Podcasts about I Love Dick

Note: This episode contains strong language. Griffin Dunne is Jack Goodman in John Landis’ classic horror-comedy An American Werewolf in London and Paul Hackett in Martin Scorsese’s After Hours and Loudon Trout in the Madonna-starring screwball comedy Who’s That Girl. He’s Uncle Nicky on This Is Us and Professor Dudenoff on Only Murders in the Building and Dr. Alon Parfit on Succession and Sylvére on I Love Dick. He produced After Hours and Running on Empty and Once Around. He directed Practical Magic and Addicted to Love and the documentary Joan Didion: The Center Will Not Hold. His father was the journalist and novelist and movie producer Dominick Dunne. His aunt and uncle were the journalists and novelists and screenwriters Joan Didion and John Gregory Dunne. His sister was the actress Dominique Dunne. His grandfather was a famous heart surgeon from West Hartford, Connecticut. In November, 2024, we recorded a conversation with Griffin Dunne on stage at The Mark Twain House & Museum in Hartford. It’s a lot about that complicated, sometimes tragic, often hilarious family. And it’s about movies and TV and writing. And Hartford. This hour: Griffin Dunne. GUEST: Griffin Dunne: An actor, producer, and director and the author of The Friday Afternoon Club: A Family Memoir The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe and Dylan Reyes contributed to this show, which originally aired November 15, 2024.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Vamos às reviews relâmpago do que lemos de setembro a dezembro de 2024, na nossa escala habitual de Comprar, Kobo, e Cagar? Livros mencionados: - Os Detalhes, Ia Genberg (02:04) - All the Water in the World, Eiren Caffall (02:38) - A Novel Love Story, Ashley Poston (07:34) - ⁠A Malnascida, Beatrice Salvioni (08:16) - Just Last Night, Mhairi McFarlane (08:50) - Vista Chinesa, Tatiana Salem Levy (09:16) - ⁠Solitária, Eliana Alves Cruz (09:46) - Good Material (Bom Partido), Dolly Alderton (10:07) - I Love Dick, Chris Kraus (10:40) - And How Does That Make You Feel?: Everything You Never Wanted to Know About Therapy, Joshua Fletcher (11:05) - No Tempo das Cerejas, Célia Correia Loureiro (11:48) - The Weekend, Charlotte Wood (12:38) - ⁠Incidents Around the House, Josh Malerman (13:43) - This Summer Will Be Different (Este Verão Vai ser Diferente), Carley Fortune (14:40) - Triste Tigre, Neige Sinno (15:22) - Ariadne, Jennifer Saint (16:40) - Freckles, Cecelia Ahern (17:22) - Ruthless Vows (Promessas Cruéis), Rebecca Ross (18:11) - Um Lobo no Quarto, Valentina Silva Ferreira (19:02) - A Cicatriz, Maria Francisca Gama (19:52) - ⁠Deus Pátria Família, Hugo Gonçalves (20:02) - Elena Knows, Claudia Piñeiro (21:27) - Stay True (Lealdade), Hua Hsu (22:44) - Um Dedo Borrado de Tinta, Histórias de Quem Não Pôde Aprender a Ler, Catarina Gomes (23:50) - Intermezzo, Sally Rooney (25:15) - Hidden Pictures (Desenhos Ocultos), Jason Rekulak (25:51) - Brutes, Dizz Tate (26:48) - Savor It (Quando o Verão Terminar…), Tarah DeWitt (27:28) - Drive Your Plow Over the Bones of the Dead (Conduz o Teu Arado sobre os Ossos dos Mortos), Olga Tokarczuk (28:32) - The Bee Sting (A Picada de Abelha), Paul Murray (29:25) - Notes on Heartbreak (Notas sobre Corações Partidos), Annie Lord (29:49) - The Burnout, Sophie Kinsella (31:37) - Descansos, Susana Amaro Velho (31:53) - The Happy Couple (O Casal Feliz), Naoise Dolan (32:34) - The List, Yomi Adegoke (33:03) - Pequena Coreografia do Adeus & O Peso do Pássaro Morto, Aline Bei (34:32) - Nettle & Bone, T. Kingfisher (34:41) - The Third Gilmore Girl, Kelly Bishop (35:14) - The Vanishing Act of Esme Lennox (O Estranho Desaparecimento de Esme Lennox), Maggie O'Farrell (35:50) - Orbital, Samantha Harvey (36:29) - Diálogos Para o Fim do Mundo, Joana Bértholo (37:31) - The Ministry of Time (O Ministério do Tempo), Kaliane Bradley (37:57) - White Nights (Noites Brancas), Fyodor Dostoyevsky (38:21) - One Day in December (Um Dia em Dezembro), Josie Silver (38:53) - Graveyard Shift, M. L. Rio (39:27) - Demon Copperhead, Barbara Kingsolver (40:26) - We Used to Live Here, Marcus Kliewer (41:11) - Holiday Romance (Romance de Férias), Catherine Walsh (41:59) - A Origem dos Dias, Miguel D'Alte (42:38) - Snowed In, Catherine Walsh (43:02) - Ruído, Lisboa, uma cidade que não se cala, João Pedro Pincha (43:41) - Kiss Her Once for Me, Alison Cochrun (44:37) - ⁠Também os Brancos Sabem Dançar, Kalaf Epalanga (45:16) - The Fall of the House of Usher (A Queda da Casa de Usher), Edgar Allan Poe (45:56) - What Moves the Dead, T. Kingfisher (46:15) - A Sunny Place for Shady People (Um Lugar Luminoso para Gente Sombria), Mariana Enríquez (46:59) - There Are Rivers in the Sky, Elif Shafak (47:43) - Family Meal, Bryan Washington (48:07) - ⁠Querida Tia, Valérie Perrin (48:33) - The Wood at Midwinter, Susanna Clarke (49:07) - ⁠O Amor e Sua Fome, Lorena Portela (49:46) - Para Onde Vão os Guarda-Chuvas, Afonso Cruz (50:19) - Não Fossem as Sílabas do Sábado, Mariana Salomão Carrara (50:36) - Earth, John Boyne (51:06) - ⁠Melhor Não Contar, Tatiana Salem Levy (51:25) - Rodham, Curtis Sittenfeld (52:05) - ⁠A Educação Física, Joana Mosi (53:43) - Marigold e Rose, Louise Glück (54:23) ________________ Falem connosco: livratepodcast@gmail.com. Encontrem-nos em: www.instagram.com/julesdsilva // www.instagram.com/ritadanova Identidade visual: Mariana Cardoso (marianarfpcardoso@hotmail.com) Genérico: Vitor Carraca Teixeira (www.instagram.com/oputovitor)

Note: This episode contains strong language. Griffin Dunne is Jack Goodman in John Landis' classic horror-comedy An American Werewolf in Londonand Paul Hackett in Martin Scorsese's After Hours and Loudon Trout in the Madonna-starring screwball comedy Who's That Girl. He's Uncle Nicky on This Is Us and Professor Dudenoff on Only Murders in the Building and Dr. Alon Parfit on Succession and Sylvére on I Love Dick. He produced After Hours and Running on Empty and Once Around. He directed Practical Magic and Addicted to Love and the documentary Joan Didion: The Center Will Not Hold. His father was the journalist and novelist and movie producer Dominick Dunne. His aunt and uncle were the journalists and novelists and screenwriters Joan Didion and John Gregory Dunne. His sister was the actress Dominique Dunne. His grandfather was a famous heart surgeon from West Hartford, Connecticut. Last week, we recorded a conversation with Griffin Dunne on stage at The Mark Twain House & Museum in Hartford. It's a lot about that complicated, sometimes tragic, often hilarious family. And it's about movies and TV and writing. And Hartford. This hour: Griffin Dunne. GUEST: Griffin Dunne: An actor, producer, and director and the author of The Friday Afternoon Club: A Family Memoir The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe and Dylan Reyes contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

What you're about to hear is a conversation between writer Verônika Shülman and myself, recorded last week at a party! In honor of the release of my new zine, Pivot, I hosted a party at NOTO and invited all of my friends. It was so nice to be in the same room with everyone after being stuck inside for most of the summer with a broken leg—in that time I had put together this zine, which is about the lessons I learned in the last decade and how I learned them.My friend and neighbor Verônika hosts this episode. She begins by reading from a book we both love (I Love Dick by Chris Kraus), then reads a bit that she liked from Pivot, and asks me to read an essay from it—which I do. My friends Maddie and Dexter also ask questions and we talk about more writers we love. If you want a copy of Pivot, below is how to get yourself a hard copy. Show notes:- Find Verônika on Instagram- Find me on IG: @letitouttt + @katiedalebout | Substack- PIVOT zine: sign up for my paid Substack & we'll mail you a copy - My book on journaling | WRITE kit- Check out NOTO!  If you liked this episode, try out from the archive:Episode 458: Introducing PIVOT with Simi BoticEpisode 423: I Can't Believe I'm Still Doing This...10 Years! With Sacha Jones

