ladykillers remake, The Last Flight of Noah's Ark, the 2013 Lone Ranger movie, the 1997 Love Bug remake, Make Mine Music, the 1988 Mickey's 60th Birthday TV special, Midnight Madness, The Misadventures of Merlin Jones, the 2000 Mission to Mars movie and The Monkey's Uncle.

Espresso fueled review, coming your way, strap in my magical film fans. Six films today, and holy flipping flip, five of them begin with the letter B, wait, 4 1/2. Let's roll! Starting things off today is Robert De Niro in 1973's (Bang the the drum slowly) I know I shouldn't expect a baseball film to be amazing, but the the bingo Darth Vader Richard Pryor one seemed to do ok, also it's well made and we certainly find things to talk about.  Next today is (Busting)1974. Here we have 2 mumbling and bumbling vice cops, played by 70's fav Elliot Gould and Robert Blake, former little rascal and probably another famous person who got away with murder. Very icky, though I think they again got him on a civil suit. Clean up yer trash Hollywood. Film is directed by Peter Hyams who also wrote this quintessential 70's L.A. film. I hope we can visit a location or 2 from this one sometime soon.  Moving on to (the Dion Brothers) 1974. Here is another film with 2 titles, it was originally called the gravy train, these damned films are always making things more confusing then they need to be. I was personally refreshed by the pure insanity of this one, not to build it up too much, but wow. Got a bootleg ish copy of this one, and it definitely needs a blu-ray a billion percent more than our last “Do not reccomend” film the night porter, Dominic shakes his head again, get it together people. This chaos stars Stacy Keach, Frederic Forrest, and Margo Kidder, with a story by jack Starrett. Film is about 2 brothers who give up their dead end jobs to rob an armed car so they can open up a high end seafood restaurant, and they don't seem to know shit about seafood. I do hope y'all can see this one someday, if ya know me I'll run it for you. Next up is (Black Moon) 1975. Imdb says that this is about a girl who goes to a mystical house to escape a gender war. Which as much as I like the film, makes it sound better than it is, to me, still nuts and fun to look at and go “WHAT?!”  Film is directed by a French guy, and that totally tracks. Onward to (Welcome home Brother Charles) 1975. This is the first of 3 films we're reviewing by rad director Jamaa Fanaka, 2 of which we are doin today. Here we have a very run of the mill plot about evil murderous LA cops and their attempt to brutally kill Charles, who survives and rids the world of these racists with his supernatural penis. Oh………. that doesn't sound boring, hmmm.  Jokes aside, yes this is another rad film that melted my brain. Not perfect, but I for one am happy it was written and filmed, and that we watched and reviewed this together.  Finally today we have the other Jamaa film ,(Emma Mae) 1976. many dvd's of this call it Black sister's revenge, again we acknowledge the confusion master, which is also the title of an amazing metal record as well. What to say about this Compton classic except, rad, very rad, and great. Also it's my best of the bunch and I do hope you enjoy our review, and all our reviews today. Please reach out and help spread the word if you can. Thank you as always for listening.

Katie Bird joins Brian for a discussion of Robert Altman's The Long Goodbye, starring Elliot Gould! They also talk about Gould's amazing career and pick his best films. THE LONG GOODBYE is available on Tubi: https://tubitv.com/movies/302708/the-long-goodbyeFollow us at filmatfifty.com and @filmatfifty on social media, and please leave us a five-star review on Apple Podcasts or wherever you listen to your podcasts.

