Podcasts about Entertainment One

On today's episode, we're learning more about the world of music publishing and supervision with Aideen O'BrienOriginally from Cork, Aideen has been based in Canada for over three decades, working for major organisations including BMG Publishing and Entertainment One.A founding member of the Canadian Songwriters Hall Of Fame, in recent years she's gone on to form her own company Mighty Craic Music, based in downtown Toronto.Aideen was home recently to contribute to the RTÉ series Ballroom Blitz, that focused on the history of showbands in Ireland, and she also popped by the IMRO office, for a chat.Aideen discusses her experience in the Canadian music industry as well as Nashville, and provides some of useful advice for songwriters considering a publishing deal.

Comedian Lavell Crawford is one of the hottest stars in the comedy scene. With his unique style and undeniable charisma, he's capturing the attention of audiences across the nation. Crawford recently filmed a new one-hour special, titled “Can A Brother Get Some Love?”, in his hometown of St. Louis, now available on DVD from Entertainment One.Crawford's impressive resume doesn't stop there. He has made notable appearances on popular television shows, including a guest spot on Comedy Central's “Workaholics” and a recurring role in AMC's Emmy Award-winning series “Breaking Bad.” Fans will also remember him from his regular appearances as a panelist on E! Entertainment's “Chelsea Lately” and as a staple on “Lopez Tonight,” where he showcased his comedic prowess through various sketches.Known for his larger-than-life personality and relatable humor, Crawford is not just a television star; he is also one of the hottest touring comedy acts.This weekend, comedy fans have the chance to see Lavell Crawford live at the Helium Comedy Club, where he will be performing Friday, Saturday, and Sunday evenings. For ticket information, visit Helium Comedy Club | Special Event: Lavell Crawford.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hasbro, ostensibly a toy company, has licensed global Power Rangers toy rights to Playmates, with CEO Chris Cocks telling investors the brand just wasn't profitable enough to keep making in-house. With the sale of Entertainment One and the apparent fizzling-out of Jonathan Entwistle's planned movie and television projects, is this the end of the road for Power Rangers? Tyler and Josh talk about it.Also in this episode:Toy industry insider says Playmates will need "focus" to succeedBOOM! Studios MMPR series to conclude this summer"Tokusatsu" among several Japanese loanwords added to the Oxford English DictionaryAustin St. John's online store opens sans quotes from controversial figures but with AI artDiscotek announces Mobile Cop JibanMedia Blasters readies box set of Kamen Rider moviesFind and rate us on Apple Podcasts and check us out on Spotify.Buy last-minute gifts or a little something for yourself from Entertainment Earth. Click our link for 10% off in-stock items and free US shipping on orders $79+: https://ee.toys/RANGERSupport this podcast at — https://redcircle.com/rangercast/donations

Keith sits down with Christian Lembach to discuss growing up in South Florida, early music influences, discovering punk rock and hardcore, moving to North Carolina for college, leaving college to settle in Atlanta GA and Christian's story of getting sober. We also discuss the formation of WHORES, the early days of the band, recording the debut EP "Ruiner", signing with Entertainment One and the release of the "Gold" LP, how Christian made the band his sole focus after the release of "Gold", surviving the pandemic and multiple injuries, Whores' latest LP "WAR", what's next for the band and more.

Charlie and Ted, having recovered from SXSW, are back in their respective man caves, while Rony is on cell, driving through Alabama. Our SXSW panel talk will be posted in three weeks but can be found right now on the SXSW site. After a brief overview of three AI funding stories, we turned our attention back to SXSW, but other topics intruded: the potential of a TikTok ban, social media algorithms, and the ongoing OpenAI copyright mess. Our guests this week are SXSW XR experience Jury Prize Winner, Matthew Niederhauser, co-director of The Golden Key. Also joining us is Laura Mingail, a former Entertainment One executive and consultant who has been advising SXSW on XR since its beginning. Thank you to our sponsor, Zappar!Don't forget to like, share, and follow for more! Follow us on all socials @ThisWeekInXR!https://linktr.ee/thisweekinxr Hosted on Acast. See acast.com/privacy for more information.

Charlie and Ted, having recovered from SXSW, are back in their respective man caves, while Rony is on cell, driving through Alabama. Our SXSW panel talk will be posted in three weeks, but can be found right now on the SXSW site. After a brief overview of three AI funding stories, we turned our attention back to SXSW, but other topics intruded: the potential of a TikTok ban, social media algorithms, and the ongoing OpenAI copyright mess. Our guests this week are SXSW XR experience Jury Prize Winner, Matthew Niederhauser, co-director of The Golden Key. Also joining us is Laura Mingail, a former Entertainment One executive and consultant who has been advising SXSW on XR since its beginning. Thank you to our sponsor, Zappar!Don't forget to like, share, and follow for more! Follow us on all socials @ThisWeekInXR!https://linktr.ee/thisweekinxr Hosted on Acast. See acast.com/privacy for more information.

First December 2023 episode of the program all about TV. Our guests: Entertainment One senior vice president of current programming Tom Danon on: Hasbro's new Dungeons & Dragons Adventures TV channel, Tassie Cameron and Sherry White, creators-executive producers of popular Amazon Freevee series Pretty Hard Cases, now in its third and final season, and how artificial intellegence is impacting TV with Veritone senior vice president Sean King 

ENTERTAINMENT: One good deed a day —Boy's new advocacy | October 4, 2023Subscribe to The Manila Times Channel - https://tmt.ph/YTSubscribe Visit our website at https://www.manilatimes.net Follow us: Facebook - https://tmt.ph/facebook Instagram - https://tmt.ph/instagram Twitter - https://tmt.ph/twitter DailyMotion - https://tmt.ph/dailymotion Subscribe to our Digital Edition - https://tmt.ph/digital Check out our Podcasts: Spotify - https://tmt.ph/spotify Apple Podcasts - https://tmt.ph/applepodcasts Amazon Music - https://tmt.ph/amazonmusic Deezer: https://tmt.ph/deezer Stitcher: https://tmt.ph/stitcherTune In: https://tmt.ph/tunein #TheManilaTimes Hosted on Acast. See acast.com/privacy for more information.

Tyler and Josh talk about the Power Rangers Cosmic Fury teasers and details, including the return of Billy and other old friends. We also break down the 30th-anniversary comic release (spoiler warning). And Power Rangers Day was on Aug. 28. We talk about how Hasbro did and didn't celebrate it.Referenced in this episode:David Yost returns in Cosmic Fury -- get a sneak peekSAG-AFTRA chief negotiator blasts studios for refusing talksA first look at the Lightning Collection Master Morpher30th-anniversary Funko Pops: Red, Blue, Yellow, Green, Pink, Black, Ranger SlayerSuper7 unveils Vile Violet Rita RepulsaSuperX MMPR hoodies coming later this monthHasbro Pulse lists 30th anniversary teeMelissa Flores AMA on r/PowerRangersFresh off Entertainment One sale, Hasbro launches Hasbro EntertainmentPower Bow and Power Axe tipped for HasLabRangercast may receive a commission from links to products mentioned in the show notes.Support this podcast at — https://redcircle.com/rangercast/donations

Summer travel plans are forcing us into a brief hiatus, We expect to be back in late August to talk about news including Lionsgate's planned acquisition of Entertainment One.For this episode, we turn the clock back to 2008 and Anime Central in Chicago. Jason David Frank, Robert Axelrod, Steve Cardenas and Karan Ashley held court for fan press at one of the first conventions to invite guests from the franchise. Here unguarded reminiscing on the show's early days and lots of laughs. Thanks to Lisa J of No Pink Spandex for her help in recording the original episode from whence this came and to Rangercast listener Lee Sands for saving the file after all these years.Support this podcast at — https://redcircle.com/rangercast/donations

For more than two decades and a thousand projects, speechwriter, storyteller and pitch specialist Jason Thomson has been hired to passionately win over audiences and sell ideas through content, writing and storytelling.Jason is process driven, determined and wants to win every pitch, client, situation he is faced with.  Getting to know the client and the audience are key to his success.The world's smartest organizations turn to Jason's creative leadership and original mind as a way to create better presentations, pitches, events, blogs, PR, infographics, Podcasts, websites, and more – all to address sales, marketing, HR and operational challenges. Jason helps your leaders explore, develop and sell with engaging and clear presentations that inspire action.As a professional thinker, copywriter and speaker, Jason has fuelled the trajectory of the world's most important brands, including Intel, RBC Royal Bank, Nissan, Entertainment One and McCain Foods. His powerful perspective on what it takes to imagine, develop and sell an idea transforms audiences, leaving them prepared to think faster, better and brighter.Did you know… we pass judgement on someone's character, ability, background, skillset within 4 seconds of meeting them!Keep a track of all that's going on with the Podcast via;  www.theeventsinsight.com/ www.linkedin.com/company/the-events-insight-podcast/ www.instagram.com/the_eventsin/  See more about our Season Sponsor Safe Events via;https://www.safeevents.ie/Find out more about our Shoutout Sponsor Matt Glover Photography via;https://mattgloverphotography.co.uk/Our Season Quickfire round Sponsor is Yellow Glove Productions;  https://yellow-glove.co.uk/  Our partnership with Standout Magazine is also worth following;https://standoutmagazine.co.uk/

This week, I am very excited to be joined by Zeresenay “Zee” Berhane Mehari who is an award-winning writer/director born and raised in Ethiopia. Zee moved to the U.S. to attend film school and founded Haile - Addis Pictures to produce his first narrative feature film, Difret, which was Executive Produced by Angelina Jolie and won Audience Awards at both the Sundance and Berlin International Film Festivals. His next feature film, Sweetness in the Belly, based on the international best-selling novel of the same name by Camilla Gibb set during the Ethiopian revolution in the 1970s, was a Canadian-Irish co-production starring Dakota Fanning and Yahya Abdul-Mateen and had its world premiere at the 2019 Toronto International Film Festival. The film was distributed by Entertainment One and Gravitas Ventures and was the first feature film helmed by an African director financed by Canada's public Telefilms fund. Zee was most recently co-founder and Head of Original Content for Kana Television, the popular free-to-air, private satellite entertainment TV channel in Ethiopia which was recently acquired by Canal Plus. Zee is currently Head of Production and a co-founder of A51 Pictures, an independent film production company based in Addis Ababa, Ethiopia. He is currently developing a slate of films for the local and international market. He has a Bachelor of Arts degree from the University of Southern California's School of Cinematic Arts. In this episode, we talked about the importance of building a community and serving as a bridge between communities. We discussed how vital it is for international students to become part of different communities in college and how those new communities can become family away from family. Tune-in to laugh, learn and appreciate the international student experience! Please send questions and feedbacks you have to internationaliebyruth@gmail.com or DM on the Instagram page @internationaliebyruth

Josh rants about Sideways, Trish demands to know everyone's favourite dinosaur, and Stuart makes references to pop culture from before everyone else was born. Also we occasionally talk about Transformers. Clips used are from: Transformers: Cybertron, produced by Entertainment One and GONZO Galaxy Force soundtrack by Megumi Ohashi The Hitchhiker's Guide to the Galaxy soundtrack by Paddy Kingsland "You Will Be Found" from Dear Evan Hansen by Benj Pasek and Justin Paul, performed by Upper Room Theatre "Triceratops," "Deinonychus," "Ankylosaurus," and "Pteranodon" from Wee Sing Dinosaurs by Pamela Conn Beall and Susan Hagen Nipp "Ave Satani" from The Omen soundtrack by Jerry Goldsmith Pitch Meetings by Ryan George