Miért váltak annyira népszerűvé a különféle önsegítő könyvek, és hogyan függ össze az önismeret az olvasással? Mit tehetnek a szülők az okostelefon uralta világban, és miért fontos meséket mondani a gyerekeknek?  A Nem rossz könyvek podcast új évadának első részében Máté Gábor magyar származású kanadai orvos és addiktológus, a függőségek és stresszbetegségek kutatója volt a vendégünk. A világhírű íróval az elmúlt években több nagyinterjút is készítettünk (itt, itt és itt olvashatóak), ezért ezúttal elsősorban a podcastunk tematikájába passzoló témákról kérdeztük.  Az epizód első felében szokás szerint a saját, friss olvasmányélményeinkről beszélgettünk (szóba került Oravecz Imre A rög gyermekei trilógiája, Doris Lessingtől Az arany jegyzetfüzet és Chris Kraus regénye, az I Love Dick), míg a második felében beszélgettünk a vendégünkkel. Mivel az epizódot nem a megszokott stúdiókörülmények között rögzítettük, ezért ezúttal az interjút szerkesztett formában írásban is közöljük: https://jo.444.hu/2024/09/26/mate-gabor-ki-kell-allni-a-kultura-hatasa-ellen-hogy-a-jozansagunkat-megorizzukSee omnystudio.com/listener for privacy information.

1997 schreibt die erfolglose Videokünstlerin Chris Kraus in "I love Dick" über ihre Liebe zu einem ahnungslosen Kollegen ihres Mannes. Das Buch ist eher Autofiktion als Autobiographie. Zehn Jahre später wird es zum Kultbuch des Feminismus.// Von Jean-Claude Kuner - WDR/DLF 2018 - www.radiofeature.wdr.de Von Jean-Claude Kuner.

1997 schreibt die erfolglose Videokünstlerin Chris Kraus in "I love Dick" über ihre Liebe zu einem ahnungslosen Kollegen ihres Mannes. Das Buch ist eher Autofiktion als Autobiographie. Zehn Jahre später wird es zum Kultbuch des Feminismus.// Von Jean-Claude Kuner - WDR/DLF 2018 - www.radiofeature.wdr.de Von Jean-Claude Kuner.

This week, Joel's launching into a book that's been described as one of the most important pieces of 20th Century feminist literature, but it's also a book with "I LOVE DICK" in massive letters on the cover so, you know, highs and lows innit. Hosted on Acast. See acast.com/privacy for more information.

O, muze, verleen ons de inspiratie voor deze podcast!Een veelgehoord feministische kritiek op de weergave van vrouwen in verhalen is dat ze altijd ruwweg in stereotypische categoriën vervallen, bijvoorbeeld de tweedeling van onschuldige schoonheid tegenover de zondige verleidster, de klassieke drierollenverdeling van de jonge vrouw, de moeder en de oude vrouw of de meer moderne variant van figuur dat bestaat voor seksuele verheerlijking van de man of juist helemaal seksloos is. Het concept van de vrouw als muze is vervlochten met deze stereotypen. Vrouwen zijn in de westerse geschiedenis niet de kunstenaar, maar het kunstobject, de inspiratie voor mannelijke schepping. Hun creatieve vermogen ligt besloten in het ontsluiten van de mannelijke creativiteit.De oorsprong van de muzen ligt in Griekse mythologie, maar er zijn verschillende versies met verschillende hoeveelheden muzen. De meest bekende zijn de negen muzen, dochters van Zeus en Mnemosyne (geheugen) die als inspiratiebron gelden voor alle kunstdisciplines van de Grieken. Deze muzen bleven invloedrijk in heel Europa en werden bijvoorbeeld in de Renaissance en Romantiek nog steeds gesmeekt om inspiratie. In dit smeken ligt de bijzondere tegenstelling van de muze besloten: ze heeft de goddelijke macht om inspiratie te verlenen, maar wordt altijd tot object gereduceerd. Ze kan beslissen, maar kunstenaars willen iets van hen hebben dat ze na smeken, overmeestering of listen weggeven aan de man.De muze in moderne tijd kan net zo goed een godin als een geliefde zijn, welwillend of inspirator tegen wil en dank. De kunstgeschiedenis bevat veel verhalen van muzes die werden gebruikt en afgedankt, maar er zijn ook steeds meer verhalen waarbij de vrouwen die als inspiratie dienden voor kunstenaars een veel actievere rol blijken te hebben, zoals bijvoorbeeld Elizabeth Siddal die poseerde als Ophelia voor John Everett Millais. Vandaag onderzoeken wij de rol en positie van de vrouw als muze, waarbij we proberen voorbij de paradox van verering en objectificatie te komen. Te gast is Lieke, mediëvist, net als in aflevering 4, 11 en 16. Verwijzingen Intro• Guerrilla Girls. “ Guerilla Girl Records, 1979-2003.” https://www.getty.edu/research/special_collections/notable/guerrilla_girls.html• Sarah Durn. The Real Women Behind Art's Masterpieces. 29 April 2022. https://www.atlasobscura.com/articles/art-history-muses-real-women• Ruth Willington. Muse: Uncovering the Hidden Figures Behind Art History's Msterpieces. Square Peg, 2022.• Ruth Willington. “Eight muses who inspired art history's masterpieces.” 22 April 2022. https://artuk.org/discover/stories/eight-muses-who-inspired-art-historys-masterpieces. Lieke• The French Dispatch. Regie: Wes Anderson. 2021. “Concrete Masterpiece.”• Zomergasten: Ilja Leonard Pfeiffer. 2020. Merel• “The Woman.”• Sherlock. 2010. Regie: Mark Ganiss & Steven Moffat. BBC.• Arthur Conan Doyle. “ The Adventures of Sherlock Holmes: A Scandal in Bohemia.” Strand Magzine, 1891. Wessel• Neil Gaiman, Kelley Jones en Malcolm Jones III. “Calliope”. In The Sandman, Volume 3: Dream Country. DC Comics, 2010.• Carol All Duffy. “The World's Wife.” Picador, 1999.• Carol Ann Duffy. “Medusa.” The World's Wife. Picador. 1999.• Carol Ann Duffy. “Standing Female Nude.” Standing Female Nude. Anvil, 1985. Overige Verwijzingen• Barbie. Regie: Great Gerwig. 2023.• Blacks Sails. Gemaakt door Jonathan E. Steinberg en Robert Levine. 2014-2017.• The Canvas. “How This Artist Fell In Love With His Own Art.” 1-10-2023. https://youtu.be/vaHqx87KYNo?si=sPocrAGNYa6YRj2Q• Chris Kraus. I Love Dick. Semiotext(e), 1997.• Lost in Translation. Regie: Sofia Coppola. 2003.• Thomas Mann. “De dood in Venetië.” 1912.• Sara Polak. “Posting the Presidency: Cartoon Politics in a Social Media Landscape.” Media and Arts Law Review 22(4): 403-419.• Pygmalion en Galatea. https://nl.wikipedia.org/wiki/Pygmalion_(beeldhouwer).

Recover properly with @waterboy and get 15% off at https://bit.ly/WaterboyBW    Use code BWPOD Get 20% off at https://bit.ly/MANSCAPEDBWPOD20Use code BWPOD GET 50% OFF at  https://bit.ly/AdamEveBWEmbark on an enthralling cinematic exploration guided by an industry insider with a track record in creating unforgettable screen stories for Amazon, Marvel, and Netflix. In our latest podcast episode, we're joined by the esteemed showrunner, Dara Resnik, whose current venture is Amazon Prime's The Horror of Dolores Roach. Notably, Dara is also the co-creator of the true crime sensation Home Before Dark on Apple TV and has production credits for the original Daredevil on Netflix and I Love Dick with Katheryn Hahn and Kevin Bacon.Our journey begins with a deep dive into the ever-evolving Marvel Universe. We unravel its transformation over the years, providing an exclusive glimpse into the inner workings that shape your favorite superhero narratives. Dara's distinctive approach to showrunning is highlighted, fostering instructive moments on set that cultivate positive and efficient working environments.Exploring the intricacies of movie plot structure, we shed light on the thought processes and considerations involved. An intriguing aspect discussed here is the alternate title of the film, The Wind 1986, which offers a unique perspective on filmmaking. We also take creative liberties in reimagining The Wind 1986, infusing it with a twisted love story and a more fitting conclusion.Our conversation extends to potential adaptations, including the prospect of MGM Studios turning Poltergeist into a TV series. This segment will undoubtedly captivate horror enthusiasts, igniting their imagination about the franchise's fresh possibilities. We also touch upon the forthcoming true crime mystery set in the Galapagos Islands, Ron Howard's upcoming project, Eden, leaving audiences eager to explore this exciting venture.The episode concludes with a deep dive into the emotional narratives within Home Before Dark, with a specific focus on Hilde and Matt Lysiak's storyline. We unravel the universal theme of children trying to mend their parents, shedding light on the profound emotions that this narrative taps into.To lighten the mood, we also indulge in Feel Good Movie Month and tantalizingly discuss the idea of a hydrated margarita. These moments of levity balance out the more profound discussions, ensuring our podcast episode is as entertaining as it is informative.Join us on this captivating cinematic journey, where each turn uncovers fresh insights and intriguing anecdotes. From the ascent of Marvel to the nuances of movie titles, this episode is essential listening for anyone with a passion for the silver screen.#bingewatcherspodcast #moviereactions #podcastshow #podcasts #blog                                     #waterboypartnerSupport the showDrop us a voicemail https://bit.ly/VOICEMAILTHEPODSay hi? host@bwpodcast.comPartner with us? sales@bwpodcast.com