Alan Zweibel joined me to discuss growing up where I now live (Wantagh, NY); bar mitzvahs; writing for borscht belt comics; getting his shot on SNL; his famous poetry class anecdote; writing a parody of the Passover Haggadah with Dave Barry and Adam Mansbach; "Go the Fuck to Sleep"; Emily Litella; keeping the character going by adding "Bitch" to her vocabulary; writing and appearing on Chevy's Weekend Update; the Charles Grodin episode; when SNL broke format; writing the Gilda and Elliot Gould romance episode; people loving Gilda and her death affecting people who didn't know her; her dying on his birthday; Bunny, Bunny; his and my favorite Roseanne Roseannadanna; Mr. Death; meeting his wife at the show; being a guest writer three times; doing shows four weeks in a row; Andy Breckman; the 5th season Weekend Update running gag with his picture; being a cast member for one episode for his role in the Conductors Club sketch; Joey Bishop sketch; Lord and Lady Douchebag; being asked to stay by Jean Doumanian; Steve Martin's Best Show Ever; Chico Escuela and his comeback attempt; John Stearns; It's Garry Shandling Show; Ed Solomon; differences in writing for Billy Crystal and Martin Short; Marilyn Suzanne Miller, Rosie Shuster, and Don Novello; Marc Maron; Quintlexia; Gene Wilder; OJ Simpson and the anti-Buffalo sketch he turned down; Celebrity Battle of the Sexes and Races; commercial parodies Banshee and Swill; Jim Downey; Bruce Kirschbaum; Arnie Kogen; Jay Kogen and his It's Garry Shandling Show script. For his amazing book Laugh Lines go to Amazon.com: Laugh Lines: My Life Helping Funny People Be Funnier (Audible Audio Edition): Alan Zweibel, Billy Crystal - foreword, Alan Zweibel, Blackstone Publishing: Audible Books & Originals

Hear Tessa (Omni), David (Bi), and Cameron (Pan) talk about life between the naps, heists, Cowboy Jesus, and witness the first mentions of FMK+. Don't miss this one Bi-cons.

“Nothing returns a memory as clearly as a song.” It only takes a few bars of the music we listened to at a sock hop, on our first date, on the car radio, or in our bedroom when something was happening that was important in our lives. When you and I hear the music we listened to when we were teenagers, those memories flow back.

This week Dave & Jess watch You People on Netflix, which they paired with a Soju Caipirinha.  The movie sits in the Netflix Top 10 despite some critical reviews - what did the couple think of the movie? The movie offers a lot to discuss - first and foremost being why Jonah Hill looks like a young Hulk Hogan in the film.  The couple also discuss why they chose a Soju Caipirinha for this week's cocktail (and what is a Soju Caipirinha), and the underutilization of stars actors like Rhea Perlman, Elliot Gould, and Mike Epps in this film.Happy belated Valentine's Day from Date Night In w/ Dave and Jess!Thanks for listening! We hope you enjoyed the episode. Please take time to rate the show wherever you listen to your podcasts and follow us on Instagram at DateNightInPodcast. We welcome feedback, suggestions, and cocktail recipes at DateNightInPodcast@gmail.com. Our intro song is from Royalty Free Music from Tunetank.comTrack: Summer Vibes by RedNotehttps://tunetank.com/track/865-summer-vibes/