I'm digging into the mailbag for today's episode. For the first time in over a year, I asked Trapital listeners and readers to send me their most burning questions about the music industry. I've pulled out nine questions from the bunch to cover on the show. We're covering everything from NFTs to artificial-intelligence-assisted music creation to investing in music catalogs going forward and a whole lot more. I'm hitting you with my honest thoughts on each. Here's a look at the topics:[0:54] State of music NFTs [4:40] Customer problems as a music startup[8:35] Lack of new music superstars [12:07] Future of AI-assisted music creation [17:00] Tradeoff for artists wanting ownership [22:11] Hasbro selling eOne[26:16] Music catalog investing in 2023[29:41] Globalization of hip-hop [33:21] Emerging artists as startup founders Trapital's first-ever Cultural Report for 2022: https://trapital.co/culture-report/Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.co Sponsors: MoonPay is the leader in web3 infrastructure. They have partnered with Timbaland, Snoop Dogg, and many more. To learn more, visit moonpay.com/trapital Check out The Drop, REVOLT's weekly newsletter to stay ahead of the latest news in hip-hop and Black culture. To learn more, visit revolt.tv Enjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapital Trapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPTION[00:00:00] Dan Runcie: If you're an owner of I.P., often times that I.P. may be the most valuable thing that you have. But does it always make sense for you to then be the ones that produce it? Of course, there's unique examples of this, right? I think Disney is a company that clearly does both, but Disney is such a unicorn in what it does in so many ways, and we've all seen that flywheel of what they've done, and that flywheel is so relevant because it's hard to see another company that could really do that to that level. But it's more likely than not that if you are an I.P. owner or it's probably in your best financial interest to partner with a company that you can leverage their production because they are skilled at being a production company to do that thing.[00:00:46] Dan Runcie: Hey, welcome to the podcast. I'm your host and the founder of Dan Runcie. This podcast is your place to gain insights from the executives in music, media, entertainment, and more who are taking hip hop culture to the next level. [00:01:04] (Intro) Dan Runcie: From you, the listeners who make Trapital, exactly what it is. So this is a mailbag question where you all sent in your best questions. Some of you emailed them, some of you posted them on socials, but I looked at the questions and picked the best ones, and this is a mailbag episode. It's been a while since we did one of these, so it felt good to do one. I actually wanna do these more often just because I think the questions were really great and we're able to address a bunch of topics that we'll get into A.I, the future of music, globalization, ownership, and all the topics that we love to break down on capital and a few ones. So let's jump in.[00:01:41] (Pre Roll Ad Moonpay) [00:02:11] Dan Runcie: All right. Today we have our one and only Mailbag episode from Trapital. It's been a while since we did one of these. I feel, maybe at some point earlier this year we did a mailbag, so it was finally good to dig back in, hear from folks and be able to answer the questions that a lot of you have been thinking. This podcast has grown quite a bit this past year and was in the 1% for the most shared podcast according to Spotify wrap, so that was pretty good. Some applause for that. And I wanted to bring in some of the questions from some of the avid listeners and readers we have. So I posted in social media, posted in the newsletter, and this is a roundup of the best ones. Covered a bunch of topics. We're gonna talk about the future of A.I and music, the state of NFTs, globalization, ownership, and a whole lot more. So let's dive into the first question we have here. So, Ken Penn wants to know what is the current state of music NFTs and our major labels as interested in them as they were? So first for some clear context, a lot of people have been asking questions about this because the general trends of N F T discussions from last year to this year is not quite what you would expect. A lot of people saw that Bloomberg report that came out earlier in 2022, I think they said, N F T transactions were down 97% from the peak that they were at in 2021. And if you type in the word NFTs in Google Trends, you'll probably see a slope that looks quite downward. That is very true, and that's clearly where that is. But I think there's a big difference between that, which I think 97% of that was the hype and a lot of the crap that you likely would only see at the height of the pandemic when money was flowing like crazy. Think about the time when like Pet rocks were being sold and Logan Paul was buying his NFTs or trying to sell his NFTs for whatever. If that was the top of the market, then I think we're seeing things level off a bit more now because you are still seeing partnerships from the major labels and from a lot of artists. I look at Warner Music Group. Warner's been active, more active than any other major label, I think, when it comes to active investments and being forward-looking and being public about those investments. And it was just six, seven weeks ago that they had formed a partnership with Open Sea, which is one of the largest platforms out there to be able to trade in as a marketplace to be able to buy and sell NFTs. So you also have other deals that we've seen. Universal Music Group recently hired two SVPs that are focused on web three with a pretty strong focus on NFTs themselves. And more broadly, you have companies like Public Pressure that just raised $6 million to continue to build in this space. I have said this a few times in this podcast, but I think that Web three and NFT specifically, you had to get through the.com era. You had to get through that heads.com phase of people just starting shit because it sounded like it was something that was gonna resonate, but after a lot of that didn't work out. You obviously had the.com bubble burst. That era still gave us Google, it still gave us Amazon and all these other companies that have still continued to be successful and be some of the biggest companies in the world today. And I think there was a very strong chance that we will still have that with this current wave. It may look slightly different in music, but I still think that we're gonna see, and we have seen more of the true opportunities, whether it's on the artist side of artists that are selling actual NFTs that their fans would find valuable and that others will wanna buy into as well. And I think you'll see this on the major label side with more investment going into acts that can actually reap the rewards from it. One of the biggest deals of 2022 when it comes to N F T sales was Snoop. and what he was able to do, just capturing that momentum. After the Super Bowl. We wrote, or I covered a lot of this in the culture report that Trapital put out will include a link to it in the show notes if you haven't checked it out yet, but still a lot of upside on NFTs. I do not see it quite as much as the bubble that I think was clearly there in 2021. A lot of that quarantine rapid growth needed to calm back down a bit, and I think NFTs are one of the areas that were hit a lot harder than others, but I still think that there's plenty of upside for people that actually wanna build and don't just wanna do grifter, whatever the hell else people were trying to buy itself time. Another question here is from David from Santa Monica, and this was actually a reply to a newsletter that I recently put out where I was talking about some of the cost challenges that music startups and music tech companies will face as in regards to working with customers and customer service and working and dealing with unprofitable customers and wanting to move further up. Mark's question was whether or not I had any data on the customer service costs that these companies have. And I wanna answer that question in a slightly different way. It's less about customer service in the same way that you know, you or I may go call Comcast or may call Xfinity when we're having an issue with our cable or our internet, but it's more so you are a client or customer that is trying to use this particular service, whether it's free or you're relying on it to grow your own business, and you are now having some challenges, you're having some type of question. The thing is a lot of the companies, especially a lot of the distribution platforms, started off being available to everyone, but I think they realized how expensive it is to serve the clients and to serve the customers who are not driving the most business possible. It's no different than a lot of people see when they're working with client services. Overall, your $2 million clients in a lot of ways can be so much more enjoyable to deal with and work with than your $2,000 clients or $2,000 clients will chat a nickel and a dime. They have a bunch of questions about this, that, and the third, but your clients that have a bit more money, they normally come in a bit more clear and confident with what they're looking for, and it can lead to better business in the long run. And I think to a lot of extent, the same is true with a lot of the artists that you end up serving or a lot of the customers that a lot of these platforms end up serving because a lot of their time gets spent with customers that just don't justify the ROI of how much it costs to have that person on staff continue to work and continue to coach and work directly with someone who's just not generating enough revenue to be able to justify the spend. And if you think about how a lot of the companies focus on these things, especially if you're being built out like a tech customer success. This is a role where whether even at the high individual contributor, or the middle level manager role, you're talking, you know, $150, $200,000 plus for someone that can do that roll on annual basis. I mean, I'm thinking of myself, it was six years ago at this point, I was offered a customer success role from a startup that has, you know, now been acquired. I believe the offer was right around that $150, or maybe it was a little bit more than that K range. And that's how much you're paying to have one person that is dedicated to not just you, but to other clients.But if you were to fractionize my time, let's say that, you know, I was someone that was making $160k a year and I had 12 to 16 clients per year that I was serving, you have to justify, okay, is it worth $10k of the company's time to be able to continue to serve this person if that's what I'm spending my timeline, and we all know that it's less likely that it's gonna be an even split. So that's where these things I think, can often come into play, which is why I think you've seen a lot of the distribution services and a lot of the others start to be more selective over time. And they start to have cut-offs in terms of who they're willing to serve and who they're not willing to serve. And that's one of the reasons why I think we see that shift where, especially in music distribution, it ends up leaning itself towards just having a low cost option, like Distrokid or a tunecore where it essentially doesn't cost much at all to upload the services, but it's a bit more do it yourself or you get something that is a bit more boutique. But by being able to join the boutique offering, it's much more selective as a result. So the next question here is from Arthur from Twitter. He didn't specifically say his name, but it was a good question here. He asked, who gets more blame for the lack of consistent superstar X, labels or customers? The answer is neither. The answer is technology. If you're trying to blame anyone, I personally don't call it blame. I more so call it the driving factor, but this is more about technology. Technology was the driving force that lowered the barriers to entry for artists to be able to create more music than they've ever created, and to be able to release it the way that they've done it. And because they're releasing music the way that they've done it, it then becomes harder and much more noisier for new artists to be able to enter the scene and be able to hit the same heights that they did. And because of the increased number of options that are there, it makes it even easier for powers that be to continue to invest more in what they already see proven. Whether that is your superstar artist or ones who have already proven themselves that seem like they'd be most likely to be the next next bets, whether that's your Taylor Swift or your Adele, or your Beyonce on the proven side or on the artist coming up, whether it's someone like, Olivia Rodrigo, or like Blast, or Billie Eilish or someone like that. So these things that are, I think, a big factor just based on where things are and barriers continuing to be lower and lower. And there's been countless reports on just how difficult it is and how record labels are starting to feel like it's having a harder time to break new stars in the way that they once did. It's harder to have new superstars reach the levels that they did. I think you see this in some of the analysis that's been done on charts and stuff like that too. It's a lot of the same names that have been household names for over a decade that are continuing to stay there and it's harder for the new artists to really come through. So I guess if there's anyone to blame for that, we can blame the founders and the product managers from the companies that enabled the barriers actually to happen in the first place. I know a lot of people disagree. I do think it's a good thing that people have more options than ever just in terms of the artist's perspective, but just because I think that it brought a lot of flexibility. But with that, there's always trade-offs like any new technology brings. There's good with that. There's bad that comes with that. I do think that the pros and the cons outweigh them. I do think that the pros do outweigh the cons with that, but still very aware of the downsides of the current timing. This next question is from Joe Edwards and he asked, what is the ultimate potential of GPT-3? This is a hot topic right now, I think for a lot of folks, and it's a question that I think everyone from record labels to attorneys, to emerging artists are trying to figure out, but here's my perspective. I think that GPT-3 is a great tool that will be able to give songwriters an extra tool that they can have by their side. I think we recently heard Bruce Springsteen on a podcast talk about how he could use A.I., whether it's something like something that can help jog his memory or jog his thoughts, specifically if he's having a better writer's block and how difficult that can be for a songwriter. You just wanna be able to have a few things that can aid your process of bringing thoughts together. The pen that comes from that would ever truly replicate something that Bruce Springsteen would wanna put out himself. But just give it how advanced these tools get and how better and better they get. It's likely gonna provide someinspiration that can be helpful. That said, I think it would be more helpful to help existing artists, and I'm a bit less bullish right now on new artists coming up. I think we all saw what happened with Capitol Records and FN Meka and that whole mess, while I don't think that that's all A.I. driven, part of that's driven by the people that were running it. I do think that that is an inherent challenge that some people may be a bit weary of, at least for now. But one place that I do think A.I. and GPT-3 specifically could be unique for is for giving certain artists or certain people the ability to access a sound catalog or an ability to access a group of songs that they can use to then scour to figure out what they can then glean from that to be able to create the new songs that are able to create lyrics that they could use in the future. The reason I highlight this is because I'm sure if you're trying to use a song that is based on a song that is owned by a major record label, the record labels and their lawyers will come after you, and it is something that I know that is already top of mind for. But there's a lot of music out there, a lot of music that people would want to hear that isn't owned or controlled by the major record labels. And I think in the same way that you saw platforms like Epidemic Sound or Splice and others be able to create, whether it's monthly subscriptions or other types of opportunities to buy access to a right to use any of the songs in the catalog. I think you could see something very similar to that happening with A.I. and GPT-3 specifically, because yes, if GPT-3 tries to scour all of the songs available, that is a legal nightmare. But if you're an artist and you wanna be able to pay $10.99 a month or whatever it is, to be able to access this tool where you could type. Any prompt that could help spur your thought, that could be a very great use of $10.99, especially if that gives you the ability to make the next album from your bedroom that could be nominated and win a bunch of Grammys or sell, or, you know, do a bunch of commercial success or just have enough success for you to be a standalone successful musician in your own right. Because I do think a lot of those things are likely to appeal more so to independent artists. I also think that we'll see some potential with GPT-3 with an artist that breaks out on TikTok in general, I almost feel like it's inevitable that there's gonna be some artist in 2023 that has some song that goes viral on TikTok, and people are gonna be like, oh, where did the idea for the song come come from? And the artist is gonna say, oh, I just typed in a prompt. Write me a song about X, Y, Z. And here's what came up. Because we already started to see little hints of how artists would use name generation or using tools to come up with things, right? You've all heard the story about how Lil Nas X used insights from Reddit and insights from Twitter to create Old Town Road and how he essentially engineered that song to reach a type of success that it did grant. A lot of that was outside of his influence, just given things going viral after the whole country music controversy. But a lot of the things leading up to that point were influenced by him. And I think even on a more simpler side, artists like Childish Gambino and Post Malone, I'm pretty sure that both of them got their names from some random computer generators. So there's been things like that that we've seen and I think we'll continue to see more of that. And I think even the answer to this question is gonna continue to evolve. So you could ask me this question in a year. I think I could probably have this as an end of the year podcast question for some time now. And their law used to be something new to glean. The next question here is from Mercedes G. She wants to know why don't artists prioritize ownership even though artists have been pushing ownership for decades? So this question is a bit nuanced because I do think that there are a lot of artists out there that do push ownership, and they are clear that they wanna be able to own their masters and own their publishing and understand the value. I think the challenge comes though, when it becomes a trade off and that trade off is likely offering the artist something that they couldn't have otherwise had because owning your masters and owning all those things sounds great and it sounds great if we assume that the artist could have reached the same heights that they could without giving up something in