Today on Art of the Cut, we speak with Darrin Navarro, ACE, who started his career with the legendary Roger Corman and has edited films including The Lovers, The End of the Tour, Killer Joe and I Love Dick.  Darrin has worked with legendary director William Friedkin for years, starting as an assistant editor. Novarro talks about The Caine Mutiny Court Martial - his final collaboration with Friedkin - who passed away recently. Check out the blog of this podcast here: https://borisfx.com/blog/aotc/caine-mutiny-court-martial/

About Joshua Lastine: Joshua Lastine, Esq., Entertainment Business and Transactional Attorney is the Founder and Managing Partner at Lastine Entertainment Law.  A strategic negotiator, fierce advocate for talent, and a practical problem solver, Lastine strengthens his counsel with an ineffable passion for show business, its players, and creators.  As a former Lionsgate and ViacomCBS attorney, Joshua Lastine launched Lastine Entertainment Law in 2021, formally Lastine Impressions, to protect the artistry and livelihood of actors, production companies, writers, producers, directors, animators, social media influencers, and podcasters.  In his representations on behalf of entertainment talent clientele, including rights acquisitions, development/production deals, branding/commercial advertising deals, talent deals, and other contracts for new media, social media, and the Internet 3.0, Joshua Lastine has an intrinsic aptitude for structuring deals and closing contracts that are shaping the future of the entertainment industry.  In addition to his legal negotiations, Lastine also serves as an adjunct lecturer on entertainment business law at The Los Angeles Film School, further impelling the future of the entertainment space and its novices. Joshua's production legal and talent transactions have spanned a wide breadth of media and projects from $100M+ Netflix series to $30K YouTube branding, endorsement, and commercial deals. To learn more visit, lastineentertainmentlaw.com. Follow on LinkedIn and Instagram.   Let's talk about protecting ourselves and how the law can help us to do that.  User generated content creators. It's anyone really nowadays with the creative backbone. I think that's one of the great things about technology and where we are. There's a lot of downsides and we can talk about that in a bit, but one of the great things about technology and where it's at today is that it really. Democratizes the creative endeavors. I'm a lawyer and I can now start to exercise my creative fingers in a way that I never could before because of the apps and because of the different technologies and algorithms. I think we've all become more savvy in how we figured out to, to express ourselves and create art. I think it's unfortunate now that art and entertainment is being referred to as content, but that's still really what it is. Whether you're creating content for YouTube, you're creating content for TikTok, you're creating content for Instagram or you're creating products and services that blend the line.  User generated content refers to anyone with a creative backbone that wants to make something cool. And then try to maybe find a way to, to monetize, exploit, and expand on that idea. For every television show, there's a head of business and legal affairs, a head of production legal that supervises the day to day happenings of the show, whether it's the contracts for all of the actors showing up on set that day, getting the transportation in place, craft services. The visual effects deals, transportation of large scale assets, planes, trains, automobile pieces all the way through the final credit roll, watching the final credits and making sure that all the credits align with the deals that I had negotiated through the season.  Doing that on a season by season basis for those shows, building a rapport and in a relationship with the shows themselves to make sure that we're getting what they need done to make the show because at that time, shows like Transparent, Man in the High Castle, I Love Dick which came on a little bit later. These were first of their kind in 2016, 2017 in terms of Amazon shows. They did a lot to push the envelope in terms of what we could do on TV. I was party to many a nudity writer negotiation with many stars, where we did, nude simulated sex orgies. And we did things like hang swastikas in Canadian subway rails to film scenes for Man in the High Castle. And it's my job as the attorney was to liaise with the line producer, the unit production manager, the guys on the ground to get all of the deals done, to make sure that filming stayed on schedule and that the company is protected and that, most importantly, in my opinion, that the people on set are protected.  We do a lot with stunts, we do a lot with practical effects, prop guns swinging from buildings, insurance, putting people in helicopters. I'm also part of those discussions to make sure that those people are protected. So it's a lot that goes into overseeing a television show or a feature film through the production side. That's part of what I do at my law firm.  The other side is the more traditional talent representation, representing actors, writers, directors to negotiate their contracts. Why does an actor need a manager, an agent, and a lawyer?  We love our agent manager friends to death and we work very closely with them, but oftentimes there's a lot that gets left off the table. I myself, when I work as representing the studio or the production company, I'm the one negotiating against the actors, agents and managers. And I can see those deals. And I can tell you with experience that an actor may get 40, 50, 60 percent of the deal on the table with an agent or manager, but as soon as they bring in a lawyer and it's the three of them working in tandem, they're getting just about everything on the table. But really, also the devils in the details with regards to the contract especially nowadays studios are taking a wider position in what they can do with an artist's name, voice, and likeness, what they can do with their image. And how it can be exploited. And, I think even actors at a certain level, even series regular, reoccurring guest stars, special guest stars, people with speaking lines and stuff like that, they can ask for reasonable restrictions on how their name, voice, and likeness is used. And obviously that builds your precedent up as you move on in your career. Obviously, the bigger you are in your career, if you're Margot Robbie or Anya Taylor Joy, it's a big fight to be had but there are small things that an attorney can ask for that just can up your game and make you seem a little bit more sophisticated and increase your precedent for your next gig. I think when you start making some serious money and you start making a serious living off of being an actor, it would be wise to reach out and start building a relationship. What we should be doing in this industry as seed planting, right? Every single job interview that I go on, in business and legal affairs with a studio, every time I have lunch with an agent, manager, attorney, an actor I'm planting a micro seed that someday we will potentially probably work together again. You never know where these relationships are gonna lead and gonna go. If, and let's say you take on an actor, what does that look like? Is there a retainer? How does the actor lawyer relationship begin? So typically for my actors, we engage on a standard 5 percent deal, meaning I'll take a 5 percent gross commission for the contracts that I negotiate and work on myself. There's no form of exclusivity the way that there might be with an agent or manager. You don't have to keep coming back to me. Although the better the relationship, the better I understand and know your needs, the better it is for me to be able to communicate and advocate on your behalf.  I'll give you a good example. One of the actresses I represent has asthma, and that's something that I didn't quite know. But she was on a film set and there was heavy smokers around and I found out way later, way after the fact. And, that is an easy phone call or an easy conversation that a lawyer can make that maybe an agent or manager might not want to make or, oftentimes we get put in the uncomfortable position of being the bad guy.  If you are getting deals, you're getting engagements, you're getting work, that's just an easy 5 percent deal. If you are wanting more help developing your behind the camera services, you want to be a writer, you want to be a director, you want to be a content creator in your own right. We will usually charge an hourly rate or a flat rate for something like that.  Once you become part of the law firm family, we have lots of dinner parties and receptions and meetups between clients. So plug into the lasting entertainment law rolodex and really just build that community, build that relationship.  A lot of, being an actor [00:13:00] is really the dedication to your craft and learning how to grow and show up to that position. I think a lot of people want to be actors, maybe not for the right reasons. You got to be truly talented in your own right. But the actors that I do represent, the actors that are on my roster, I will try to, recommend or suggest them or help them take general meetings with my current existing clients, or if there's somebody that they want to build a relationship, they feel very strongly and I already have that preexisting relationship. Maybe it's something we can work on together, but not as a general.  When do you know you need a lawyer?  Entertainment Law School 101. In America, in the United States, there is no protection for unexpressed, unwritten down ideas. On the flip side of that, the beauty of how the United States copyright law works is if an original work of authorship is fixed in a tangible medium, that work of authorship qualifies for copyright protection and has copyright protection at common law. So the second your pen hits paper and starts writing, the second you start painting with a paintbrush, start creating with your keyboard, the ultimate creative expression of that work is going to have some level of common law copyright protection. It behooves you when you have some more of a concrete final product to register for federal copyright protection, it's $65. It's not a lot of money, but in  that instance, you qualify for what is known as statutory damages. If there is a lawsuit for whatever reason later on, you can bring it in federal court, and it's a little bit meatier than just relying on common law copyright protections. But, at the end of the day I think it's Picasso who said it, good artists borrow, great artists steal. Deep Impact and Armageddon came out the same year, and anyone can rip you off at any time. Really, what you need to do to protect yourself is to grow and expand your brand on as many different platforms between your social media pages, between YouTube. You need to develop that idea and make your brand as expansive as possible. And really, it's a tricky thing, but what Disney does is they rely more on trademark protection than they do actual copyright protection. The Mickey Mouse copyright is going to go into public domain in 2024. So long as they're exploiting his image as a trademark in merchandising, it has more qualified protections. And really the best thing that you can do is plant your flag and say, “Hey, I'm here and make it known and open and notorious.” This is your idea and this is what you're doing. And do a little bit of due diligence to see if there's anyone else out there. Doing something similar because that is really a barrier towards monetization.  If I'm a buyer and I'm in, and someone brings me an idea and I'm looking at it and I'm saying, “Hey, there's a hundred of these other things just like it.” It's not original. I am not going to take the risk on it.  So, do due diligence yourself, make sure the idea isn't already exploited. B, make yourself as big and loud like a puffer fish as possible. So you can try to create and protect your brand, start to create merch and you can qualify for trademark protection in that, get your copyright protections and fill out your creative ideas in various medias. When do you think it is a good idea for a creator to start thinking, “hey, maybe I need somebody on my side?” When there's actual money on the table being had that starts to say, “hey, you know what, there are sophisticated players at the table. Maybe we should have someone relook at the paperwork. Maybe we should have things done correctly by a lawyer.” And then number two, I would say if this is your baby, if this is your project, if this is your investment, if this is your life's work, then it really is worth the $500, $1000.  I do free consultations, free 15 minute consultations, but to draft paperwork and make sure paperwork secure work for higher agreements, transfer rights, spending $1500 to make sure that your project is protected is a drop in the fucking bucket. Talk to me about the current trends. Let me articulate it with a little story. I was at the variety marketing summit back in March. And, lots of executives in the advertising marketing space world. That's not really where I do a lot of my business. I'm working with actors, I'm working with writers, directors, producers, and I'm making shows and making content. But the number one thing that I took out of that meeting is how they are blending these areas and how advertisers are striking back with a vengeance in kind of a way, since the Netflix and the streamers of them all have kicked them out for the last 10 years, they are interested in creating TV shows around more products and services like Chipotle and whatever. If you look at the top grossing films this year, we had Nike, Blackberry, Super Mario Brothers, Barbie. These are products and brands and not the same IP temples like the Star Wars and Marvel that we saw in years past.  I think Gen Z and now Gen Alpha, who's coming up, have a very different way of interacting with entertainment. So if you are an actor, Focus 100% on your craft and build that out first, but also look at ways that you can, monetize and do use social media, Tik TOK and YouTube and how you can start to think about yourself as a 360 brand business. I don't like that idea per se, in a world full of Zendayas and Sydney Sweeney's it's what it takes to get there. But you can capitalize on making content in a niche world for something that you like, say toy collecting and you're going to find your audience out there if you're true and authentic and it's something that you're passionate about and love.  I think that at the macro level, we're going to have to decide what we want to address as a society, as humanity because it is something that threatens every specific industry as it relates to actors and writers. I think it's atrocious. The idea that you could take an actor's likeness and decide that you're going to own it and reuse it in perpetuity for the rest of your life as it relates to the final embodiment in a film or TV project, of course, but you don't own that person's image It's something that I believe is going to have to take a fundamental shift in government and in legislation that maybe recognizes the individual right of self likeness.