Gerard Butler.  Zack Snyder's "300" comes to mind for almost everyone when they hear that name.  What come's next?  Probably Mike Banning in Olympus Has Fallen, London Has Fallen, and Angel Has Fallen.  What's next?  Any number of action films.  "Plane" is no different.  A well written, well executed action movie that keeps you hooked and has a twist or two.  You get the deep and gravely Scottish voice with the on screen presence that you've come to expect.   0:09:30 Box Office and upcoming releases. 0:22:20 Oscar Nominations 0:55:00 *** What's Streaming  *** AMAZON THE BOUNTY, Dir. Roger Donaldson – Mel Gibson, Anthony Hopkins, Laurence Olivier, Daniel Day Lewis, Liam Neeson. 1984 SUPERBAD, Dir. Greg Mottola – Michael Cera, Jonah Hill, Christopher Mintz-Plasse, Bill Hader, Seth Rogan, Emma Stone, Dave Franco. 2007 SCREAMERS, Dir. Christian Duguay – Peter Weller, Roy Dupuis, Jennifer Rubin, Andy Lauer. 1995 0:59:30 - Trailers:   SHRINKING, Episodic (Apple TV+) - Jason Segel, Harrison Ford, Jessica Williams.    SCREAM VI, Feature - Melissa Barrera, Courtney Cox, Jenna Ortega, Jason Gooding, Hayden Panettier.   YOU PEOPLE, Feature (Netflix) - Jonah Hill, Lauren London, Eddie Murphy, Julia Louis-Dreyfus, Mia Long, David Duchovny, MollyGordon, Elliot Gould, Mike Epps, Matt Walsh, Anthony Anderson, Andrea Savage.   1:08:30 - PLANE, Dir. Jean-Francois Richet  ( Grayson 7 / Roger 7.5 )   Hosted, produced and mixed by Grayson Maxwell and Roger Stillion.  Guest appearance by Christopher Boughan.  Music by Chad Wall. Quality Assurance by Anthony Emmett. Visit the new Youtube channel, "For the Love of Cinema" to follow and support our short video discussions.  Roger wears aviators!  Please give a like and subscribe if you enjoy it.   Follow the show on Twitter @lovecinemapod and check out the Facebook page for updates.  Rate, subscribe and leave a comment or two.  Every Little bit helps.  Send us an email to fortheloveofcinemapodcast@gmail.com

It's been a while since we've seen treated to anything the Shrek universe.  With the last Shrek movie being less than okay even and the previous Puss in Boots (2011) also being just okay, the Shrek hopeful may have started to lose hope.  Fear not!  This outing for the courageous feline is great!  Dreamworks has another almost 10/10 on their hands with also renewed hope of returning to Far Far Away.           0:07:00 Box Office and upcoming releases. 0:17:00 *** What's Streaming  *** AMAZON THE TRENCH, Dir. William Boyd – Daniel Craig, Paul Nichols, James D'Arcy, Cillian Murphy, Ben Wishaw. 2020 NOAH, Dir. Darren Aronofsky – Russell Crow, Jennifer Connely, Anthony Hopkins, Emma Watson, Ray Winstone, Logan Lerman. 2014. TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY, Dir. Adam McKay- Will Farrell, John C. Reilly, Sasha Baron Cohen, Gary Cole, Mchael Clark Duncan, Leslie Bibb, Jane Lynch, Amy Adams, Molly Shannon, Greg Germann, David Koechner, Jack Breyer. 2006 0:20:00 - Trailers:   BARBIE - Margot Robbie, Will Ferrell, Ryan Gosling, Helen Mirren, Michael Cera, Kate McKinnon. BLOOD - Michelle Monaghan, Skeet Ulrich, Finlay Wojtak-Hissong. YOU PEOPLE - Jonah Hill, Eddie Murphy, Julia Louis-Dreyfus, Mia Long, David Duchovny, Elliot Gould.   0:29:00 - PUSS IN BOOTS: THE LAST WISH, Dir. Joel Crawford / Manuel Mercado  ( Grayson 9 / Roger 9 )   Hosted, produced and mixed by Grayson Maxwell and Roger Stillion.  Guest appearance by Christopher Boughan.  Music by Chad Wall. Quality Assurance by Anthony Emmett. Visit the new Youtube channel, "For the Love of Cinema" to follow and support our short video discussions.  Roger wears aviators!  Please give a like and subscribe if you enjoy it.   Follow the show on Twitter @lovecinemapod and check out the Facebook page for updates.  Rate, subscribe and leave a comment or two.  Every Little bit helps.  Send us an email to fortheloveofcinemapodcast@gmail.com

On this Thursday edition of Drive-In Double Feature Podcast, Nathan and Ryan talk about a movie that needs to be added to the best worst movie list, Matilda from 1978. Robert Mitchum, Elliot Gould, and an anatomically correct boxing kangaroo years before Kangaroo Jack. Support us here: https://www.patreon.com/driveindoublefeaturepodcast https://twitter.com/didfpod and email us at: driveindoublefeaturepodcast@gmail.com