exchange.The thing is, when an artist is starting to pop and they are already experiencing what some of the challenges are, being able to really hit that next level and whether that is something that they want to do because of some of the things I answered with earlier questions. With more and more music coming out, it's harder for everyone to break out. It's especially harder for artists that are already signed to two record labels to break through. That means it's gonna be even hard for an artist that doesn't have the major label resources behind them to break out as well, which could make them even more likely to wanna then sign with the major record label, especially if they are cutting you a check. I'll look at a few examples of younger artists as well. Look at an artist like Lil Dirk or even NBA Young Boy, I'm pretty sure little Dirk. Posted that he had gotten a 40 million deal recently this year. And I think Dirk is someone that has been popular. I mean, it's several years ago at this point that he was on double XLS freshman list, but even as an independent artist, it could have taken him quite a bit of time to ever hit that amount of money, especially if he's trying to cash it in on the moment that he has. So it's one thing to push ownership and it's another thing to still be able to say, you know what, no, I'm good. I don't want that check. Let me continue to do what I'm doing. When someone offers you an eight figure check that's right in front of you. And I think there's a bit of that human element that can sometimes get a bit lost cuz it's easy for the people in the pita gallery playing Monday morning quarterback to go say, oh, why would you do that deal? Or us to focus on some of the survivorship stories of Master P turning down a million dollar record label deal. Different people that may have offered it to him. Because for every success story like Master P, there are other people that turned those same type of deals down but it didn't take off the way it did for P and then they go back to the record label and being like, oh, hey, could I still get that deal? And the record label's like, no, like the moment passed and the only reason you're coming to me is because you don't feel like you have the momentum that you had before. So there's a few factors here that I think are important to consider, and there is that human element that I think just changes. It's one thing to be a Twitter pundit and put your thoughts out there, but it's another thing to really still say no when a company that you know, they're rolling out the red carpet for you their show, they're presenting the seven, eight figure check, whatever it is, and then you still saying, no, I'm good. And then I think you even see us at the highest levels as well. You look at the deals that you know, someone like Drake or the weekend, you're more so hitting now into the nine figure deals and these artists are more likely to be able to continue to have ownership, but they're still licensing their masters or licensing their music out to the major company. So there's still some trade off there. It's very rare that you ever are really seeing superstar artists that still are hitting those superstar artists levels that is like, you know what? I'm good. Let me just go release everything independently. Cause I think at the end of the day, if you are a priority on these labels, and if you are still getting the best that you can get, you're more likely to figure out, okay, what trade-off is commensurate at what level? And that doesn't mean there wasn't a better way that could be done optimally. My explanation here is more of an explanation of the entire landscape of less of an advocacy for one position or another. But I do think in general, just given how much harder it is for record labels to be able to truly, I think, focus and invest on that artist development piece because they're expecting artists to come to them when they've already hit zero to 60. I think it really puts the onus on the artist to be like, okay, are you happy at 60? Because if you're happy at 60, you may not need the record label, and maybe you think you could get to 70 or 80 yourself, but it may take some time. But if you're trying to get to a hundred, it's gonna be really hard for you to do that independently. So a lot of it requires some questioning on where you wanna go, how far you wanna go, and why that may or may not be as important to you. [00:22:52] (Mid Ad): Today's episode of The Trapital Podcast was brought to you by Revolt. Revolt is on a mission to curate and share the best of the best in hip hop culture and social justice. You may remember a couple months back I had the CEO of Revolt, Detavio Samuels on the podcast scene. He talked all about the mission and where things are going, and I think this is one leading company that is elevating what's happening in black culture. It was launched by Sean Diddy Combs back in 2013, and the multi-platform Network offers breaking news videos, artist interviews, exclusive performances, and original programming. They have content for everyone, like Asset over liabilities and original podcast with the host of Earn Your Leisure that gives you a behind the scenes look into the business investments of artists like Soulja Boy and Rick Ross. They also have the Drop Revolts weekly newsletter and curation of the latest in hip hop and black news, and they have the black print where sits down with innovators and change makers laying the ground up for the next generation for the culture. You can learn more and sign up for Revolt's newsletter, the drop@revolt.tv.[00:24:00] Dan Runcie: All right, this next question here is about a specific deal that's going on, but it's gonna be a good one to answer. JB from Atlanta asked, now that Hasbro has sold E-One's TV and film division, could quality control be a potential buyer? So a few things to unpack here. Earlier in November, Hasbro announced that it will be selling its TV and filled divisions of the comp company. Note that this news, three years after Hasbro had initially acquired all of Entertainment One, which included its music division. And then I think it's been about a year now. My time may be off, but it's been about a year plus now that it had rolled off its music division, which then became Monarch, which is run by Chris Taylor and that team. You may remember them because they were the team that was involved with the selling and the acquisition of Death Row records and then that deal with Snoop Dog. But Hasbro overall has kind of been in this, oops, maybe we should have done this deal when they went and bought E-One. And I think the big takeaway away for Hasbro has been that if we want to leverage the IP that we have, and as many of you know, Hasbro toy companies, so it has the IP there, but it also has some brands that were in that production, like Peppa Pig and things like that. They can still own the IP, but they don't have to own the in-house production to be able to then leverage that IP and make it happen, and then when you own those divisions, it just can be so costly to try to do that. So they got a lot of pressure from Wall Street and other analysts to sell that division and focus on what they do. If you're an owner of an IP, Oftentimes that IP may be the most valuable thing that you then have, but does it always make sense for you to then be the ones that produce it? Of course, there's unique examples of this, right? I think Disney is a company that clearly does both, but Disney is such a unicorn in what it does in so many ways, and we've all seen that flywheel what they've done, and that flywheel is so relevant because it's hard to see another company that could really do that to that level. But it's more likely than not that if you are an IP owner or it's probably in your best financial interest to partner with a company that you can leverage through their production because they are skilled at being a production company to do that thing. So that was a lot of the reason why that sale happened in the first place. Now let's talk about the QC part of this. I would be very surprised if Quality Control was to go on and buy a TV and film division because I also look at Quality Control as an IP. I mean just given the ownership structure, they may joint own some of that with Motown, give the joint venture there. But they are IP owners that can then use that to leverage, whether it's the brand or the story of your little baby Migos and even the rise of coach K and P and and things like that. And while QC does do investments, like I know they're involved with SoundCloud and they have a few other things going. I would be very surprised if they went on to acquire a type of, you know, studio themselves. I know that QC does have a film division, but my impression of that has always been more so, yeah, let's stay quiet, let's have that something that we could have that small and manageable in-house, but if they still have a big release, I think they would probably wanna go to shop that and market the same way that any other big time producer would want if they wanted to push something further. No different than, I think you kind of saw with the Little baby documentary that eventually went on, Amazon was released on Amazon Prime a couple of months ago. So I would be surprised there, if anything, I mean, I think QC is one of these record labels that may be looking for an outside investor itself, but I'm not quite sure what the Motown relationship, just given the joint venture ownership there and how that may look, whether or not who the actual company is that owns, whether it's the brand or the artist or anything like that.Moving forward from that. All right. Couple more questions here. So is music investing specifically, like in catalogs, is music investing still a good idea in 2023? And my answer is yes, but not in some of those 2021 pandemic era evaluations. And that's because I think what I liked about the catalog boom is that it brought awareness to something that I think a retail investors in the niche knew, but a lot of others weren't focusing on, is that there's a lot of value to be had with owning some of these catalogs because there's certain artists that I think do have the potential to just feel similar to a evergreen stock or something like that continues. Provide consistent revenue that isn't correlated with the economy time and time again. But I think there's a few things that happened that people may have missed. One, there is a decay curve with all of those assets. And even as much as people wanna tell you that the Beach Boys or Michael Jackson or the Beatles are timeless, everything has a decay curve. I mean, you could even go back, you know, decades, even. Frank Sinatra or Elvis. I know that you know that the movie that came out recently, but even folks like that, the discussions that are happening now about those people aren't anywhere near the type of discussions that you may have heard, at least when I was growing up, and that just shows you how much has changed in several decades since then. So, and I think the music listening would've probably aligned with that as well. So there's that, and I just think that the valuations that were being paid for a lot of these things probably just wouldn't happen again. One, because interest rates are nowhere near as low as they were, but I think even regardless of interest rates, there was a lot of overpaying for those assets just given the excitement. So smart on a lot of the artists for cashing out when they did and getting a lot of those returns because at least from what we've seen from a lot of the reports, You've seen some of these financial time stories talking about Hypnosis. And Hypnosis has at least from what the returns have been from their catalog has not been able to generate returns that a lot of the investors feel satisfied with and feel are in line with what they had, which is why I think you started to see more challenges there. There was almost an entire year period where the company didn't make an investment, and I think you've seen a lot of things ring true for others. There are still catalog sales happening. It just may not happen at the particular dollar amount that people wanted. For instance, there was Pink Floyd deal that was being talked about for a while. It's still being talked about. I believe they wanted $500 million, but based on some of the recent findings that had come out, the offers that they started to get were much smaller than they would've liked. So people are still interested in buying Pink Floyd. It may not be for the amount of money that the rights holders wanna sell it for, but there's still interest there, and I think that rings true all the way up and down the board. Listen, it wasn't even just music investing. The quarantine era of the pandemic led to a lot of sales for things happening that just probably wouldn't happen in the same way today. All right. Another question here is how does the globalization of hip hop Influence its business and cultural impact? And this question came from chat GPT. Someone had submitted this question and then it came back as, oh, what do you think is a good question to ask about the business of music or the business of hip hop? So this is a fun one. I know I've written about it a few times, but for the sake of brevity, I'll tackle it in two ways. First, A lot of the Western hip hop artists were able to reach a much bigger audience as a result of globalization, and I think it made it easier for some of them to launch global brands as a result. I look at folks like Rihanna and folks like Jay-Z. Look at some of the deals they've done with, whether it's ACE of Spades for Jay-Z, or the Fenty partnerships with Rihanna. These partnerships are tied in with European companies and there has to be some relevance for how big you are seen in Europe and other areas for those things to really have an impact. And I think you saw that compound as well. When you look at someone like Rihanna and Fenty Beauty, being able to enter Africa and just given the ethos of that brand being able to be inclusive and have shades for all skin tones, it makes perfect sense to be able to do it in Africa, which you just think about the beauty industry. This is an entire continent of people, especially women. Different complexion and skin tones that were largely overlooked by the many other major brands. So being able to have that influence there directly ties into an artist like Rihanna, you know, years, decades earlier, being able to tour in these places and being able to have her name out there, being able to be seen in that way. So I think it affects it from that perspective. And of course, Jay-Z, Rihanna are more so people at the top of that chain that are billionaires, but I think it really made a large impact on everyone else on the other side, I think it's made a huge impact on international artists too, because we've seen in so many other places that hip hop has truly been that connective tissue. It's really been that gateway that can help. Raise and elevate the voice of the unheard or elevate the voice of the people that may not have either gotten a chance to get their word out there or can really speak to some of the challenges that are happening. And that's the way that hip hop started. You look at Public Enemy, they saw themselves as the black CNN. They were trying to voice what's really happening. You listen to songs like Grandmaster Flash, The Message. This is what's going on in the streets of New York right now. And I think that if you listen to a lot of hip hop from other areas and you hear things translated, you're hearing a lot of that. And even someone like Bad Bunny, how he speaks about some of the challenges and the oppression that's happening in Latin America, or even things that are happening in Puerto Rico specifically, or even how we spoke out about disaster relief and even L G B T Q issues. It's not a coincidence that this is a hip hop artist that is doing this in their own language and that's happening. So I think we've just continued to see more and more influence and we'll continue to see how hip hop continues to be such a big driver. And it's not just Latin America. You're seeing it in France and you're seeing it elsewhere. And as globalization of music more broadly has made it more possible for artists in local languages to truly rise up. I think you're gonna see more and more of that coming from hip hop in a lot of those local language areas. All right. And the last question we have here is from Quai Bangs who asks, do I notice similarities in emerging artists that follow the start-up path to start-ups themselves? And I definitely do see a lot of those. And I like the question because I've been hearing so much from founders in the space and start-ups in other companies about two things. Truly identifying and seeing artists as founders, not just as the creative talent behind what they're doing, but they are the ones that are the founding person of this company that if successful as it can be, it'll be a company built around them to then help focus and really benefit and speak to their strengths and address their weaknesses as well. No different than a start-up would be who is that? Who are your co-founders that you're gonna find that may not be on the talent side, but can help with the business? Or if you wanna do it all yourself, who are the people that can be around you to at least help support in that way? And I think that you've seen some of those things happen, from time and time again. You look at the start of Dreamville, I very much do. Ibrahim Hamad and Jay Cole as two people that are in line with being able to do that and continuing to push forward, which I think has been pretty strong, seeing how they've been able to do that over the past decade. Plus, you look at any of these record labels and I think you're more likely than not going to see some type of tandem there. We talked about Quality Control. I think you see a lot of that too, and I think no different than a start-up may try to get equity for what they're doing. I think you're seeing certain artists start to explore this as well, whether they're trying to explore on chain, we're trying to sell tokens or they're trying to get a more formal structure in place. I recently had the investor, Cooper Turley, Cooper Tupa on the podcast, and he was talking about this as well, and how he's investing in companies that are looking at this investing artist specifically so that he can take an equity stake out of the artists themselves and be a bit, you know, less dilutive than a record label that may wanna take 80% of the cut moving forward in exchange for in advance. So there's plenty of trade-offs there. I think it's an interesting thing to continue to explore, but I think that it is a sign of what that path to the future looks like. Cuz I think that artists, our founders, at the end of the day, how they go about that, you know, is one thing or another. And who wears that CEO hat. Whether it's someone that artist proactively puts in place or it's someone. It ends up being at the record label that they signed to, or it's their manager. There's so many ways that these hats can be worn, so you'll be interested to see how it plays out. But wow, that was fun.That was a quick bunch of rapid fire questions there, but this was really great. I hope you enjoyed it and I hope you enjoyed the podcast this year as well. Definitely continue to share it with anyone that you think would be in. And let me know if you have any other questions. We can keep this in mind. I wanna do these more regularly in general. So, yeah, if you're listening and you enjoyed this episode, send us a quick note, whether it's, you know, on social media or email. And then we'll keep them rolling so that the next time we do a mail bag podcast, we can keep it rolling.