Claudia Dey's novel Daughter is a stark and beautiful portrait of the complicated dynamic between a young artist and her father. Dey joins us to talk about creating the distinct voice of the novel, complicated family relationships, writing a novel that's true and more.    I'm a Fan by Sheena Patel is a visceral look at one young woman's descent into the world of social media obsession with a sharp look at today's internet culture and what it means to exist online. Patel joins us to talk about the absurdity of internet fame, unlikable female characters, combining memes with literature and more.    Listen in as these authors speak separately with guest host Jenna Seery.    This episode of Poured Over was hosted by Jenna Seery and mixed by Harry Liang.           Follow us here for new episodes Tuesdays and Thursdays (with occasional Saturdays).    Featured Books (Episode): Daughter by Claudia Dey  I'm a Fan by Sheena Patel  Heartbreaker by Claudia Dey  Still Born by Guadalupe Nettel  I Love Dick by Chris Kraus  Motherhood by Sheila Heti  Minor Feelings by Cathy Park Hong  Life with Picasso by Françoise Gilot  Intimacy by Hanif Kureishi 

What do you know about Marfa, Texas? Whether it's Vogue magazine, The Simpsons, or I Love Dick, there's a certain narrative about Marfa: the romantic art town in the middle of nowhere. But there's more to Marfa than that. Marfa for Beginners is the audio guide to the Marfa you may not know: Virgin of Guadalupe sightings and limited Tinder options. A place where you can feel like a stranger in your own hometown while also feeling like there are zero degrees of separation between you and…anyone else. Marfa For Beginners is an expansion of the narrative, a trip down a different road, a tourism podcast for locals…and what does that mean? To find out, listen weekly, starting September 13th.

Welcome to Soundstage Insider, the podcast that uncovers the fascinating behind-the-scenes world of the film and television industry. I'm your host, Jamie Mufett, and in this episode, get ready for a visual journey as we sit down with renowned cinematographer Jim Frohna. Prepare to be immersed in the artistry and technical prowess of visual storytelling.Jim Frohna, acclaimed for his exceptional skills as a film and television cinematographer, has collaborated with numerous talented directors, producers, and fellow cinematographers throughout his illustrious career. His diverse portfolio showcases his versatility and artistic vision, with notable works including television series like "Big Little Lies," "Transparent," "I Love Dick," and Apple TV Plus's "Shrinking," as well as independent films such as "Afternoon Delight" and "Breakpoint."In this episode, we delve into the world of cinematography as Jim Frohna answers thought-provoking questions about his journey in the industry. Discover his first introduction to cinematography as a job and hear his earliest memories of this craft. Gain insights into his early career and the invaluable lessons he learned from his first professional projects.Explore the intricate process of starting a new project as we uncover what Frohna seeks to know and understand during pre-production discussions. Learn about the importance of choosing the right team and the qualities he looks for when assembling a crew that can bring his creative vision to life.Discover the creative depths to which Frohna has gone to capture that perfect shot, as he recalls the most memorable and innovative approaches he has taken in his career. Gain insights into his awareness of the impact his cinematography has on the actors in a scene and the significance of emotion in his camera operation.We delve into the fascinating interplay between cinematography and the editing room, as Frohna shares his perspective on the editing and color correction process during post-production. Uncover the aspects he values most and the occasional surprises that arise in the collaborative journey of bringing a story to life.Furthermore, we explore the unique dynamics on set and discover what Frohna wishes other crew members knew to facilitate his work as a cinematographer. We also dive into the advancements in technology, such as volume displays, AI, CGI, and virtual reality, and how they both excite and challenge the field of cinematography.For extra content, previews, and a whole lot more, follow us on social media.Instagram: https://www.instagram.com/soundstageinsiderTwitter: @SoundstageIn Hosted on Acast. See acast.com/privacy for more information.

Þessa dagana er Lestin í nokkra daga hléi til að undirbúa seríu sem kemur út í næstu viku. Meðan á þessum undirbúningi stendur höfum við verið að endurflytja nokkra af okkar bestu þáttum. Í dag er það viðtal við nýsjálenska rithöfundinn Chris Kraus um bók hennar I Love Dick, og vangaveltur um sumarmelankólíu.

Þessa dagana er Lestin í nokkra daga hléi til að undirbúa seríu sem kemur út í næstu viku. Meðan á þessum undirbúningi stendur höfum við verið að endurflytja nokkra af okkar bestu þáttum. Í dag er það viðtal við nýsjálenska rithöfundinn Chris Kraus um bók hennar I Love Dick, og vangaveltur um sumarmelankólíu.