The word “ensemble” might make you think of a group of performers all working in tandem. But what happens when we apply it to B2B marketing? In 2001, an ensemble of all-star actors outdid any other cast…maybe ever.George Clooney, Brad Pitt, Julia Roberts, Matt Damon, Andy Garcia, Don Cheadle, Bernie Mac, Casey Affleck – actors at the top of their game.Each one could draw their own crowd. But together? They're unstoppable. Add in the sparkling backdrop of the Vegas strip and the tension of a high-stakes heist, and you have yourself a blockbuster. That blockbuster is Ocean's 11, and it upped the ante for what a star-studded ensemble could be.In this episode of REMARKABLE, we take a look at the power of the ensemble in Ocean's 11 and how you can use it in your B2B marketing.The house always wins. Unless you bring together a powerful ensemble. And today we're taking the house with some B2B tips on bringing together an ensemble of high rolling sharks.Why Ocean's 11?Alright, so we all love Ocean's 11. But why'd we pick it for this week's Remarkable episode? Because of the insanely hot cast – and we aren't just talking about their cheekbones. Ocean's 11 is packed with the best of the best, including George Clooney, Brad Pitt, Matt Damon, Julia Roberts, Bernie Mac, Eddie Jemison, Casey Affleck, Don Cheadle, Carl Reiner, Elliot Gould, and Andy Garcia. Even Viola Davis makes a cameo – well, sort of. Remember Danny Ocean's exit interview from the prison scene? Viola Davis voices the officer. Any of those actors featured in a film would sell out opening night at the movie theater. But all of them billed together is unprecedented! Aside from the star-studded cast, the characters they play have huge personalities of their own. The eleven-character ensemble of criminals boasts a myriad of talents, from pick-pocketing to con-artistry to speed racing. In other words, they have all the important skills needed to pull off a heist.A Quick Ocean's 11 RefresherIn case you've been living under a rock for the past few decades…Ocean's 11 is a heist movie about a string of Las Vegas casino robberies. The OG movie was filmed in 1960 and starred Frank Sinatra, Dean Martin and Sammy Davis, Jr. It was remade in 2001, with a cast just as star-studded as the original. The film was one of the biggest hits of the year, bringing in over $450 million in box office. But it wasn't just the cast that made the movie such a success. Behind the scenes, the craftsmanship was just as impressive. Ocean's 11 was directed by Steven Soderbergh, who had just become one of only three directors to be nominated twice for Best Director in the same year (he won the Oscar for directing Traffic and “lost” for directing Erin Brockovich). It's a classic movie formula: an amazing cast + a director at the top of his game = instant classic.Who's Who?Danny Ocean: The Mastermind (George Clooney)Rusty Ryan: The Right-Hand Man (Brad Pitt)Tess Ocean: The Love Interest (Julia Roberts)The Malloy Brothers: The Drivers (Casey Affleck & Scott Caan)Livingston Dell: Electronics (Eddie Jemiston)Basher Tarr: Munitions  (Don Cheadle)The Amazing Yen: The Grease Man (Shaobo Qin)Linus Caldwell: The Pickpocket (Matt Damon) Frank Catton: The Casino Employee (Bernie Mac)Reuben Tishkoff: The Bankroll (Elliott Gould)Saul Bloom: The Con Artist (Carl Reiner)Pick Your Teams Carefully Why do we connect so much with the characters in Ocean's 11? Their backstories and skillsets are both distinct and relatable, a combination that helps us empathize with them. But Danny Ocean has also picked a team that compliments each other perfectly. Each character brings a unique set of skills to the table that no other character can do –  imagine if Linus tried to pull off one of The Amazing Yen's stunts! The characters each have their special talents, and they work well together. That's what makes them a great team, and it's why people who've watched this movie across the globe root for them. The cast also has amazing chemistry. While watching Ocean's 11, we wonder – who in our own friends and family is our Danny Ocean, the smooth-talking romantic? We all know rambunctious brothers like the Malloys – and we all wish we knew Don Cheadle!But we relate to characters in movies all the time. Heck, that's what makes a great movie! But creating chemistry on screen takes intention, effort, and talent. It's not just the actors working together – it's the writing, the directing, the costume design, the editing…all of it comes together to create what we in B2B would call a high-value touch point. And the strength of the connections onscreen is what makes this film  Remarkable.What B2B Companies Can Learn From Ocean's 11Make characters for the personas you're marketing to. There's a team member for everyone among the Ocean's 11 crew. Whether you like the Malloy brothers because they're jokesters or you relate to Linus Caldwell because he goes against the grain, there's a character in here for everyone to latch onto. Plus they all have a robust, shared history, which makes them feel more real. So, how's this applicable to your B2B marketing? For your next campaign, make characters or personas your customers can identify with. Progressive does a great job creating characters to bring their business to life in their ads. They have Flo, their staple insurance spokeswoman; Dr. Rick, a parental life coach who advises people on buying homes; and other characters who tell Progressive's story. Salesforce is a B2B company that creates characters for their brand narrative, and they've created characters so recognizable that people line up to take photos with life-sized versions of them at Dreamforce! That's the power of harnessing storytelling in B2B marketing – by creating characters that speak to your audience, you have the opportunity to create powerful brand loyalty.Build the best team. Find people who are specialists in their field to fulfill their role in your project or marketing team. Did you know The Amazing Yen, played by Shaobo Qin, was discovered while performing with the Peking Acrobats? Ocean's 11 was his first acting role. Crazy, right?! In other words, no stunt double required – he actually pulled off that flip in the vault to avoid setting off any sensors near the floor. This casting is a perfect example of finding the right actor and also finding the right role within the heist team. The bottom line: In your B2B marketing, match each of your team member's strengths to their role, and you can successfully pull off any project.Create a sense of purpose. Danny Ocean and Rusty Ryan bring together their team around a sole mission: a massive heist. Together, they go over the plan and each of their roles within it. Because there's a reward for successful completion of the mission (about $13M each), it motivates each of them to do their part. There's also a major caveat that if any one of them messes up, no one will get paid (and worse). So bring your team together around a clear mission with defined roles for each member of the team. Define a shared set of KPIs with clear expectations and work together to achieve your goals.Key Quotes*”There's a lot of different ways there that B2B companies can pull from A-list talent or just creating an ensemble, by having these different characters tell the story of your brand” - Anagha Das*“There's a cool opportunity [for] a business to make an ad where they have their own characters and there's like a story that they build with each one. B2B companies can do the same concept with their personas and create a character based on each persona. Similar to Ocean's 11, they can even incorporate some of those cinematic storytelling aspects and play that out among the characters.” - Colin StampsTime Stamps[1:17] What's Ocean's 11 about?[1:55] What's an ensemble?[3:10] How successful was Ocean's 11?[4:31] Technique of the week: The Ensemble[5:59] Why does the technique work when it comes to B2B marketing?[9:17] Why is the ensemble an effective storytelling mechanism? [11:04] Who's who in Ocean's 11?[14:15] How do you use the ensemble in your marketing?[18:45] More examples of using an ensemble in B2B marketingLinksWatch Ocean's 11Check out the Salesforce charactersTake a look at Duolingo on TikTokMeet Dr. Rick, Flo, and more at Progressive.comAnd here's the Old Spice guyLook at how State Farm is partnering with athletesAbout the ShowRemarkable! is created by the team at Caspian Studios, the premier B2B Podcast-as-a-Service company. Caspian creates both non-fiction and fiction series for B2B companies. If you want a fiction series check out our new offering - The Business Thriller - Hollywood style storytelling for B2B. Learn more at CaspianStudios.com. In today's episode, you heard from Ian Faison (CEO of Caspian Studios), Dane Eckerle (Head of Development), Colin Stamps (Podcast Launch Manager), Anagha Das (B2B Content Marketing Manager), and Meredith O'Neil (Senior Producer). Remarkable was produced this week by Meredith O'Neil, mixed by Scott Goodrich, and our theme song is “Solomon” by FALAK. Create something remarkable. Rise above the noise.