After a lengthy hiatus, three of our merry band return to discuss robot depression, magical girl anime openings, and how much we hate children. Clips used are from: Transformers: Cybertron, produced by Entertainment One and GONZO Galaxy Force soundtrack by Megumi Ohashi "Never Gonna Give You Up" by Rick Astley, performed by Caitlin Myers (original source for this arrangement unknown) "Conjunction Junction" from Schoolhouse Rock! by Bob Dorough, performed by Jack Sheldon, Terry Morel, and Mary Sue Berry "United Kingdom of Great Britain and Northern Ireland National Anthem," traditional, by National Anthems Channel Australian Robot Susan and British Robot Narrator portrayed by ttsmps.com's Nicole and Brian voices, respectively

Neste episódio, Paulo Martini e Celbi Pegoraro falam sobre: >> [03:12] Hasbro coloca à venda a Entertainment One, sua divisão de produção de filmes e séries; >> [24:42] BOMBA:Disney demite Bob Chapek e anuncia a volta de Bob Iger como o novo CEO em pleno domingo à noite, pegando o mercado de surpresa!; >> [01:30:02] e as DICAS CULTURAIS: >> Curta animado GROGU E AS CRIATURAS DO STUDIO GHIBLI | Assista no Disney+; >> Filme DESENCANTADA | Assista no Disney+; >> Documentário MICKEY: A HISTÓRIA DE UM CAMUNDONGO | Assista no Disney+; ---

On the podcast this week, Canadian Musician Editor-in-Chief Mike Raine welcome David "Gordo" Strickland, one of the pioneers of hip-hop production and recording in Canada. He's an Indigenous, Toronto-born and based award-winning engineer, mixer, producer and DJ. Known for being behind the boards on iconic hip-hop and R&B records for over two decades, his work has graced seminal tracks by the likes of Pete Rock, Erick Sermon, EPMD, Keith Murray, Redman and Method Man, to records by ground-breaking Toronto hip-hop acts, including Drake, k-os, Ghetto Concept, Jelleestone, Kardinal Offishall, Jully Black, and Choclair. David's two most recent collaborative albums, Spirit Of Hip Hop (2020, Entertainment One) and Spirit Of Hip Hop: Elements (2022), highlights some of North America's hip-hop progenitors and innovative Indigenous artists alike to share an embodiment of the teachings, art, traditions, and music of the community, aligned with his Indigenous heritage. In this chat, David tells Mike about how he got his start and built his engineering skills, being thrown into the fire as a newbie on an album by Saukrates, and working his way through the industry from there.

 It's time for the Comic Talk Headlines with Generally Nerdy! DCEU has some crazy rumors that are running at odds of each other. Plus some RUMOR confirmationsTune in Wednesdays for the regular show and Saturdays for the re-post of the Friday night LIVE SHOW. Plus, don't forget to subscribe for more fresh content.   TV/StreamingFollow-ups/CorrectionsPenguin - WB has OFFICIALLY ordered the project to series. Will be a continuation and NOT a prequel/origin story. Lauren LeFranc is set to be head writer and Showrunner. https://nerdist.com/article/the-batman-spin-off-colin-farrell-penguin-show/ Dune: Sisterhood - Indira Varma cast as Emperor Corrino's wife, Empress Natalya. (GoT, Obi-Wan, Carnival Row) https://nerdist.com/article/dune-the-sisterhood-tv-series-showrunner-hbo-max/ Percy Jackson - WWE Wrestler Edge has been cast as Ariesfor the Disney+ series. https://variety.com/2022/tv/news/percy-jackson-disney-plus-series-cast-adam-copeland-suzanne-cryer-jessica-parker-kennedy-1235402276/ TrailersTulsa King - https://youtu.be/aaQSScwZPbA New Taylor Sheridan series starring Sylvester Stallone as a mob boss who moved to Oklahoma.Teletubbies - https://twitter.com/i/status/1582390032861515776 oh dear… the devil is among us.Trigun Stampede - https://youtu.be/3V3CmVKbUNE Set to premiere in January for Crunchyroll's Winter Anime season.Gangs of New YorkMartin Scorsese is teaming with Miramax to do a series based on the Herbert Asbury book he adapted already as a film years ago.https://www.empireonline.com/tv/news/martin-scorsese-to-produce-and-direct-a-gangs-of-new-york-tv-series/ WBDUnscripted and animation has lost 82 staffers. Animation is also condensing with portions of Cartoon Network animation being absorbed into WBA Studios. The output for all platforms (HBO Max, Cartoon Network, Adult Swim et al) is supposed to remain the same, just with a more streamlined approach. All this is said to be done in an effort for David Zaslav to save the company $3B after their reported loss of $3.2B in the merger.https://variety.com/2022/tv/news/warner-bros-tv-group-layoffs-82-staffers-channing-dungey-1235400286/ SuggestsHemlock Grove - Bill Skarsgard and Famke JanssenMoviesFollow-ups/CorrectionsA Christmas Story Christmas - The Sequel has a name… and a teaser. https://youtu.be/HjHV8q8LyaE Nov 17 HBO MaxBlack Adam - Superman apparently confirmed? It would seem as such.Dune Pt 2 - Bumped up in release. Now due Nov 3 instead of Nov 17 of 2023. https://www.hollywoodreporter.com/movies/movie-news/dune-2-release-date-moves-up-timothee-chalamet-1235239508/ Transformers: Rise of the Beasts - Pete Davidson (Mirage) and Michelle Yeoh (Airazor) have been cast for voice work in the lega-sequel.Joker: Folie a Deux - Really will be a musical apparently… https://productionlist.com/production/joker-folie-deux/ TrailersSpirited - https://youtu.be/BG8O0bj4isg The Ryan Reynolds and Will Ferrell Christmas Carol movie that we saw them working on months ago. On Apple TV+ Nov 18.Creed III - https://youtu.be/AHmCH7iB_IM March 3 2023… rehashing Rocky III and IV with Jonathan MajorsRobbie ColtraneHagrid has passed at the age of 72.D&D Joe ManganielloAlcide from Magic Mike is going to produce and CO-DIRECT a documentary on D&D. Hasbro's Entertainment One studio is involved which means LOTS of exclusive access, as well as 400 hours of archives.https://nerdist.com/article/dungeons-dragons-documentary-joe-manganiello-kyle-newman-wizards-of-the-coast/ SuggestsNightmare on Elm Street - The movie that made Wes Craven one of the biggest names in horror.Rumor MillConfirmations/RefutationsCyberpunk: Edgerunners - No direct sequel planned. Sotaru Honma, a Projekt Red exec, said that the plan all along was to have the series be a stand alone deal.CrossoverBlumhouse is said to be working on a crossover movie with Freaky and Happy Death Day. Screenwriter Christopher Landon tweeted out a picture with the actresses who star in both movies Kathryn Newton and Jessica RotheMephistoSacha Baron Cohen is rumored to be cast in the role of the devil himself for the Ironheart show.The HulkDisney+ to do the IP as its own “Special Presentation” as a means to circumvent the “no solo movie” rule from Universal.Madame WebIsabela Merced rumored to be playing Spider-Girl Anya Corazon and Sydney Sweeny is rumored to be playing Julia Carpenter, Spider-Woman.DCEU• 'The Flash 2' script already written• 'Man of Steel 2' with Henry Cavill seeking writers• 'Wonder Woman 3' scriptment soon• At least 1 new James Gunn movie• 'The Batman' rogues gallery spinoff films (Professor Pyg, Clayface, and more)You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

 It's time for the Comic Talk Headlines with Generally Nerdy! DCEU has some crazy rumors that are running at odds of each other. Plus some RUMOR confirmationsTune in Wednesdays for the regular show and Saturdays for the re-post of the Friday night LIVE SHOW. Plus, don't forget to subscribe for more fresh content.   TV/StreamingFollow-ups/CorrectionsPenguin - WB has OFFICIALLY ordered the project to series. Will be a continuation and NOT a prequel/origin story. Lauren LeFranc is set to be head writer and Showrunner. https://nerdist.com/article/the-batman-spin-off-colin-farrell-penguin-show/ Dune: Sisterhood - Indira Varma cast as Emperor Corrino's wife, Empress Natalya. (GoT, Obi-Wan, Carnival Row) https://nerdist.com/article/dune-the-sisterhood-tv-series-showrunner-hbo-max/ Percy Jackson - WWE Wrestler Edge has been cast as Ariesfor the Disney+ series. https://variety.com/2022/tv/news/percy-jackson-disney-plus-series-cast-adam-copeland-suzanne-cryer-jessica-parker-kennedy-1235402276/ TrailersTulsa King - https://youtu.be/aaQSScwZPbA New Taylor Sheridan series starring Sylvester Stallone as a mob boss who moved to Oklahoma.Teletubbies - https://twitter.com/i/status/1582390032861515776 oh dear… the devil is among us.Trigun Stampede - https://youtu.be/3V3CmVKbUNE Set to premiere in January for Crunchyroll's Winter Anime season.Gangs of New YorkMartin Scorsese is teaming with Miramax to do a series based on the Herbert Asbury book he adapted already as a film years ago.https://www.empireonline.com/tv/news/martin-scorsese-to-produce-and-direct-a-gangs-of-new-york-tv-series/ WBDUnscripted and animation has lost 82 staffers. Animation is also condensing with portions of Cartoon Network animation being absorbed into WBA Studios. The output for all platforms (HBO Max, Cartoon Network, Adult Swim et al) is supposed to remain the same, just with a more streamlined approach. All this is said to be done in an effort for David Zaslav to save the company $3B after their reported loss of $3.2B in the merger.https://variety.com/2022/tv/news/warner-bros-tv-group-layoffs-82-staffers-channing-dungey-1235400286/ SuggestsHemlock Grove - Bill Skarsgard and Famke JanssenMoviesFollow-ups/CorrectionsA Christmas Story Christmas - The Sequel has a name… and a teaser. https://youtu.be/HjHV8q8LyaE Nov 17 HBO MaxBlack Adam - Superman apparently confirmed? It would seem as such.Dune Pt 2 - Bumped up in release. Now due Nov 3 instead of Nov 17 of 2023. https://www.hollywoodreporter.com/movies/movie-news/dune-2-release-date-moves-up-timothee-chalamet-1235239508/ Transformers: Rise of the Beasts - Pete Davidson (Mirage) and Michelle Yeoh (Airazor) have been cast for voice work in the lega-sequel.Joker: Folie a Deux - Really will be a musical apparently… https://productionlist.com/production/joker-folie-deux/ TrailersSpirited - https://youtu.be/BG8O0bj4isg The Ryan Reynolds and Will Ferrell Christmas Carol movie that we saw them working on months ago. On Apple TV+ Nov 18.Creed III - https://youtu.be/AHmCH7iB_IM March 3 2023… rehashing Rocky III and IV with Jonathan MajorsRobbie ColtraneHagrid has passed at the age of 72.D&D Joe ManganielloAlcide from Magic Mike is going to produce and CO-DIRECT a documentary on D&D. Hasbro's Entertainment One studio is involved which means LOTS of exclusive access, as well as 400 hours of archives.https://nerdist.com/article/dungeons-dragons-documentary-joe-manganiello-kyle-newman-wizards-of-the-coast/ SuggestsNightmare on Elm Street - The movie that made Wes Craven one of the biggest names in horror.Rumor MillConfirmations/RefutationsCyberpunk: Edgerunners - No direct sequel planned. Sotaru Honma, a Projekt Red exec, said that the plan all along was to have the series be a stand alone deal.CrossoverBlumhouse is said to be working on a crossover movie with Freaky and Happy Death Day. Screenwriter Christopher Landon tweeted out a picture with the actresses who star in both movies Kathryn Newton and Jessica RotheMephistoSacha Baron Cohen is rumored to be cast in the role of the devil himself for the Ironheart show.The HulkDisney+ to do the IP as its own “Special Presentation” as a means to circumvent the “no solo movie” rule from Universal.Madame WebIsabela Merced rumored to be playing Spider-Girl Anya Corazon and Sydney Sweeny is rumored to be playing Julia Carpenter, Spider-Woman.DCEU• 'The Flash 2' script already written• 'Man of Steel 2' with Henry Cavill seeking writers• 'Wonder Woman 3' scriptment soon• At least 1 new James Gunn movie• 'The Batman' rogues gallery spinoff films (Professor Pyg, Clayface, and more)You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