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Griffin Dunne is an accomplished, award-winning and Oscar-nominated actor, director and producer. His feature film directorial debut was 1997's "Addicted to Love," starring Meg Ryan and Matthew Broderick. In 2017 he directed and produced the acclaimed Netflix documentary “Joan Didion: The Center Will Not Hold”, about his Aunt. His film credits include "Dallas Buyers Club”, "Last Night” and "Broken City” and he's appeared on TV in “House of Lies”, “Red Band Society”, "I Love Dick", “This is Us” and others too many to mention. He will soon appear in a new HBO Max series called “The Girls on the Bus”. Griffin take us back to his childhood and family life, the 1982 murder of his sister Dominique, grief and the concept of 'closure,' the importance of humor in his life, his early acting influences, his stellar carer in film and television, acting vs directing, gun violence, Donald Trump, living in Upstate New York's Hudson Valley and more. Got somethin' to say?! Email us at BackroomAndy@gmail.com Leave us a message: 845-307-7446 Twitter: @AndyOstroy Produced by Andy Ostroy and Matty Rosenberg @ Radio Free Rhiniecliff Associate producer Jennifer Hammoud Music by Andrew Hollander Design by Cricket Lengyel

Strap in for 80 minutes of delight with the one, the only, Sherry Cola! Maybe you know Sherry from her stand-up, from Good Trouble, from I Love Dick or Claws (an Andy fav!) or 100 other things, but now you can know a whole 'nother side of her! We talk about her not letting her mom in on her relayshes, the Everything Everywhere All At Once of it all, not going to the prom, how Sherry is "Diet Coke Mentos rising", and SO MUCH MORE! PLUS, obvi, we answer YOUR advice questions! If you'd like to ask your own advice questions, call 323-524-7839 and leave a VM or just DM us on IG or Twitter!Support the show on Patreon (two extra exclusive episodes a month!) or with a t-shirt (or a Jewboo shirt) and check out clips on YouTube! And why not leave a 5-star review along with the worst person you ever dated on Apple Podcasts? (Every once in a while we'll do a Twitch show, if you want to also follow us there). Plus! Check out Andy's old casiopop band's lost album! And discounted Couples Therapy Quarantine Crew t-shirts here (if you don't get one, we're gonna have A LOT of nightshirts over at the ol' Beckperigin household!)! Hosted on Acast. See acast.com/privacy for more information.

We're on our end of year break, but didn't want to leave you without some LF to keep you company while you cook up your leftovers and potter around in your new socks. So, inspired by one of our new listeners, Charlotte, who tweeted to tell us how much she enjoyed an old episode, we're re-running one of our favourite conversations from way back: in 2016 we met with Chris Kraus to talk about her book I Love Dick, which was being published in the UK for the first time. It's a classic of feminist literature first published in the States in 1997, a genre-bending novel about lust, desire and making art that investigates the power of infatuation and subverts the convention of the muse. We hope you enjoy listening and we'll be back with an absolutely belting new season in 2023!

On this very infatuating episode of One and Done TV, Ian and John pen some love letters to the 2017 Amazon Prime series I Love Dick starring Kathryn Hahn and Kevin Bacon based on the novel of the same name! Artist and filmmaker Chris Kraus (Hahn) travels to Marfa, Texas with her husband Sylvère for his research fellowship; soon she becomes enthralled to the point of obsession by the titular Dick (Bacon), a visual artist and her husband's fellowship sponsor! Ian nabs an exclusive sneak peek of Weird: The Al Yankovic Story. John goes gaga for Cate Blanchett in Tár - his second favorite film of the year! Ian and John scroll the key art archives of their minds to remember that show Kevin Bacon was in a few years ago…the raven, the vulture, ah yes, The Following! The hosts discuss a sexy sheep shearing scene, the million-dollar X trilogy, and the oh-so-quirky Mozart in the Jungle! Also - who is laughing during The Martian?Logo by Hannah Bess RossMusic by Adam BarnettAudio Editing by Ian HamiltonCreated/Produced by Ian Hamilton & John PoelkingFollow Us on Twitter and Instagram @oneanddonetvEmail us oneanddonepod@gmail.comWebsite us @ oneanddonetv.comBrought to you by Lack of Hustle Media

This collection of episodes I'm re-sharing with you is part of the Intuitive Creators™ series, in which we are highlighting tools and mindset that will help you get to your next version of your desired self. As well as obstacles you may experience.  Like. in this episode, which features my good friend and TV Writer Greg Locklear on the subject of Imposter Syndrome. This topic is interesting because it's a good example of the on-goingness of a growth journey, meaning Imposter Syndrome can happen at any time of the journey but I think it especially happens during times we are stretching ourselves, challenging ourselves to step INTO that new version of ourselves. So much like how fear works, it's something that can be lessoned in its intensity and it can be there and not get in the way of your next steps. So that is actually the goal. Not to get rid of it but to find and apply tools to continuously work with it. I brought my lapel mics and field recording device to visit Greg in his new Hollywood home so we could talk casually and comfortably which we very much did. We relate over old café conversations about how we would build our dreams, the difficulties of living in Los Angeles, our shared lives in the hospitality industry and of course more specifically Imposter Syndrome.  Gregory's background includes: Producer of an award winning indie documentary called Corman's World: Exploits of A Hollywood Rebel  Script coordinator on TV Series like I Love Dick, Transparent, Happy!, and Project Blue Book. Director's Assistant on Marco Polo.  Script Coordinator on the Netflix series On Fate: the winx Saga Season 1 And now staff writer of Season 2 of Fate: the Winx Saga. Find Gregory Locklear: Instagram: @greglocklear IMBD: Gregory Locklear Join me here:  Intuitive Creators Academy & Collective Instagram:  @unleashxbarsi @thebarsi Facebook: @Unleash By Barsi Youtube: Unleash By Barsi BE BOLD & KEEP CREATING!   Music Credit & Licensing: Upbeat by Jon Luc Hefferman - Production Music This work is licensed under the Creative Commons Attribution-NonCommercial 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/3.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA

Welcome to the Badass Babes of Entertainment! On our nineteenth episode of season 2, we chat with Joshua R. Lastine, Esq. Entertainment Business and Transactional Attorney is Founder and Managing Partner at Lastine Entertainment Law LLP. The former Lionsgate and ViacomCBS attorney launched his firm, Lastine Impressions, in 2021. As an entertainment lawyer, Joshua R. Lastine protects the artistry and livelihood of actors, production companies, writers, producers, directors, animators, social media influencers, and podcasters. A strategic negotiator, a fierce advocate for talent, and a practical problem solver, Lastine strengthens his counsel with an indelible passion for show business, its players, and creators. Lastine understands how to structure and close the deals shaping the future of the entertainment industry. Recent examples include critically acclaimed streaming series, musicians' NFTs, and mixed-reality productions in the Metaverse.Joshua Lastine finds new opportunities in Hollywood. He is a seasoned professor at the renowned Los Angeles Film School. He joined the school in February 2019 and teaches various Entertainment Business courses—including “Entertainment Business Law 101” and “Entertainment Business and Media Ethics.”Lastine negotiated such notable breakthroughs as the first full-frontal, transgender nudity rider for television (“Transparent”), working through sensitivities with talent, agents, intimacy coordinators, and studio executives. He also negotiated the deals for the first all-female writers' room (“I Love Dick”) on behalf of the Studio. Lastine's experience in Studio business and legal affairs includes positions with ViacomCBS, Lions Gate, Marvel Studios, Starz, Discovery Studios, and Creative Artists Agency. He began his career as a legal intern on American Idol.In his representations, Lastine structures, negotiates, and drafts contracts and paperwork on behalf of entertainment talent clientele, including rights acquisitions, development/production deals, branding/commercial advertising deals, talent deals, and other contracts for new media, social media, and the Internet 3.0. From $100M+ Netflix series to $30K YouTube branding, endorsement and commercial deals, his production legal and talent transactions have spanned a wide breadth of media and projects. Lastine also represents several animation studios (Baobab, Wattpad Webtoons, Rooster Teeth Animation), and celebrity/influencer talent (Dedee Pfeiffer, Andrew Walker, and Kensington Tallman).ABOUT THE PODCAST: Brenda Fisher and Meghan Ketz of Badass Babes of Entertainment bring you all the guest interviews, casting tips, and industry news in one captivating podcast. Brought to you this week by Roasted Luxury and Rogue Matter - Download the app  ►Join the Movement.Sponsored by: https://roastedluxury.com/  Promo Code BABES15 for a discount on your entire order!▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬Listen to the podcast in audio form on every major podcasting app.▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬Spotify ► https://open.spotify.com/show/2VRABRKopxehGDfiymXFwOApple ► https://podcasts.apple.com/us/podcast/badass-babes-of-entertainment/id1547723790Google Podcasts ► https://tinyurl.com/4s3v9zksiHeart ► https://iheart.com/podcast/98566932⇩ Follow the Rogue Matter network ⇩Website ► https://www.roguematter.com/Twitter ► https://twitter.com/rogue_matterFacebook ► https://www.facebook.com/weareroguematterSoundcloud ► https://soundcloud.com/roguematterYouTube ► https://youtube.com/roguematter Twitch ► https://twitch.tv/weareroguematterCatch up with our guest on his social media channels: https://www.linkedin.com/in/joshua-r-lastine-b3632b42/https://www.facebook.com/losangelesfilmschoolhttps://www.instagram.com/losangelesfilmschool/https://twitter.com/lafilmschool