In our final episode of Season 2: Charming Thieves, we're continuing our roundtable show with part two of this two-part episode of Subgenre. Host Josh Dasal and his return guest hosts, sans two - advertising director Nick Heim and playwright Allan Maule - take a final run at Steven Soderbergh's remake of Ocean's Eleven (2001), starring George Clooney, Brad Pitt, Julia Roberts, and Andy Garcia, and co-starring Matt Damon, Bernie Mac, Don Cheadle, Carl Reiner, Elliot Gould, Eddie Jemison, Scott Caan, Casey Affleck, and Shaobo Qin. Topics of discussion include the right and wrong way to repel down an elevator shaft, a debate on the merits of the Ocean's Eleven stars' careers (spoiler: there is a definitive winner!), and more than enough discussion of Yen's "calzoning". Guest host: Nick Heim, producer, advertising director Twitter: @junctionrdInsta: @junctionrdpics Guest host: Allan Maule, playwright Twitter: @maulerballerInsta: @maulerballer Read more about Ocean's Eleven (2001) at:IMDB: https://www.imdb.com/title/tt0240772/Wikipedia: https://en.wikipedia.org/wiki/Ocean%27s_ElevenOur theme music: Still Room on the Night Train by Ketsa feat. SoularflairLearn more about Subgenre, make a donation, find out how to advertise on our show, and register for our mailing list, at https://www.subgenrepodcast.com/  ★ Support this podcast ★