The human component of building a startup has always been, and probably will always be one of the most challenging aspects of any organization. Our guest today is an expert in building culture and getting the best out of people, Sandy Scholes, Chief People Officer, most recently at Flipp, has a wealth of experience in team building and coaching managers to get high performance from their teams.About Sandy Scholes:Sandy Scholes is a leader with 15+ years of global HR experience ranging from large multinational organizations to mid-size companies both public and private. Most recently she was the CPO of Flipp. Previously Sandy was Executive Vice President, Global Human Resources at Entertainment One, and Senior Vice President, People at Softchoice.A word from our sponsor:At Ripple, we manage all of our fund expenses and employee credit cards using Jeeves. The team at Jeeves helped get me and my team setup with physical and virtual credit cards in days. I was able to allow my teammates to expense items in multiple currencies allowing them to pay for anything, anywhere at anytime. We weren't asked for any personal guarantees or to pay any setup or monthly SaaS fees.Not only does Jeeves save us time, but they also give us cashback on our purchases including expenses like Google, Facebook, or AWS every month. New users can earn up to 3% cashback for their first 90 days.The best part is Jeeves puts up the cash, and you settle up once every 30 days in any currency you want, unlike some other corporate card companies that make you pre-pay every month. Jeeves also recently launched its Jeeves Growth and Working Capital initiative for startups and fast-growing companies to enable more financial freedom for companies. The best thing of all is that Jeeves is live in  24 countries including Canada, US and many other countries around the world.Jeeves truly offers the best all-in-one expense management corporate card program for all startups especially the ones at Ripple and we at Tank Talks could not be more excited to officially partner with them. Listeners of Tank Talks can get set up with a demo of Jeeves today and take advantage of our Tank Talks special with a‍ $250 statement credit after the first $2,500 in spend or a $500 statement credit after the first $5000 in spend. Lastly, all Jeeves cardholders receive access to their Lounge Pass program and access to over 1300 airports globally.Visit tryjeeves.com/tanktalks to learn more.In this episode we discuss:02:44 Sandy's journey into tech04:43 How Sandy was able to navigate between large organizations and smaller startups07:07 Dealing with office politics at large companies09:19 What is performance management and how it differs from traditional HR11:42 Why open ended questions and frameworks are important12:59 Problems with traditional performance reviews16:25 Types of frameworks that work best for managers19:40How much influence should managers have in setting OKRs21:39The cadence that performance and work plans should be updated23:35Why isn't performance management more widely adopted24:19How often should managers check-in?29:06Advice to managers to avoid random or confusing feedback33:01Communicating expectations to employees34:20How do you establish a culture of high performance without dealing with burnout or high turnover37:01Dealing with burnout38:02What to do with high performance/low culture fit hires39:23Favorite tools to help with performance coaching40:09Does Sandy coach performance to those in her private life41:15About her fatherFast Favorites

Tyler, Tori and Lamar break down the past two weeks in Power Rangers news. Power Week and Power Morphicon lie ahead. A long-lost Sailor Moon project fans have taken to calling "Saban Moon" has finally been recovered. Kamen Rider comics and manga are on their way.Editor's note: News of Hasbro potentially shopping Entertainment One, which produces Power Rangers, broke after this recording, as did Monday's teaser for the backstretch of Dino Fury. We will talk about both news items next time.Mentioned in this episode:Hasbro celebrates Power WeekSynopses out for the next two Dino Fury episodesRPM expansion coming to Deck-Building GameYouTuber Ray Mona unearths the live-action Sailor Moon projectAn interview with the writer and artist of the upcoming Kamen Rider Zero-One comicA preview of the English-language release of the Kuuga mangaGame Knight HeroesSupport this podcast at — https://redcircle.com/rangercast/donations

Rick Dunkle is a twenty-year veteran of the film and television industry in Los Angeles, California, where he worked for a number of media organizations and major motion picture studios, including ABC, CBS, Cedar Park, Disney, Entertainment One, Fox, Paramount, Sony, and Viacom. Rick has written and produced content across multiple platforms, including film, television, radio, print, and digital. Throughout his career, he's served in a number of capacities, including as a journalist, screenwriter, copywriter, television producer, content creator, programming strategist, research analyst, and ad/marketing professional. He chats with Jimmy about his work on Criminal Minds as a writer/producer, the current state of journalism following the Trump presidency & what it means to be a college professor, newly hired as General Manger of UIndy TV5 at the University of Indianapolis.

Many moons ago, our intrepid idiots traveled to TFCon Baltimore 2021. This ancient recording reminisces of that adventure while also wondering where Vector Prime shoves his sword when he's not using it. Clips used are from: Transformers: Cybertron, produced by Entertainment One and GONZO Galaxy Force soundtrack by Megumi Ohashi British Robot Narrator portrayed by ttsmp3.com's Brian voice

Justin sits down with James Kerwin to chat!! DIRECTOR JAMES KERWIN's work has earned distinctions such as the Webby, the Telly, the Geekie, the Accolade, and the Panavision New Filmmaker Grant, in addition to numerous film festival grand jury prizes. He was named "Best Director" and "Best Screenwriter" by New York Visionfest for Yesterday Was a Lie, his feature film debut from Entertainment One and IndiePix. For several years, James served as a writer/director on the acclaimed fan-favorite web series Star Trek Continues. He's a member of Mensa and Phi Beta Kappa, and a Fellow of the Royal Society of Arts. https://www.contre-coup.com/ to sign up for newsletter updates and the Indiegogo link is on that page as well!! Follow us @3geekspodcast

From an NCAA basketball star to the most highly esteemed entertainment executive in the industry, Range CEO Peter Micelli shares with us his fascinating journey to countless success by paralleling his strategy in achieving greatness in business to achieving greatness on the basketball courts. Peter highlights how the standards and ethics in both realms remain the same: hard work, team work and a sharp focus on the mission. A brilliant pioneer in the entertainment industry, Peter Micelli guides us on how to surround ourselves with teachers, create daily plans and always ask ourselves what defines success for us. Peter has learned how to step into his light in using his desire to constantly bring about positive change to fundamentally changing how we view TV shows today and how we will experience entertainment in the future. Listen to learn how Peter leads, with his commitment to bringing out the absolute best in all around him. My favorite point in learning from Peter's leadership was just how much Peter ensures his team maintains a work-life balance as well, by implementing this value into his company to ensure they too enjoy the journey along the way.  Peter speaks to us all on how integral it is to create a culture in your space that ALL can benefit from and be inspired by. THERE IS SO MUCH GOODNESS HERE, incuding what Peter foresees as the next big shift in ENTERTAINMENT…. YOU JUST DON'T WANT TO MISS IT! Peter's bio: Mr. Micelli earned a B.A. in speech communication from California State University Northridge where he played and served as captain of NCAA Division I Basketball AT CSUN.  He had a 23-year career at Creative Artists Agency, rising up in the ranks quickly from working the mailroom to becoming: the top TV Literary Agent and Packaging Agent, and earning the distinction of being the youngest person to ever run the CAA TV Packaging Division and being named as the youngest person to head the entire CAA Television Department. By 2018, Mr. Micelli had a record breaking 53 TV series in production and was largely known as the executive at CAA that helped Netflix figure out its original content strategy. His work helped deliver Netflix its first eight series and propelled its ability to generate content in a cost effective, profitable manner. Thereafter, Mr. Micelli lead the change in bringing more independent studios into the marketplace. Mr. Micelli was recruited by Entertainment One to serve as Chief Strategy Officer in late 2018. Mr. Micelli was largely responsible for transitioning Entertainment One from a distribution strategy into a content studio.  While at Entertainment One, Mr. Micelli supervised over 400 professionals. and lead the company from a 1.6billion valuation to eventually selling to Hasbro for $4.2 billion in January of 2020.  Mr. Micelli serves as the Chief Executive Officer, overseeing all aspects of the growth and development of the business of Range Media Partners and its subsidiaries.

About Stephen Shaw:   Stephen is the Founder and Co-President of Round Room Live after starting the company in the fall of 2016. Stephen previously served as President of Michael Cohl's company S2BN Entertainment from 2014 to 2016. Stephen gained extensive knowledge of the international entertainment industry working for The Rolling Stones' worldwide tours in 2002 (Licks Tour) and 2005 (Bigger Bang). Subsequently in 2006, Stephen was hired by Concert Productions International, and learned the concert-touring world from some of the greatest visionaries and pioneers of this industry, who were responsible for promoting some of the highest-grossing arena and stadium level concert tours in history. Stephen has nearly 18 years of experience in tours & exhibitions working as a trusted custodian for brands that include The Rolling Stones, Oprah Winfrey, Marvel, Universal, 20th Century Fox, & Entertainment One About Round Room Live, an Entertainment One company:   Round Room Live is a producer and promoter of live entertainment, that specializes in transforming both new and iconic intellectual property into engaging and thrilling live events. Round Room creates unique live experiences tailored to the distinct character of each property and produces the highest quality productions for audiences around the world.   Their current roster of touring theatrical shows includes: Baby Shark Live!, Blippi The Musical, Peppa Pig Live, and PJ Masks Live! Save the Day. Round Room's Immersive and Entertainment Experiences division is currently touring: Jurassic World: The Exhibition, Mandela: The Official Exhibition and Tupac Shakur. Wake Me When I'm Free, which recently opened in Los Angeles in January 2022. In February 2018, Entertainment One acquired a majority position in Round Room Live. Entertainment One is now a division of Hasbro.

Doc Rahb, Tony and Denis welcome back Skip Smith, professional makeup artist and Denis' friend of over 40 years and we chat it up about movies, the "slap", CNN stories and some snark. There are a few swears so its NSFW and keep the kiddies away. No politics this time and if y'all want we can do another movie session real soon. Thanks for your support.

Robert Winfree and Mark Radulich present their Deep Water/Windfall 2022 Review! Deep Water (2022) is a 2022 erotic psychological thriller film directed by Adrian Lyne,[3] from a screenplay by Zach Helm and Sam Levinson, based on the 1957 novel of the same name by Patricia Highsmith. The film stars Ben Affleck and Ana de Armas, with Tracy Letts, Lil Rel Howery, Dash Mihok, Finn Wittrock, Kristen Connolly and Jacob Elordi appearing in supporting roles. It marks Lyne's return to filmmaking after a 20-year absence since his last film Unfaithful (2002). It is Disney's first erotic film in 28 years since Color of Night (not counting any from Miramax Films before 2010, nor those inherited from the 20th Century Fox catalog) and is also Hasbro's first erotic film after the acquisition of Entertainment One on December 30, 2019. Windfall (2022) is a 2022 American thriller film directed by Charlie McDowell from a screenplay by Andrew Kevin Walker and Justin Lader. It stars Jason Segel as a squatter who is forced to hold the rich couple who own the house (Lily Collins and Jesse Plemons) hostage after they arrive home early. It was released on March 18, 2022, by Netflix. Grammarly Ad: 1:10:30 Amazon Music Ad: 42:00 For a 30 Day Free Trial of Amazon Music Unlimited head to http://getamazonmusic.com/w2mnetwork. Amazon Music is free. Amazon Music Unlimited is not. And for the Grammarly special offer, go to http://getgrammarly.com/w2mnetwork. Also check out the W2M Network Discord https://discord.gg/aydMgvUN9d Mark Radulich and his wacky podcast on all the things: https://linktr.ee/markkind76 also snapchat: markkind76 FB Messenger: Mark Radulich LCSW Tiktok: @markradulich twitter: @MarkRadulich

Robert Winfree and Mark Radulich present their Deep Water/Windfall 2022 Review! Deep Water (2022) is a 2022 erotic psychological thriller film directed by Adrian Lyne,[3] from a screenplay by Zach Helm and Sam Levinson, based on the 1957 novel of the same name by Patricia Highsmith. The film stars Ben Affleck and Ana de Armas, with Tracy Letts, Lil Rel Howery, Dash Mihok, Finn Wittrock, Kristen Connolly and Jacob Elordi appearing in supporting roles. It marks Lyne's return to filmmaking after a 20-year absence since his last film Unfaithful (2002). It is Disney's first erotic film in 28 years since Color of Night (not counting any from Miramax Films before 2010, nor those inherited from the 20th Century Fox catalog) and is also Hasbro's first erotic film after the acquisition of Entertainment One on December 30, 2019. Windfall (2022) is a 2022 American thriller film directed by Charlie McDowell from a screenplay by Andrew Kevin Walker and Justin Lader. It stars Jason Segel as a squatter who is forced to hold the rich couple who own the house (Lily Collins and Jesse Plemons) hostage after they arrive home early. It was released on March 18, 2022, by Netflix. Grammarly Ad: 1:10:30 Amazon Music Ad: 42:00 For a 30 Day Free Trial of Amazon Music Unlimited head to http://getamazonmusic.com/w2mnetwork. Amazon Music is free. Amazon Music Unlimited is not. And for the Grammarly special offer, go to http://getgrammarly.com/w2mnetwork. Also check out the W2M Network Discord https://discord.gg/aydMgvUN9d Mark Radulich and his wacky podcast on all the things: https://linktr.ee/markkind76 also snapchat: markkind76 FB Messenger: Mark Radulich LCSW Tiktok: @markradulich twitter: @MarkRadulich

Thank you and shoutout to Norwalk, Connecticut's own Chris Webby for coming on my show for an interview! Chris talked about his new album Still Wednesday, We Up being DMX's last feature, and being a landmark for the CT Hip-Hop scene. He got into his early life with his mother being an English teacher and his father being a guitarist, getting kicked out of Hofstra University, discovering Hip-Hop when The Slim Shady LP released, and his life coming full circle when he was judge for Freestyle Fridays on 106 & Park. He talked about being the first rapper to crash Datpiff, in which he did it twice and opening up for the Wu-Tang Clan in 2010 in New York. Chris spoke about his album Chemically Imbalanced being his only true album in his view, his time being signed to Entertainment One, and now having his own label EightyHD. He also got into his Raw Thoughts record, meeting Pete Davidson for the first time, and Pete Davidson rapping on Who Am I with him off of his album 28 Wednesdays later. Chris Webby announced that he has Wednesday Before Last and Last Wednesday on the way as well as a big feature. He also mentioned that he will be performing at a major venue in Colorado soon. Stay tuned! Chris Webby's new album Still Wednesday is available on all platforms, including Apple Music: https://music.apple.com/us/album/still-wednesday/1596862899. Follow Chris Webby on Instagram and Twitter: @chriswebby Follow me on Instagram and Twitter: @thereelmax. Website: https://maxcoughlan.com/index.html. Website live show streaming link: https://maxcoughlan.com/sports-and-hip-hop-with-dj-mad-max-live-stream.html. MAD MAX Radio on Live 365: https://live365.com/station/MAD-MAX-Radio-a15096. Subscribe to my YouTube channel Sports and Hip Hop with DJ Mad Max: https://m.youtube.com/channel/UCE0107atIPV-mVm0M3UJyPg.  Chris Webby on "Sports and Hip-Hop with DJ Mad Max" visual on YouTube: https://www.youtube.com/watch?v=L5bMHe724v0. 