Dodie Bellamy in conversation with Chris Kraus, celebrating Dodie Bellamy's two new books; "Bee Reaved" and "The Letters of Mina Harker," published by Semiotext(e)/Native Agents. This event was originally broadcast via Zoom and hosted by Peter Maravelis. You can purchase copies of "Bee Reaved" & "The Letters of Mina Harker" directly from City Lights here: "Bee Reaved" - https://citylights.com/staff-picks/bee-reaved/ "The Letters of Mina Harker" - https://citylights.com/general-fiction/letters-of-mina-harker/ Dodie Bellamy's writing focuses on sexuality, politics and narrative experimentation, challenging the distinctions between fiction, the essay and poetry. In 2018–19 she was the subject of "On Our Mind", a yearlong series of public events, commissioned essays and reading group meetings organized by CCA Wattis ICA. With Kevin Killian, she coedited "Writers Who Love Too Much: New Narrative 1977–1997." A compendium of essays on Bellamy's work, "Dodie Bellamy Is on Our Mind", was published in 2020 by Wattis ICA/Semiotext(e). Chris Kraus is a filmmaker and the author of "I Love Dick" and "Aliens & Anorexia", and coeditor of "Hatred of Capitalism: A Semiotext(e) Reader". "Index" called her "one of the most subversive voices in American fiction." Her work has been praised for its damning intelligence, vulnerability and dazzling speed. This event was made possible by support from the City Lights Foundation: citylights.com/foundation

This week I spoke with Jennie Edgar, who has led (as she says) many lives, from starting a pie business to working as a freelance editorial and art director. Since 2018, Jennie has been writing and designing for thoughtful brands to refine their editorial voice and aesthetic expression. Additionally, she's a visual artist and the founder of So Textual, a platform that promotes community around reading, so we talk about her style of reading and how that varies from her husband's and mine, and how the way we read, as well as what we read, is unique to each of us. We also cover effect theory, book culture, and literary artists we love like Eve Babitz, Adrianne Lenker, her grandma, and Nora Ephron. She talks about looking at one's life like a project and answers a question from our mutual friend Maddie on what it means to be a narrative-led person. I loved this wide-ranging conversation and am eager to hear what you think of it and how you read. Show Notes:- Follow Jennie on the Web | Instagram- Check out So Textual on the Web | Instagram- I Love Dick by Chris Kraus- Amy Hempel's collected stories- Sign up for Maddie Coleman's newsletter- The Podcast Kit is 50% off through the end of July with code summer- Sign up for the waitlist for the re-imagined Creative Underdogs/In Process (coming soon)!- Subscribe to our newsletter to get show notes + essays, etc. sent to your inbox- Follow @letitouttt on Instagram. I'm @katiedalebout Sponsors:First Person cognitive supplements: get 15% percent off your first order by going to getfirstperson.com and use code letitout

In this episode Kim speaks with Lauren Fournier about autotheory. Lauren has recently published a book on the subject, titled Autotheory as Feminist Practice in Art, Writing, and Criticism (MIT Press, 2021). In the episode she points to Maggie Nelson's book The Argonauts as the book that made the term famous, but refers us to a longer history of autotheoretical feminist writing, including work by Gloria E. Anzaldúa, Audre Lorde, and bell hooks. She also mentions critical research by Zoe Todd, “An Indigenous Feminist's Take On The Ontological Turn: ‘Ontology' Is Just Another Word For Colonialism” and the book I Love Dick, by Chris Kraus. Lauren is a writer, curator, and artist, who currently holds a SSHRC postdoctoral fellowship in visual studies at the University of Toronto. She is currently co-editing a special issue of ASAP Journal on Autotheory with her colleague Alex Brostoff. Her novella, All My Dicks, is forthcoming with Fiction Advocate. Image: Art by Sona Safaei-Sooreh Music used in promotional material: ‘Braided Flower' by Lee Maddeford Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today I am thrilled to celebrate the 3 year anniversary of the podcast! We've had over 250,000 downloads and released 51 full length episodes along with some really powerful pandemic dispatches. Living in this Queer Body has become a platform that has connected queers through instagram, workshops and group intensives. This community has allowed me to get to know so many beautiful, inspiring and generative people and I am humbled at all that has come into being over these past 3 years. I look forward to many more. Our guest on today's episode showed up with such openness and willingness to ask and answer complex questions, someone who is inhabiting the X and offering us all some hard won tips about how to radically accept and honor our care needs. What began as a series of conversations about Olivia Laing's fascinating book “Everybody” during the second year of the pandemic became a full length interview in which Joey Soloway and I talk about their trans family, the 6 genders in the Torah, the feeling of cross dressing as a cis woman, the importance of having a coven or care team as a trans human, moving away from "admin as a love language," naming what often goes unnamed, epigenetics and much more. Joey Soloway is an artist, activist and filmmaker. They created the Emmy– and Golden Globe–winning series Transparent, cult feminist series I Love Dick, as well as Afternoon Delight, which received the Sundance Directing Award. They are currently working on The South Commons Experiment, a documentary about race, architecture and memory. They are the co-founder of 5050 by 2020, launched East Side Jews, and are on the board of Nefesh Temple. They are amidst development on podcast, television and film projects that fulfill the Topple Production's mission of elevating marginalized artists and their stories. ________________ Register here for Always Coming Home: A support group open to all people who are actively working on disordered eating recovery or navigating trauma experienced in institutional eating disorder settings. @livinginthisqueerbody __________________ Kintsugi Therapist Collective's Embodied Private Practice Cohort (EPPC) is a year-long mentorship offering for clinicians who are beginning or revisioning private practice with a focus on embodiment and sustainability. Combining reality-based, capacity-conscious clinical and business consultation, mentorship will focus on the ways that therapists can be nurtured by clinical practice, avoid burnout, and commit to sustainability, self care and healing. Application link here. @kintsugitherapistcollective ________ Living in this Queer Body Podcasts are edited by the lovely Barry Orvin Music by Ethan Philbrick and Helen M-P Hosted by Asher Pandjiris --- Send in a voice message: https://anchor.fm/asher-pandjiris/message

欢迎收听普通读者主播们的3月读书总结和推荐。这一期我们聊了很多耽美小说，BL漫画，从腐女眼光重读文学名著。欢迎大家戴着“有色的眼镜”收听～ 时间节点： 0:15《牛虻》埃塞尔·莉莲·伏尼契 4:54 《心》夏目漱石 14:26 How Do You Live? by Genzaburo Yoshino, translated by Bruno Navasky 18:04 The Cat Who Saved Books by Sosuke Natsukawa, translated by Louise Heal Kawai 20:03 Lord of Dark Places, by Hal Bennett 26:11 Giovanni's Room, by James Baldwin 34:27 Recitatif， by Toni Morrison, Zadie Smith - Introduction 36:05 The Wild Robot, by Peter Brown 38:44 Owl at Home, by Arnold Lobel Small Pig, by Arnold Lobel 41:43 The Beginning of Spring, by Penelope Fitzgerald 46:56「 美しいこと」木原音瀬 ( 耽美小说）/ 《恋人们的森林》森茉莉 / Boys Love Manga and Beyond: History, Culture, and Community in Japan，by Mark McLelland (Editor), Kazumi Nagaike (Editor), Katsuhiko Suganuma (Editor), James Welker (Editor) 1:01:37 The Violin Conspiracy, by Brendan Slocumb 1:05:31 I Love Dick, by Chris Kraus 1:13:38 「オールドファッションカップケーキ」,佐岸左岸 ( BL漫画) （同一个作者：「オールドファッションカップケーキ with カプチーノ」，「春と夏となっちゃんと秋と冬と僕」） 1:21:33 Nightbitch: A Novel, by Rachel Yoder 收听和订阅渠道 墙内：小宇宙App，喜马拉雅，网易云“普通-读者” 墙外： Apple Podcast, Anchor, Spotify, Pocket Casts, Google Podcast, Breaker, Radiopublic 联系我们 电邮：commonreader@protonmail.com 微博： 普通读者播客 豆瓣：https://www.douban.com/people/commonreaders/ 三位主播的小红书 徐慢懒：638510715 H：1895038519 堂本：1895329519 片头音乐credit： Flipper's Guitar - 恋とマシンガン- Young, Alive, in Love - 片尾音乐credit：明日、僕は君に会いに行く。-世界一初恋ED楽譜 Notion page: Shownotes

Chris Kraus' upcoming novel The Four Spent the Day Together tells the story of a violent methamphetamine murder involving four teenagers on the Iron Range of Minnesota. Best-known for the semi-autobiographical novel I Love Dick, Los Angeles-based Kraus spent much of her teenage years in New Zealand, studying at Victoria University and working as a journalist.