It's our first roundtable show! In the first part of this two-part episode of Subgenre, host Josh Dasal and his return guest hosts - producer-writer Fabian Marquez, advertising director Nick Heim, playwright Allan Maule, and TikTok influencer Charlotte Moore-Lambert, go all-in on the 2001 Steven Soderbergh-directed remake masterpiece, Ocean's Eleven (2001), starring George Clooney, Brad Pitt, Julia Roberts, and Andy Garcia, and co-starring Matt Damon, Bernie Mac, Don Cheadle, Carl Reiner, Elliot Gould, Eddie Jemison, Scott Caan, Casey Affleck, and newcomer Shaobo Qin. Topics of discussion include the art of the con on film, the delicate construction of heist planning, and whatever is happening with Don Cheadle's attempt at a British accent. Look for Part 2 coming in two weeks!Guest host: Nick Heim, producer, advertising director Twitter: @junctionrdInsta: @junctionrdpics Guest host: Allan Maule, playwright Twitter: @maulerballerInsta: @maulerballer Guest host: Charlotte Moore-Lambert, TikTok celebrity and podcast producerTikTok: @cavaticaTwitter: @cavaticatInsta: @cavatica Guest host: Fabian MarquezInsta: @fabianmarquezIMDB: https://www.imdb.com/name/nm0549850/ Read more about Ocean's Eleven (2001) at:IMDB: https://www.imdb.com/title/tt0240772/Wikipedia: https://en.wikipedia.org/wiki/Ocean%27s_ElevenOur theme music: Still Room on the Night Train by Ketsa feat. SoularflairLearn more about Subgenre, make a donation, find out how to advertise on our show, and register for our mailing list, at https://www.subgenrepodcast.com/  ★ Support this podcast ★