Teri Hart is my first guest of 2022 and I really appreciate how candid she was about all sorts of difficult subjects; like losing jobs and why she decided to share her painful experience about trying to get pregnant. One of Canada's most recognized and sought-after media personalities, Teri Hart is a multi-talented host, interviewer, critic and producer. With an encyclopedic knowledge of film and television, she has been covering entertainment and culture for over 25 years and has conducted thousands of interviews with some of the world's biggest super stars including Oprah Winfrey, Meryl Streep, Robert Redford, Steven Spielberg, Denzel Washington, Brad Pitt, Tom Cruise and Jennifer Lopez, to name just a few.She is currently the face of Super Channel Superpicks. These weekly segments provide viewers with guidance and insight into what to watch and why.Teri has been seen reporting live from red carpets around the world including the Cannes Film Festival, the Grammy Awards and The Toronto International Film Festival in addition to hosting public events for The Walt Disney Company, Warner Brothers, Paramount Pictures, Entertainment One, Sony Pictures, MK2 Films, The Toronto Film Critics Association and Landmark Cinemas.An ardent supporter of Canadian film and television, Teri has never missed an opportunity to champion the work of directors and actors from across the country and has regularly appeared on behalf of the Academy of Canadian Cinema and Television, ShowCanada and The Canadian Picture Pioneers.Prior to joining Super Channel, Teri was a Senior Entertainment Reporter and Supervising Producer at CITY TV responsible for producing stories for CITY News and Breakfast Television in addition to filling in as co-host for the Toronto morning show. She received a Canadian Screen Award nomination in 2018 for Best Local Newscast and her coverage of Canadian icon Gord Downie.For 19 years Teri was the producer and host of The Movie Network (currently Crave) and has also appeared on The Morning Show (Global), E-Talk, The Social (CTV). and as a regular contributor on CBC Radio One's internationally syndicated arts and entertainment show, “q”. She is a member of the Broadcast Film Critics Association.In addition to her media work, Teri is a respected public speaking and presentation skills coach. You can contact her at this address for more information: teri@tbhcommunications.caFollow Teri on Twitter @TeriHartFollow Teri on Instagram @TeriHartFollow Superchannel Superpicks on Instagram @superchanneltv

Over the last few weeks we've tracked various Content x Commerce activations. From Cameo buying Represent and Fanatics exploring RSN acquisitions, to Walmart partnering with Netflix and Barstool, and Shopify partnering with Spotify and Mailchimp. Based on this activity, we explain three different ways Content x Commerce companies go to market via the Build-Buy-Partner framework, and which model we believe is best.Subscribe to our newsletter. We explore the intersection of media, technology, and commerce: sign-up linkLearn more about our market research and executive advisory: RockWater websiteEmail us: rounduppod@wearerockwater.com--EPISODE TRANSCRIPT: Chris Erwin:So, Andrew, our team has tracked, over the past few weeks, a lot of different activations and partnerships within the content and commerce space. Have you been seeing this too? Andrew Cohen:Yeah, definitely. I mean, the convergence of content and commerce is definitely one of our core themes that we cover at RockWater that we help clients on, so always tracking those and definitely feels like over the past couple weeks, been seeing a few big news stories around announcements of deals, partnerships, acquisitions and everything like that. Chris Erwin:So, yeah. I'll go through some of the recent announcements, and then we could talk about what are the different structures that we're seeing in terms of building, buying or partnerships between content and commerce, and which ones do we think are best pros and cons, and then where it's headed. So, with that, let's get into it. Chris Erwin:Over the past few weeks, Shopify has partnered with Spotify to enable artist storefronts and has also announced a partnership with MailChimp and I think TikTok over the past month as well. We also saw Walmart partner with Netflix to create a Netflix branded storefront on walmart.com organized by IP. In addition, another partnership with Walmart and Barstool, which builds upon past kind of media brand partnerships with Camp and Tasty for BuzzFeed. So, a few stats on the Barstool partnership, sold 150,000 units of Barstool's pizza from the first 10 days of launch, and on Buzzfeed Tasty, I think they sold five million units of Tasty Cookware with just the first year of launch. We don't have any data, I think, on how much Squid Game product has been sold, but just to get a sense of that we think the numbers are going to be pretty eye-popping, sales of white Vans have increased by 7,800% since the show debuted, right? Pretty impressive stuff. Chris Erwin:We also saw that Cameo acquired Represent, which is a celebrity merch platform and that Fanatics, I think like a 15-year-old sports commerce company, is exploring the acquisition of RSNs or regional sports networks. So, it starts to raise the question, Andrew, of why is this interesting? What's one of the questions that stands out to you. Andrew Cohen:Yeah. So, what was really interesting to me about this is that it shows this kind of convergence between content and commerce happening through a few different models. You're seeing acquisitions. You're seeing partnerships and outright builds. It's interesting because it's something that we talk to clients and help them work through a lot at RockWater. We work, we specialize in this convergence of content and commerce. We often help commerce brands expand into content and content brands expand into commerce. The difficult question is always how. Do you do it via buy, build or partner? It's really, there's no one size fits all solution. There's no silver bullet. It's really case by case, and there's pros and cons for all. So, yeah. So, to me, I think it's interesting to see a couple different cases represented here. Chris, yeah, maybe we could just walk through it and break down in general the pros and cons of each model. Chris Erwin:Yeah, and even before doing that, Andrew, I think you're right that it is ... When we go to our clients and they're saying, "Okay, we want to enter this new market. Do we build by partner?" it's like, well, that's a decision that you're going to make a few times over a sequence over the next few years, right? So, for example, I think like in the beginning, we often say, hey, your goal is that you want to build enterprise value for the company. You want to drive outsize revenue and financial performance, but you also want to be capital light and lean in the beginning. So, from a sequence perspective, maybe doing partnerships in the beginning to learn, try things out that are low capital commitments, and then as you learn what's best fit and what's the opportunity for you, then you can think about maybe acquiring another company in this space or building out a dedicated team. So, I think that's one important highlight before we dive into this. Chris Erwin:Then, second, Andrew, I think like you said, it's very case-by-case specific. So, for certain companies and certain industries, there might be more acquisition opportunities out there than others. So, it's like, you know what, yeah, it makes sense to buy, but if there's not a lot of acquisition targets, you might say, "You know what? Really want to enter this new market or product category, and I guess we're just going to have to build the team to do that." So, it is very circumstantial. It's important to understand. Andrew Cohen:Well said. So, maybe we can go through it. We'll start with buy, the acquisition route. You mentioned a few. So, we see both content buying into commerce and commerce buying into content. The more common approach that we've seen is commerce buying into content. So, you mentioned Fanatics, the big sports e-comm and merchandiser. They're looking at acquiring some regional sports networks. Hasbro, the major toy company, a couple years ago, they bought Entertainment One, a major film studio. In terms of content buying its way into commerce, you had just mentioned Cameo. They bought merch platform called Represent, but we've also seen other examples of this like MeatEater buying First Lite. So, if we were to break down this approach, the buy route of acquisitions, how do you assess the pros and cons? Chris Erwin:A few quick highlights here. So, pros is buying is speed to market, right? When you compare having to build out a new business unit and hire a new team and really build all those capabilities from scratch, getting to market faster by buying a company that has this unique expertise and all the operations set up and allows you to kind of enter the market and beat out your competition that isn't there is very valuable. Yeah, I think it's really hard to build these capabilities. If you're a content business, your DNA is in creative and building amazing content experiences for audiences. That's very different DNA than building out a supply chain, developing product and getting in the hands of your consumers and vice versa. Chris Erwin:So, I think some cons though to highlight is that there's often in M&A, there's an acquisition premium to take an asset off the table. You have to convince leadership, founders, investors, and the board that it's like, hey, the value that you're going to get from us buying you versus you continuing to run your company, you're going to have to pay up for that. Then, you can enter deal conversations, Andrew, and a deal, more likely than not, is not going to get done because you got to reach out to the target. You got to go through their representation. You got to line on a growth vision, agree on a price, get a bunch of lawyers and accountants involved, do your due diligence, see where the bodies are buried. At the end of the day, you might go through 18 months of talks, and then a deal doesn't happen. That's wasted time where you could have just said, "Should've just built this out ourselves." Chris Erwin:Then, in addition, once you buy the company, almost in a way, that's like the easy part. Integrating the operations where you're aligning on the growth vision, is the leadership going to come together? They're going to be like one leadership from just the acquisition target or from the acquire. How do you get the different teams and the cultures on the same page? Then, the un-sexy stuff like integrating offices and software, that's a lot to do there. That could be a lot of friction, and that takes time, and that takes money. Andrew Cohen:The next approach of build, building it out themselves. So, we see commerce building into content. Most famous example being Amazon building out Amazon Studios, Amazon Prime Originals, Amazon Live. Shopify, another example. They actually recently built out Shopify Studios, which is a film and TV studio. Mattel Studios, they are kind of emerging as one of the major traders of features with 17 premium films in development, but we're also seeing content building in the commerce. A couple weeks ago, we saw Netflix announce that they're building out Netflix Shop. Food52 has done a really great job of building out their owned and operated cookware line. So, Chris, we talked a bit about the pros and cons of buying a company. How about building into a new space yourself? Chris Erwin:So, some of the pros here, it can definitely be cheaper than buying. You're not paying that acquisition premium, right, but we've seen the examples where actually trying to build a team yourself can be more expensive so that's one that there's nuance too, but another pro is that you can build as you see fit. So, you can closely align the content team with the product development teams from day one, right, where the content team is building out content that is getting consumer feedback and intelligence, and also creating content that specifically highlights products that you feel are higher margin and are better for consumers and that flywheel for how that all works together. You can set that vision from day one of when you're building and execute against that exactly versus trying to put these two different teams together that have been operating independently for the past five or 10 years and getting them to align towards the same goal. Chris Erwin:I think some of the challenges though is that when you're building, the time to market can take a while, right? You're starting from scratch versus having a full-fledged operation from day one. Even though you're not paying an acquisition premium, the time value of that missed revenue can be very substantial. Also, I think there's challenges where if you're a commerce team, like being able to hire and enable content team members and to really understand that DNA and vice versa, that's really challenging, right? We've seen a lot of leaders and a lot of companies struggle with this when trying to reach across into new areas of business expertise east that is new to them, and there's a really big learning curve. Chris Erwin:Specifically, I think for a content team that's trying to build out a supply chain that is very robust, that can put product in the hands of consumers in a variety of different geographies in a timely basis, that's also really smooth and capital efficient like I was saying in the beginning, that is not easy to do. I think we're seeing in the current supply chain troubles that we're having that really nailing that is really key if you're a modern commerce company. Anything that you feel I missed there, Andrew? Andrew Cohen:No, Chris. I think that was well said. So, now, the last model in this five build partner scenario is partner. Last but definitely not least. Feels like it's the most common one that we see probably for a reason. You mentioned a few up top, so Walmart partnering with Netflix and Barstool, Shopify partnering with MailChimp, TikTok and Spotify. So, how would you break down the pros and cons here? Chris Erwin:Yeah. I think this is pretty straightforward, right? Looking at the partnerships, the process, just stick to what you know and what you do best, right? So, if you're a media company, you develop and you create content. If you're a commerce company, you develop product, and you have a supply chain to put in the hands of consumers. So, I think that can be very powerful where that's going to allow you to get to market sooner, and delight customers because everyone on that joint partnership team is in a lane where they have the experience and the pedigree and the focus that they're very comfortable with, right? I also think another significant pro is you're learning before future investment. So, again, you want to stay capital light in the beginning. You want to learn before you're putting more capital to work. Partnerships are a great way to do this to enhance your capabilities very quickly. Chris Erwin:I think some of the challenges though is that like if the long-term goal is driving enterprise value and outsize revenue and margin performance, you're not necessarily going to get that from a partnership in the beginning unless you're an amazing negotiator, right? So, on a typical licensing deal, a media company might only get like three to 8% of revenues that you're generated, yet you're doing all the work of building out that audience. I think that's okay for maybe the first couple years, but then thereafter, you want to think about revisiting that deal or maybe building or acquiring the functions that you need. Chris Erwin:I think a second con, Andrew, is that it's dangerous to become overly reliant on third party partners, where if you are a commerce company, for example, you may not be getting access to all of the audience data that you're looking for. As a media company, you may not be seeing all of the credit card, the transaction data of, and everyone who is actually making the end purchase. That's really valuable to understand your end consumer and how to better delight them going forward. I think another risk that's also part of this is you might see your partner start to invest in some of these capabilities in-house, and your partner today could be your competitor tomorrow, particularly as the content commerce landscape continues to consolidate. Andrew Cohen:Yeah. I think that's probably why we see partnerships as the most common route. So, then looking at, all right, which model will win out, it's probably not as simple as just picking one, but a dynamic that I've been thinking about is actually easier. This might be a broad generalization but for content companies to be successful at commerce than vice versa because it's really hard to make content that people actually care about. Once you've done that, selling them the products is actually the easy part although, and we'll get to this in a second, it's the actual business logistics of commerce that are really the hard and expensive parts. Andrew Cohen:So, if you look at Nelk, he's a YouTuber with seven millions subscribers. He generated $70 million in merch sale revenue last year. So, that is purely a product of him being able to market and to generate an audience. You're going to be hard pressed to find a commerce company who can just, in one year, merch sales get up to 70 million, but that's kind of the power of building an audience. When you look at the other way around, it's tough for commerce brands to just like flip a switch and build that muscle and start building audience. We have actually seen a lot of in-house media brands from commerce companies that have folded over the past couple years like MEL Magazine by Dollar Shave Club, but here is the tough part. It's commerce companies are usually the ones with the capital to actually expand an owned an operated verticals that content companies don't. Andrew Cohen:So, when these mergers happen, it's usually the commerce companies that are buying the content companies. Like we said, it was Hasbro buying eOne. It was Amazon buying MGM and Wondery and Audible and Twitch. Penn National Gaming buying Barstool. So, a lot of times, we do see these acquisitions happen because it's the commerce buying out content. I think a lot of times, it is because it's just really hard for those companies to start creating content that entertains and delights audiences. I think right now, it's such a saturated consumer ecosystem with so many endless options that to actually get attention, get fandom, and make someone seek out your brand, your content against all others, like you got to do it really well. If it's not in your brand's DNA, it's really tough to just build that out. Chris Erwin:Andrew, so to respond to a couple of your points there, I think, one, one of the toughest things to do in the modern consumer economy is to build and maintain audience. I think that some of these modern media brands and creators and influencers that have done that at scale is really incredible. I hear your point that for the content companies probably doing the hardest part of the consumer equation, that that's really valuable. Chris Erwin:I think something that has surprised us and is a real reality check is I think people assumed it's like, oh, yeah, creating product, that's a commodified approach or business. You just create product, and you could slap a logo on it and then just get in the hands of the consumer. I think a lot of that was assumed to be as pretty straightforward. Turns out, that's not the case, and we've covered this in, I think in some of our past podcasts where being able to deliver product in a timely way where consumers are and doing it in a way that's also really capital efficient is not easy to do. That's why we believe companies like Amazon and Walmart have a really significant advantage in this new content and commerce economy. Chris Erwin:The second thing, Andrew, that you said I think is really interesting is, yes, traditionally, the commerce companies have had more capital to invest in buying media companies versus the other way around, but I do wonder again with everything we've talked about with the IP wars and more demand for content from all the streamers and through licensing deals and co-productions, are these media companies start going to be having better balance sheets that's going to allow them to invest and acquire more commerce companies to support their overall stack? Might be something that we see flip over the next 18 months. Andrew Cohen:Definitely agree that the actual nuts and bolts of commerce is way harder than you might think, just getting into it. I think you look at that partnership with Walmart and Barstool, I think it's a perfect example of why partnership makes so much sense. It's really like only a brand like Barstool can have their first ever frozen pizza that is selling through the roof in the first week and only with a medium machine like that. Can you accomplish that? Only with an commerce juggernaut like Walmart could you actually fulfill the execution of that demand nationwide like they've been able to do so, yeah. It's definitely two very diversion expertises but that complement each other through a really unified customer journey and funnel. Andrew Cohen:So, overall, I mean, like I said, I don't think that necessarily one is going to win out. We'll probably keep seeing that's being taken on build-outs and acquisitions, but definitely, partnerships are most reliable. They will persist. Don't see them going away anytime soon, but what do you think in terms of where this all goes, and does one model win out? Chris Erwin:Well, I think, Andrew, I think we're at the end of our time here, so I'm going to have to say we'll probably need a follow-up podcast to kind of check in on this and until next time. Andrew Cohen:See you then. 