This week, Lobo and Trash welcome their first very special guest, the Mexican poet, novelist, and essayist Mauricio Montiel Figueiras. Together they talk about memories of 2021, the MFA debate, and about the books that have influenced their writing and helped them navigate difficult stretches in their lives. Mauricio Montiel Figueiras THE NEW YORK TRILOGY by Paul Auster; VERTIGO by W. G. Sebald; WHY READ THE CLASSICS? by Italo Calvino; END OF THE GAME AND OTHER STORIES by Julio Cortàzar; BASED ON A TRUE STORY by Delphine de Vigan; Pola Oloixarac; WINESBURG, OHIO by Sherwood Anderson; A GOOD WOMAN by Louis Bromfield; A MOVEABLE FEAST by Ernest Hemingway; I LOVE DICK by Chris Kraus Marguerite Duras, THE LOVER; Milan Kundera, THE UNBEARABLE LIGHTNESS OF BEING; Fernanda Trias, MUGRE ROSA FDF-List of Recommendations Restaurant: LA CAPITAL in Colonia Condesa, Mexico City Movie: RED ROCKET (2021) by Sean Baker Album: THE BOY FROM MICHIGAN (2021) by John Grant TV: VINCENZO Restaurant: THE CASINO, Bodega, CA Album: Pink Turns Blue, IF TWO WORLDS KISS Music: Daniel Barenboim and Jacqueline du Pre TV: The Capture

Yara Martinez was last seen on Fox's police drama pilot, DEPUTY, from David Ayer, Aquaman writer Will Beall, and eOne. She co-starred opposite Stephen Dorff as his wife, ‘Dr. Paula Reyes'. Martinez can currently be seen starring as ‘Miss Lint' in Amazon's highly reviewed reboot of the popular superhero franchise, THE TICK. Based on creator Ben Endlund's favorite comic, the series follows Arthur Everest, an obsessive ex-accountant who suspects his city is controlled by an evil supervillain. The pilot episode quickly became the most watched in the network's history. Martinez can also be seen starring as ‘Dr. Luisa Alver' in the CW's Golden Globe nominated comedy series, JANE THE VIRGIN opposite Gina Rodriguez. The series solidifies Martinez as a fan favorite for her portrayal of the recovering alcoholic who accidentally inseminated the titular ‘Jane' in the pilot episode. Martinez is currently shooting the last and final season. Yara also recurs on CBS's BULL playing Michael Weatherly's lead character, Bull's, ex wife. Previously, Martinez starred in the second season of HBO's critically acclaimed TRUE DETECTIVE opposite Colin Farrell and Vince Vaughn and in Amazon's ALPHA HOUSE about four Republican senators sharing the same DC house rental. Additional television credits include THE LYING GAME, NASHVILLE, HOLLYWOOD HEIGHTS, FACELESS, VANISHED, THE APOSTLES, SOUTHLAND, BREAKOUT KINGS, and SPACED. Born in Puerto Rico to Cuban parents, Martinez grew up in Miami and is fluent in both English and Spanish. She studied acting at the New World School of the Arts, and spent a summer with Anne Bogart's SITI company in Saratoga before receiving her BFA and eventually moving to Los Angeles to pursue her passion for television. Guest links: IMDB: Yara Martinez INSTAGRAM: @yaritafrita TWITTER: @yaritafrita Show Links: PMO PEP TALKS: Click here to reserve your seat PMO POP SELF-TAPE CLASS: Click here to sign up INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher Credits: WRITER: Bebe Katsenes SOUND DESIGN: Zachary Jameson WEBSITE & GRAPHICS: Chase Jennings ASSISTANT: Elle Powell SOCIAL OUTREACH: Bebe Katsenes

In this episode Sam Adams, longtime Philadelphia City Paper writer and now Senior Editor at Slate.com joins me in the studio to discuss the changing role of the film/media critic, the 2017 Emmy Awards, and his recent trips to the Toronto International Film Festival and the Camden International Film Festival in Maine. Featured are some great soundtracks from the current “Golden Age” of television shows Master of None, I Love Dick, Fargo, Empire, This is Us and Broad City plus such classic opening TV themes from Rockford Files, Miami Vice and Peter Gunn.

Fan of the show? https://www.patreon.com/newleftradio (Support us on Patreon)! Postmodernism permeates our lives and has fundamentally changed our world. Entwined with neoliberalism, our societies and our lives and our governments have been changed by these two ideological movements. Our social safety nets and our socio-economic ladders have ben cut away and we have been left with a world that may be unsalvagable. Stuart Jeffries joins us to discuss and explore what this new type of capitalism means for our future. Links https://www.versobooks.com/books/3875-everything-all-the-time-everywhere (Buy Everything, All the Time, Everywhere) About Everything, All the Time, Everywhere: How We Became Postmodern Postmodernism stood for everything modernism rejected: fun, exuberance, irresponsibility. But beneath its glitzy surface, postmodernism had a dirty secret: it was the fig leaf for a rapacious new kind of capitalism. It was the forcing ground of “post truth,” by means of which western values were turned upside down. But where do these ideas come from and how have they impacted on the world? In this brilliant history of a dangerous idea, Stuart Jeffries tells a narrative that starts in the early 1970s and still dominates our lives today. He tells this history through a riotous gallery that includes, among others: David Bowie, the iPod, Madonna, Jeff Koons's the Nixon Shock, Judith Butler, Las Vegas, Margaret Thatcher, Grand Master Flash, I Love Dick, the RAND Corporation, the Sex Pistols, Princess Diana, Grand Theft Auto, Jean Baudrillard, Netflix, and 9/11. We are today scarcely capable of conceiving politics as a communal activity because we have become habituated to being consumers rather than citizens. Politicians treat us as consumers to whom they must deliver. Can we do anything other than suffer from buyer's remorse? About Stuart Jeffries Stuart Jeffries is a journalist and author. He was for many years on the staff of the Guardian, working as subeditor, TV critic, Friday Review editor and Paris correspondent. He now works as a freelance writer, mostly for the Guardian, Spectator, Financial Times and the London Review of Books. Stay connected with the latest from New Left Radio by https://newleft.us6.list-manage.com/subscribe?u=8227a4372fe8dc22bdbf0e3db&id=e99d6c70b4 (joining our mailing list) today! _________ Support this podcast

There's nothing more intimate than a letter, card, text or message written for your eyes only. The epistolary novel has been popular for centuries, and romantic stories using this device can feel like the best kind of eavesdropping.https://www.confessionsofaclosetromantic.comMovies/TV ShowsThe script for Love & Friendship takes Jane Austen's epistolary novel Lady Susan to new heights. I always call this director "Will Stillman" but it's Whit.84 Charing Cross Road will always have a special place in my heart. The book and movie are delightful.Daddy Long Legs has it all: So playful and Parisian! The costumes! The music! Slightly inappropriate with the age-difference trope! Kevin Bacon plays the titular character in I Love Dick and the whole thing is a visually fascinating, messy, complicated look at desire.I find most Hallmark movies insipid, but the lead actors' chemistry, locations and script for Her Pen Pal made it super enjoyable.BooksYou can read Lady Susan by Jane Austen on Project Gutenberg.I cried multiple times while reading the romance-novel-in-text Way Down Deep. The ending felt a bit rushed to me, but it's an HFN and the characters are beautifully fleshed out despite learning about them in short messages. Their emotional journeys are unbelievably compelling.From the smart banter and hilarious plot, to the funny heroine and gorgeous grumpy hero, The Billionaire's Wake-Up-Call Girl is one of the best romances I've read this year. Can't wait to read the whole series.In Flashed, a former male model and party boy gets in a near-fatal accident and hides away at his secluded ranch. He reluctantly hires a local art student as his live-in cook and housekeeper with one rule--she's not allowed to see him. So she resorts to texting him.Stay is about an exclusive virtual assistant service that promises its VIP clients anonymity--until the owner figures out that the customer sending her mildly flirty texts requiring her attention at all hours is a hot hockey superstar. The World Needs More Love Letters is a wonderful letter writing project.The Penpalooza penpal project started in Spring 2020 as a way to connect people during the pandemic, and now has more than 10K members.