February 7-13, 1987 This week Ken welcomes listener and author of the new, must buy, book "Flick Attack", Rod Lott. Ken and Rod discuss Oklahoma City, Oklahoma, completing your life long dreams, John Brennan from the Real World, cowboys, hating most people, Near Dark, Lance Hendrickson, the importance of video stores, loving Ann-Margaret, mid season replacement season, grandparents putting back issues of TV Guide aside for you, the movie listings, feeling like you're in the future, Blade Runner, growing up in Central Time, the final season of The Facts of Life, Fall Preview, The Playboy Channel, Saturday Morning Cartoons, "Larry" Fishburne,  Bruce Willis' The Return of Bruno, Easy Street, Partners in Crime, Loni Anderson, Lynda Carter, Nothing is Easy the show formerly known as Together We Stand, Elliot Gould, reboots, Commander USA, Kate & Allie, My Sister Sam, the first live episode of SNL Ken ever saw, Pee Wee Herman, Drew Barrymore hosting SNL, Frontier Gynecologists, Vampire's Kiss, After Hours, how Motorama is basically The Wizard, TV's Bloopers and Practical Jokes, Len Sella's Silly Cinemas, Stillwatch, CBS Made For-TV movies, loving Charles Rocket, Not Necessarily The News, Carol Burnett, Perfect Strangers, Head of the Class, Gimme a Break, Family  Ties, Michael J Fox, Cheers, Friday Night Videos, The Paper Chase, CBN, The 700 Club, following up on 60 Minutes subjects, watching TV while eating dinner, and the mystery of George Cooker's The Corn is Green. 

We start our brand-new miniseries, Parental Control, and we have a special guest: Annie "Dan's older sister no matter what the calendar says" Ludwig!We talk about the ultimate Dad sci-fi - Stargate SG-1. We debate the hotness of James Spader, analyze Marty's Tweeting style, and ponder how it's possible to travel to infinite universes when you have the brain capacity of a small fish.Music by Max Ludwig: twitter.com/sleeptalkyFollow Breaking Mayberry on Twitter: twitter.com/BreakMayberry,Facebook Group: https://www.facebook.com/groups/383110240030195/or email us at breakingmayberry@gmail.com

Uh oh! A "comedy" that caused us to absolutely flatline. Tune in for cheeky chauvinism, predatorial pranks, and general sex crimes galore. If you hate women, you will love this film! The person most confused by the film this week was: Alan Alda. See omnystudio.com/listener for privacy information.

Jules Williams is a Natural Intuitive, Originally from the UK. Jules grew up in Abergavenny, South Wales. He is a gifted spiritual healer alongside a three year intensive certification In the sub conscious mind. Jules moved to London in 2004, where he was one of the founding Psychics on Sky Television, Psychic TV. In 2009, he established a production company and directed 35 episodes of Sky Arts showcase called” Living the life”. Where he interviewed and worked with Elliot Gould, Joanna Lumley, Sir John Hurt, Anna Friel, Twiggy and David Bailey. Jules now resides in Malibu, California with his wife Alison. Together they are  continuing his quest for emotive healing and storytelling, through books, film, coaching and retreats.  These are offered under the umbrella of Inside Out Retreats and his new production company, 21 Mile Films.

In this special bonus episode of our Friends' Forever Favorites series, we are joined by Vinny Tucceri of the Cult Movie Stars Podcast to discuss the masterful gambling comedy CALIFORNIA SPLIT (1974). We discuss the dynamic between the two stars, Elliot Gould and George Segal, the many supporting characters (and women named Barbara), Altman's style and legacy, and much more. Join us for this very fun conversation, we bet you'll have a great time. Follow our guest: @vinnybutbetter And the hosts: Brian: @BrianDKeiper Michele: @micheleneggen and the show @MovieLifePod

(00:00) Elliott Gould, NBC's sitcom lineup from the 1980s and pulling off tank tops. (23:17) WHAT HAPPENED LAST NIGHT: Bruce Cassidy spoke to reporters for 45 minutes and discussed a range of topics, including being told his job was safe two weeks before getting fired, coaching a new team next season and Patrice Bergeron status.  Golden State players are still complaining about Celtics fans from Game 3.   CONNECT WITH TOUCHER & RICH Twitter:@Toucherandrich|@fredtoucher|@KenGriffeyRules Instagram:@Toucherandrichofficial |@fredtoucher Twitch:twitch.tv/thesportshub 98.5 The Sports Hub:Website|Twitter|Facebook|Instagram