Bud teaches the Autobots how to swim, Scott McNeil talks to himself, and we make far too many references to The Little Mermaid. Clips used are from: Transformers: Cybertron, produced by Entertainment One and GONZO Galaxy Force soundtrack by Megumi Ohashi "The Red Sea" from The Prince of Egypt, by Hans Zimmer and Stephen Schwartz "Under the Sea" from Disney's The Little Mermaid, by Alan Menken and Howard Ashman "She's in Love" from Disney's The Little Mermaid, by Alan Menken and Glenn Slater "Big Water" from The Land Before Time V: The Mysterious Island, by Michele Brourman, Amanda McBroom, and Michael Tavera, performed by Thomas Dekker, Anndi McAfee, Aria Curzon and Jeff Bennett "Eggs" from The Land Before Time II: The Great Valley Adventure, by The Roches, performed by Jeff Bennet and Rob Paulson "The Touch" by Stan Bush and Lenny Macaluso

An ancient Japanese clan called the Arashikage welcomes tenacious loner Snake Eyes after he saves the life of their heir apparent. Upon arrival in Japan, the Arashikage teach him the ways of the ninja warrior while also providing him something he's been longing for: a home. However, when secrets from Snake Eyes' past are revealed, his honor and allegiance get tested -- even if that means losing the trust of those closest to him. Release date: July 23, 2021 (USA) Director: Robert Schwentke Box office: $37 million Production; companies: Metro-Goldwyn-Mayer; Skydance Media; Entertainment One; Di Bonaventura Pictures Produced by: Brian Goldner; Erik Howsam; Lorenzo di Bonaventura Story by: Evan Spiliotopoulos

Jenn discusses her view on the role of HR leaders and professionals as advocates, sharing examples including her work in creating impactful Employee Resource Groups and fostering belonging, sharing her passion for normalising members of the LGBTQ+ community feeling able to be themselves at work. Discussing the powerful connections between producing inclusive content and employee inclusion, Jenn's vision for the role of HR, and why HR professionals must take a position and own the podium, leads to her inspiring and simple call to action for us all. Here's a snapshot of a few things we talked about: [5:00]  Employee volunteerism and the power of employee connections to the community [10:00] Inclusion in programming and production as part of people and business strategy [12:40] Content and change through storytelling [18:23] Employee Resource Groups - from active to transformative – ERGs driving commercial success [26:00] Normalising the LGBTQ community being themselves within financial services [30:58] Using your voice, taking a position and owning the podium “I love How HR Leaders Change the World” – if that sounds like you, please consider rating and reviewing our show! This helps us achieve our goal, to reach more of your peers, so we can all contribute to further and faster change. Scroll to the bottom, tap to rate with five stars, and select “Write a Review”. Be sure to let me know what you loved most about the episode! Also, if you haven't done so already, subscribe to the podcast. We'll add a bunch of bonus episodes to the feed and, if you're not subscribed, there's a good chance you'll miss out. Subscribe now! 

The awesomest character in the show is finally introduced, Thundercracker makes Optimus drop his load, a̴n̵d̵ Tr̴i̴s̵h̵'̷s̷ i̶̼͌ň̶̯t̷̖̏e̴̲̋r̸̲̾ṋ̵̏e̷͎͊t̵͚͘ ̶̘́d̸̪͓̬̼̉̉̈́ǐ̴̙͕e̸̛͈̠̐̕͜͝ş̵͛͑̿̆. Clips used are from: Transformers: Cybertron, produced by Entertainment One and GONZO Galaxy Force soundtrack by Megumi Ohashi The Princess Bride, produced by Act III Communications, Buttercup Films, and 20th Century Fox British Robot Narrator portrayed by ttsmp3.com's Brian voice

Trish advocates racism against sauropods, Optimus and Megatron have a pillow fight, and Susan shares her thoughts on mpreg. Clips used are from: Transformers: Cybertron produced by Entertainment One and GONZO Galaxy Force soundtrack by Megumi Ohashi "Trust Me" from The Devil's Carnival, by Terrance Zdunich and Saar Mendelman "Don't Trust Me" by 3OH!3, written by Sean Foreman, Nathaniel Motte, and Benjamin Levin "Trust in Me (The Python's Song)" from Disney's The Jungle Book, written by Robert and Richard Sherman The Transformers (1984-1987) episode "City of Steel," written by Douglas Booth, produced by Marvel Productions and Sunbow Productions "Housewares Employee" from Evil Dead: The Musical, performed by Ryan Ward and Jennifer Byrne, music by Christopher Bond, Frank Cipolla, Melissa Morris, and George Reinblatt, lyrics by George Reinblatt The Land Before Time III: The Time of the Great Giving, produced by Universal Animation Studios The Little Mermaid, produced by Walt Disney Pictures

We drink green gloop with special guest Lita of Ia-Con Online as a mountain collapses, the President of the United States breaks the law, and a ninja disappears in a puff of flatulence. Clips used are from: Transformers: Cybertron produced by Entertainment One and GONZO Galaxy Force soundtrack by Megumi Ohashi Super Smash Bros. Brawl Menu 1 Theme Music by SMILE PLEASE Co., Ltd., HAL Laboratory, Inc., Nobuo Uematsu, and Shogo Sakai Ghidrah, the Three-Headed Monster produced by Toho Co., Ltd., English dub produced by Bellucci Productions Australian Robot Susan portrayed by ttsmp3.com's Nicole voice British Robot portrayed by ttsmp3.com's Brian voice

Starscream schemes, Hot Shot gets his wings, and Thundercracker is somehow smarter than the entire Autobot team. Clips used are from: Transformers: Cybertron produced by Entertainment One and GONZO Galaxy Force soundtrack by Megumi Ohashi "Leave It All to Me" from iCarly, performed by Miranda Cosgrove and Drake Bell, written by Michael Corcoran Pac-Man theme by Shigeichi Ishimura and Toshio Kai "In the End" by Linkin Park "I'm the Map" by Billy Straus from Dora the Explorer, produced by Nickelodeon Animation Studio "Thankless Job" from Repo! The Genetic Opera, performed by Anthony Stewart Head, music by Darren Smith and Terrance Zdunich "The LarryBoy Theme Song" from VeggieTales, by Phil Vischer and David Mullen "Where Have All the Staplers Gone?" from VeggieTales, by Mike Nawrocki "Monkey" from VeggieTales, by Randall Goodgame and Andrew Peterson "The Song of the Cebu" from VeggieTales, by Mike Nawrocki and Kurt Heinecke "The Yodeling Veterinarian of the Alps" from VeggieTales, by Mike Nawrocki and Kurt Heinecke "Oh No! What We Gonna Do?" from VeggieTales, performed by Josh Carias, written by Mike Nawrocki and Phil Vischer "The Bunny Song" from VeggieTales, by Phil Vischer "It's Lenny's Fault" from VeggieTales, by Phil Vischer and Kurt Heinecke

Susan watches the wrong episode, Trish goes feral, and Josh tries to send sexy texts. All this and very little discussion of Transformers: Cybertron! Clips used are from: Transformers: Cybertron produced by Entertainment One and GONZO Galaxy Force soundtrack by Megumi Ohashi Thew's Awesome Transformers Reviews episode 168 by Thew Adams Josh's sexy texts read by ttsmp3.com's Brian voice

We are joined by special guest Mike Seibert of the Mike Seibert Radio Podcast to discuss the first of many races, the utterly intolerable Bud Hansen, and creepy tentacles. Also Susan is temporarily replaced by a robot. Clips used are from: Transformers: Cybertron produced by Entertainment One and GONZO Galaxy Force soundtrack by Megumi Ohashi Among Us developed by InnerSloth Australian Robot Susan portrayed by ttsmp3.com's Nicole voice "Hush, Hush! Not a Word!" from The Pirates of Penzance by W.S. Gilbert and Arthur Sullivan "For He's Going to Marry Yum-Yum" from The Mikado by W.S. Gilbert and Arthur Sullivan "Hurricane" from Death Note the Musical, performed by Hong Kwang-Ho, music by Frank Wildhorn, English lyrics by Jack Murphy, Japanese lyrics by Ako Takahashi, Korean lyrics by Hee Joon Lee, script by Ivan Menchell, Japanese script by Kayoko Jo, Korean script by Hee Joon Lee, produced by CJES "Dangerous Game" from Jekyll & Hyde by Frank Wildhorn, Leslie Bricusse, and Steve Cuden "Where Is the Justice?" from Death Note the Musical, performed by Jeremy Jordan, music by Frank Wildhorn, lyrics by Jack Murphy "Epiphany" from Sweeney Todd: The Demon Barber of Fleet Street, music and lyrics by Stephen Sondheim

Landmine has depression, Bud does a reverse image search, and everyone makes fun of Scattorshot's Japanese name. Also, Trish and Susan are either going to marry or kill each other. Clips used are from: Transformers: Cybertron produced by Entertainment One and GONZO Galaxy Force soundtrack by Megumi Ohashi "Exit Music" from Jekyll & Hyde by Frank Wildhorn, Leslie Bricusse, and Steve Cuden "The Strange Case of Dr. Jiggle and Mr. Sly" from VeggieTales episode "A Snoodle's Tale," written by Phil Vischer and Mike Nawrocki, with music by Kurt Heinecke, produced by Big idea Entertainment "Backpack, Backpack" by Billy Straus from Dora the Explorer, produced by Nickelodeon Animation Studio Laverne and Shirley created by Garry Marshall, Lowell Ganz, and Mark Rothman, produced by Henderson Productions, Miller-Milkis Productions, Miller-Milkis-Boyett Productions, and Paramount Television "Finale/Reprise" by Danny Elfman, from The Nightmare Before Christmas, produced by Touchstone Pictures, Walt Disney Pictures, and Tim Burton "Baby Got Back" by Sir Mix-a-Lot "A Midsummer Night's Dream, Op. 61: Wedding March" by Felix Mendelssohn, arranged for organ by Douglas Major "Falling Slowly" by Glen Hansard and Markéta Irglová, from Once the Musical