Every month, we pick a play or two to discuss, and this week's episode is a play called "The Two Kids That Blow Shit" by Carla Ching. We discuss what we noticed, what we liked, and questions that came up while reading the play. SPOILER ALERT: There are going to be some spoiler alerts! We highly recommend you read the play before listening to this episode! About the Play: Here's what the play's about which you can read on New Play Exchange: ”As kids, Max and Diana meet on their parents' date, then are kicked out of the house so their parents can get it on. They are forced to play together even though they aren't really that fond of each other. Through over two decades of their parents' tumultuous relationship of getting together, breaking up, getting married and then divorced, Max and Diana are perpetually forced together and become the most unlikely of friends. They see each other through their own marriages and divorces, rehabs and spin-outs, career rejiggerings and epic life fails. But when they actually fall into each other, will they lose the only family they've ever known? A play about falling in and out of love with your best friend.” About the Playwright: An LA native, Carla Ching's other plays include Revenge Porn or the Story of a Body, Nomad Motel, Fast Company, and The Sugar House at the Edge of the Wilderness. Just to name a few-- her full-length plays have been produced or workshopped by Artists at Play, Berkeley Rep's Ground Floor, Center Theater Group, The Lark Play Development Center, Ma-Yi Theatre Company, The National New Play Network Showcase of New Plays, and The O'Neill Playwrights Conference. She is a member of New Dramatists and founding member of The Kilroys. Carla wrote on USA's Graceland, AMC's Fear the Walking Dead, Amazon's I Love Dick, Apple's Home Before Dark and the forthcoming Mr. and Mrs. Smith co-created by Francesca Sloane, Phoebe Waller Bridge and Donald Glover. She is currently developing a new project with Netflix. Glistens: Cho - Took a trip to Michigan. Met Nik's extended family. Mosquito bites all over my face… cool. Sam - Walden by Amy Berryman at Theatreworks Hartford ____________________________________________ Please support Beckett's Babies by reviewing, sharing an episode with your friends or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com Theme Music: "Live Like the Kids" by Samuel Johnson, Laura Robertson, Luke O'Dea (APRA) --- Send in a voice message: https://anchor.fm/beckettsbabies/message Support this podcast: https://anchor.fm/beckettsbabies/support

Experience American writer Chris Kraus, author of the iconic feminist novel ‘I Love Dick', in this passionate talk about the apolitical art scene and the challenges of being a woman in our contemporary consumer-focused world.Chris Kraus was interviewed by the feminist activist Emma Holten at the Louisiana Museum of Modern Art, Denmark in connection with the Louisiana Literature festival in August 2017.

As movie theaters across the country are about to go through another metamorphosis point after having been largely empty this last year, now seems as good a time as any to revisit the 2014 Pulitzer Prize for Drama about three workers at a single-screen movie theater in New England. On this episode I'm joined by journalist and former guest, Tyler Coates, and actor Eric Gilde, to talk about:- the play;- Baker's career;- her collaboration with director Sam Gold;- and her creative usages of prosceniums, pauses, and Georges Delurue music.Also:How the French New Wave and her Criterion top 10 list informs the play;- her only produced film/television work on one episode of Amazon's I Love Dick;- speculation about what a film she writes and directs might be like;- and how much the play nails about working in a movie theater during the film to digital transition.Tyler Coates is currently writing for the Hollywood Reporter, while past work has appeared in The Awl, Brooklyn Magazine, Esquire, GOOD, Gothamist, Nylon, Out, Town & Country, and the Village Voice. He interviewed Baker in 2013 about The Flick for BlackBook Magazine and also reviewed her play John for Slate.Eric Gilde is a New York-based actor, playwright, and podcaster. He co-hosts the Take Me In to the Ballgame podcast with his wife, actor and baseball commentator Ellen Adair.The Flick is available to read or perform from Samuel French, Inc.

Season 2 of the updated One Day At A Time dropped last weekend, and we talked with Kim Reed about the fine balance between sitcommy and touching; how the two finales stacked up; and whether we'd keep watching if Rita Moreno leaves the show. We went around the dial with I Love Dick, The End Of The F**cking World, Black Lightning, and Big Mouth, and then Tara tried to deliver a Canon win with the first-series finale of Call The Midwife. Charmed won, ESPN lost (some more), and Tara led us in a remake/revival Game Time. How long will Dave stay drunk on power? Find out in an all-new Extra Hot Great. GUESTS

If a progressive movement for justice is going to win in this country, we're going to have to be willing to engage people's deepest and most powerful emotions. Desire is one of those emotions that is often misunderstood, feared, and repressed but incredibly powerful when harnessed in a productive way. What does it looks like to get in touch with  our deepest and truest desires in our personal lives? Our guest Deb Helt is a therapist and modern-day renaissance woman based in Los Angeles. She joins us to discuss the Amazon series I Love Dick and its themes of desire and creativity as we explore how tapping into their unconscious desires can feed our movements. Visit www.listentotherising.com for show links and more info.

"I Love Dick" is Jill Soloway's second TV series for Amazon, after "Transparent." It's based on Chris Kraus's seminal feminist novel from the 1990s and stars Kevin Bacon as the titular character. Rolling Stone has called the show "the high-lit cowboy-lust TV show you need." The Nose weighs in.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

The actor opens up about money, sex at 58, and working on Jill Soloway's newest TV series, I Love Dick.  Become a monthly sustaining member of Death, Sex & Money. Sign up now. Sign up for our weekly newsletter! deathsexmoney.org/newsletter. Follow the show on Twitter @deathsexmoney and Facebook at facebook.com/deathsexmoney. Email us any time at deathsexmoney@wnyc.org.

Kevin Bacon started his career with an awkward experience on the set of Animal House. Then his fear of becoming a major star after Footloose led him to self-sabotage. It wasn't until he rejected Hollywood's idea of being a leading man and embraced being a character actor that everything flourished. Kevin also tells Marc stories about Diner, JFK, A Few Good Men, Sleepers, Apollo 13, Mystic River and the new series I Love Dick, which has him doing things he'd never done before as an actor. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

REPOST MAY 9, 2017: Bill Frost (Salt Lake City Weekly & X96 Radio From Hell) and Tommy Milagro (a comedy dive near you) talk Writers' Strike (forestalled!), United Shades of America vs. Salt Lake City, American Gods, Silicon Valley, Veep, MTV Movie & TV Awards, Guerrilla, the Psych holiday reunion, Always Sunny peeps gone mainstream, Fargo, RIP Frequency & No Tomorrow, Colbert vs. Trump vs. the FCC, Snowfall, Orphan Black, Mary Kills People, Rasslin' News, the dreaded return of American Idol and What to Watch Harder (American Gods, Fleabag, RiffTrax, Angie Tribeca, Better Call Saul, Into the Badlands, Silicon Valley, Veep, The Leftovers, DC CW TV, Doctor Who, Norm Macdonald on Netflix, Mike Tyson Mysteries, I Love Dick, Get Me Roger Stone, Last Week Tonight, Full Frontal, United Shades of America, Beerland and Motherboard). Drinking: Whiskey & Cokes with Bourbon from OFFICIAL TV Tan sponsor Outlaw Distillery.

Chris Kraus' I Love Dick is an experimental novel that blurs the line between fiction and memoir. In the years since its release, it has experienced a resurgence of popularity culminating in a recent Amazon TV adaptation. Join Sarah and Chris as they discuss whether they...loved it.

REPOST AUGUST 24, 2016: Bill Frost (Salt Lake City Weekly & X96) and Tommy Milagro (a comedy dive near you) talk Fear the Walking Dead & The Walking Dead, Halt & Catch Fire, Aquarius, Last Week Tonight vs. Real Time, The Defenders & Daredevil, Rasslin' News, The 'Lympics & Superstore, Bull rips off The Grinder, Cops: The Movie, This Is Us, new Amazon Prime pilots (The Tick, I Love Dick & Jean Claude Van Johnson), Parenthood comeback?, The Lost Boys to The CW, Metallica doc on Spotify and What to Watch Harder (Ballers, Vice Principals, Roadies, Halt & Catch Fire, The Strain, The God Damn Comedy Jam, Clone High and You're the Worst). Drinking: Orange Trumpocalypses made with Sparkling Ice Orange Mango & OFFICIAL TV Tan sponsor Sugar House Distillery Silver Rum.