The Autobots utterly fail to blend in as cars dance, traffic lights talk, and Vector Prime sends pilots to Bermuda. Clips used are from: Transformers: Cybertron produced by Entertainment One and GONZO Galaxy Force soundtrack by Megumi Ohashi Death Note (2006-2007 anime) produced by Madhouse The Good Place created by Michael Schur, produced by NBCUniversal Television, Fremulon, and 3 Arts Entertainment "Agatha All Along" by Kristen Anderson-Lopez and Robert Lopez, from WandaVision produced by Disney+ and Marvel Studios Death Note the Musical 2015 Japanese cast recording, music by Frank Wildhorn, English lyrics by Jack Murphy, Japanese lyrics by Ako Takahashi, script by Ivan Menchell, Japanese script by Kayoko Jo, produced by HoriPro Steve Irwin (exact source unknown) "Angel" by Sarah McLachlan

The Autobots contemplate interior design, Vector Prime tortures children, and Optimus Prime hates the metric system. Do you have questions? The answer is catapults. Clips used are from: Transformers: Cybertron produced by Entertainment One and GONZO The Transformers episode "Prime Target" written by Flint Dille and Buzz Dixon, produced by Marvel Productions, Sunbow Productions, and Toei Animation Galaxy Force soundtrack by Megumi Ohashi Doctor Who (2005) soundtrack by Murray Gold "Cruella de Vil" by Mel Leven from Disney's 101 Dalmations, saxophone cover by Mom With a Hobby Death Note the Musical 2017 Japanese production featuring Kazutaka Ishii as Ryuk, music by Frank Wildhorn, English lyrics by Jack Murphy, Japanese lyrics by Ako Takahashi, script by Ivan Menchell, Japanese script by Kayoko Jo, produced by HoriPro

We begin our adventure, very logically, with the first and last episodes of Transformers: Cybertron. Or the first two episodes of Transformers: Galaxy Force. Vector Prime introduces a MacGuffin hunt, Bigfoot wears platform shoes, and everyone turns the sass up to eleven. Clips used are from: Transformers: Cybertron and Galaxy Force produced by Entertainment One and GONZO Transformers: Robots in Disguise (2015) produced by Hasbro Studios, Darby Pop Productions, and Polygon Pictures Galaxy Force soundtrack by Megumi Ohashi Death Note the Musical 2015 Japanese cast recording starring Hayato Kakizawa as Light, music by Frank Wildhorn, English lyrics by Jack Murphy, Japanese lyrics by Ako Takahashi, produced by HoriPro

Sandy Scholes, CPO of Flipp Corporation, believes that success is not a one size fit's all concept. There is what social media portrays but it is really much more individual than that. For her success is really about helping other people. In this episode, Sandy joins Theresa and Blair to discuss building community and being of service to others, feeling so fulfilled that you've got the Energy to spend with people you love, the new way of operating business, and lessons we learn from Millenials.  About the guest: Sandy Scholes serves as the Chief People Officer at Flipp Corporation since March 2019. Sandy is responsible for developing and executing human resource strategy in support of the overall business plan and strategic direction of the organization, specifically in the areas of succession planning, talent management, change management, organizational and performance management, training and development, and compensation. With a passion for People and Culture, Sandy is focused on building a culture of learning, growth and empowerment at Flipp where there is a huge appetite for trying new and innovative ways to accelerate the work experience for team members. Over 20 years of diverse Human Resources experience, Sandy has held several Executive Human Resource Leadership roles at such leading organizations as CARA, GlaxoSmithKline, Becton Dickinson and Entertainment One. https://nyl.as/t1/3/7avul4soq3gibh6fm219xsuu2/0/bd2d7d5828baeecc8379a2268a1b80ab4eed7a8c8e8eb8ac241d88b6a3646b0c (Instagram) https://nyl.as/t1/3/7avul4soq3gibh6fm219xsuu2/1/a8cd81f0da1ed2d614fd5fad94d3132c79ee517ca511b2cd745f06efba3c3689 (Facebook) https://nyl.as/t1/3/7avul4soq3gibh6fm219xsuu2/2/324cb195f4cc66b1c29135409d395529d356f05742e97cf285a37c8b976c7bf3 (LinkedIn) About the Hosts: Blair Kaplan Venables is an expert in social media marketing and the president of Blair Kaplan Communications, a British Columbia-based PR agency. As a pioneer in the industry, she brings more than a decade of experience to her clients, which include global wellness, entertainment and lifestyle brands. Blair has helped her customers grow their followers into the tens of thousands in just one month, win integrative marketing awards and more. She has spoken on national stages and her expertise has been featured in media outlets including CBC Radio, CEOWORLD Magazine, She Owns It and Thrive Global. Blair is also the #1 best selling author of Pulsing Through My Veins: Raw and Real Stories from an Entrepreneur. When she's not working on the board for her local chamber of commerce, you can find Blair growing the “I Am Resilient Project,” an online community where users share their stories of overcoming life's most difficult moments. https://www.blairkaplan.ca/ (https://www.blairkaplan.ca/)  Theresa Lambert is a High-Performance Lifestyle and Success Coach, Speaker and Bestselling Author of “https://www.amazon.com/Achieve-Grace-elegance-effectiveness-workplaces/dp/B08DSYSJZP/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1596137449&sr=8-3 (Achieve with Grace: A guide to elegance and effectiveness in intense workplaces). She founded her coaching and consulting firm, Theresa Lambert Coaching & Consulting Inc., to help ambitious women succeed with more elegance and less struggle so they can lead with focus and nourish themselves to the top. Drawing from her nearly 20 years of experience in the hospitality Industry and most recently her 6 year tenure as the General Manager of Nita Lake Lodge she brings both a real world view and proven applicable tools to support her clients. Theresa has been recognized as a business leader in https://issuu.com/whistlerpublishing/docs/whistlerprofiles2017_web (Whistler's Profiles of Excellence), featured in https://thriveglobal.com/stories/lead-with-courage-compassion-and-empathy-with-theresa-lambert-and-parveen-panwar-mr-activated/ (Thrive Global),...

In this episode, Houston Howard and Travis Carter discuss the mindset of an entrepreneur and how creatives in entertainment can begin adopting it. Be sure to send us your mailbag questions at ssp@superstory.works Also, if this video brought you value, be sure to check out these other resources: One 3 Creative Website - http://superstory.works The Super Story Vidcast - https://www.youtube.com/One3CreativeRocks Twitter - @one3creative --- Send in a voice message: https://anchor.fm/superstoryworks/message

"Treat your people well, pay your people well and over bonus them when you can. Create a great culture and do whatever you need to do to have your people happy." -  Berry MeyerowitzBerry Meyerowitz is the Co-President of the Quiver Group of Companies.  Quiver focuses on the financing, acquisition and global distribution of feature films and television series.Berry was the former President of Momentum Pictures, focused on distributing films and television series in the U.S. and around the world. Berry oversaw strategic planning, key customer partnerships, content acquisitions and day-to-day operations.  Berry joined Entertainment One following the acquisition of his company, Phase 4 Films, where he served as President & CEO.  After founding Phase 4 in 2009, Berry and his team transformed it into one of the leading independent distributors.  From 2011 to 2016, Phase 4 Films doubled in revenue while EBITDA more than tripled during this period.Prior to Phase 4, Berry was President of Peace Arch Home Entertainment, a division he started after selling his previous company, kaBOOM! Entertainment.  He also worked at 20th Century Fox where he led successful campaigns for films such as The Star Wars Trilogy, There's Something About Mary and The Full Monty.Berry is a former member of Young Presidents' Organization. He has an MBA from the Schulich School of Business.SHOW NOTESBerry's journey from the sports world to entertainmentWhy selecting an opportunity based on the people you surround yourself is the key to successHow mentorship shaped Berry's career and business philosophyHow Berry learned about selling and buying businesses early in his careerWhy you must realize you can't do it all and surround yourself with talented people to helpThe power of leadership transparency within a companyWhy weekly and monthly team meetings made a difference in profitability and growthWhy Berry did yearly offsite retreats and overspent on the eventHow spending the time and effort to know your customers gets resultsThe difference a talented and full-time HR professional can make in your companyWhy job titles and schooling mean nothing when it comes to performanceWhy Berry shared financials and goals with everyone in the companyThe importance of celebrating wins with front-line employeesWhy Berry sold his company to Entertainment OneThe time challenge of running your business and going through a liquidity event at the same timeDeciding how and when to tell employees your company is going through a liquidity eventWhy a deep dive on knowing your future buyer is critical to your successBefore signing the dotted line, know the goals and aspirations of your buyerThe importance of putting everything in writing when selling your businessWhy leadership must lead buy example to have employees followHow to get the best performance from your employees and companyHow Berry has responded to the pandemic with a creative idea that generated $1M in revenueDealing with an earnoutTreat your people well, pay your people well and over bonus them when you can. Create a great culture and do whatever you need to do to have your people happy. Why Berry is a voracious reader and how this has helped him in businessWhen starting out forget about the money and find the right person to work withThis podcast is brought to you by Deep Wealth. Are you thinking about a liquidity event? You have one chance to get it right and you better make it count. Enterprise value is created from preparation, and not the event itself. Learn how the Deep Wealth Experience helps you maximize enterprise value. Master the same strategies our founders used t

“Don't lose sight of the priorities; you can't control everything. You just can't.” -Rosanna Canonigo On this episode, host Erin Diehl chats with Global TV and Digital Distribution Executive at EntertainmentOne, Rosanna Canonigo. How did she get to where she is now? What struggles occurred along the way? Learn from her inspiring story and why priorities take precedence by listening to this episode! Links from show discussions: Online Trainings with improve it! Rosanna's LinkedIn   Rosanna is a native of Chicago, graduating with honors from Northern Illinois University and began her professional career as a CPA at the global accounting firm, KPMG.  In a career pivot, Rosanna then moved to NYC splitting time between building a career as an actress while also maintaining footholds in both the accounting and small business worlds.  After a relocation to Los Angeles, Rosanna establishes her career in global feature film and TV series sales, financing and distribution over a 12 year tenure at Lionsgate leading to her current role at Entertainment One, as Hasbro Company.  She has served on the board of F.E.M.E, a nonprofit women's networking organization dedicated to helping connect women executives in media and entertainment.  Rosanna currently resides in Los Angeles with her husband and two children. Erin Diehl is the founder and Chief “Yes, And” officer of improve it! and host of the failed it! Podcast. She's a performer, facilitator and professional risk-taker who lives by the mantra, “get comfortable with the uncomfortable.” Through a series of unrelated dares, Erin has created improve it!, a unique professional development company that pushes others to laugh, learn and grow. Her work with clients such as United Airlines, PepsiCo, Groupon, Deloitte, Motorola, Walgreens, and The Obama Foundation earned her the 2014 Chicago RedEye Big Idea Award and has nominated her for the 2015-2019 Chicago Innovations Award. This graduate from Clemson University is a former experiential marketing and recruiting professional as well as a veteran improviser from the top improvisational training programs in Chicago, including The Second City, i.O. Theater, and The Annoyance Theatre. When she is not playing pretend or facilitating, she enjoys running by the lake and patio dinners with her husband and son, and their eight pound toy poodle, BIGG Diehl. You can follow the failed it! Podcast on Instagram and facebook, and you can follow Erin here on Instagram. We can't wait to connect with you online!

Welcome to The G Code Podcast with ADRI.V Episode 94 with Producer, Rapper, Actor Benny The Butcher  ADRI.V Had the chance on Instagram Live to catch up with  Griselda and BSF Records own Benny The Butcher. During this episode, ADRI.V caught up with Benny and they discussed how he has been optimizing his time during the quarantine, discussed new record deal with Entertainment One for Black Sopranos Family Record Company, new single Da Mob with Ricky Hyde and Heem, when we can expect new music from him and of course his G Codes to success Listen and learn his journey,  The Pretty, The Ugly and the Grind to what he calls Success.   Follow Benny The Butcher on Instagram @GetBENNY Every Wednesday experience the unlocking of secrets to success, how to handle the worst and the best life throws at you. Get past The Pretty; the glitz and the glam that many see on social media. The Ugly; the bedrock beginnings and hard times that are difficult that make you question your path. The Grind; the hustle the sleepless nights that no one sees's which develops The G Code's; life lessons which foster Success. Get ready for The G-Code. Unlocking all Go Getta codes to success. Listen to The G Code Podcast with ADRI.V on Apple Podcast, Soundcloud, Stitcher, Spotify, iHeartRadio and all places a podcast lives! Stay connected with ADRI.V The Go Getta on all social media platforms Instagram: @ADRIVTheGoGetta  Twitter: @ADRIVTheGoGetta  Facebook: @ADRIVTheGoGetta  Visit www.ADRIVTheGoGetta.com For questions and comments about The G Code Podcast email info@ADRIVTheGoGetta.com