Podcasts about Inception

On a recent episode of the The New Stack Agents, Inception Labs CEO Stefano Ermon introduced Mercury 2, a large language model built on diffusion rather than the standard autoregressive approach. Traditional LLMs generate text token by token from left to right, which Ermon describes as “fancy autocomplete.” In contrast, diffusion models begin with a rough draft and refine it in parallel, similar to image systems like Stable Diffusion. This parallel process allows Mercury 2 to produce over 1,000 tokens per second—five to ten times faster than optimized models from labs such as OpenAI, Anthropic, and Google, according to company tests. Ermon argues diffusion models better leverage GPUs, with support from investor Nvidia to optimize performance. While Mercury 2 matches mid-tier models like Claude Haiku and Google Flash rather than top systems such as Claude Opus or GPT-4, Ermon believes diffusion's speed and economic advantages will become increasingly compelling as AI applications scale. Learn more from The New Stack about the latest developments around around large language model built on diffusion:  How Diffusion-Based LLM AI Speeds Up Reasoning Get Ready for Faster Text Generation With Diffusion LLMs  Join our community of newsletter subscribers to stay on top of the news and at the top of your game.   

W/C 23rd February 2026It's been a long time since I have watched Pulp Fiction, but it came up in conversation when I was asked by my eldest if I could suggest something for him to watch.At the beginning of lockdown I began the process of ripping my DVD collection and having everything available as easy playback and sharing, and having got about 80% of the way through it before getting bored, it meant I had a lot to peruse and ultimately recommend.Along with the cool-as-you-like Tarantino classic I offered up Grosse Pointe Blank, I Am Legend, Inception, Phone Booth, The Usual Suspects, Seven, Birdman, Blade Runner and Unbreakable.Oh, and Phoenix Nights.Stay safe.You Never Can Tell - Chuck BerryTherapy For Me (or TFM as I now refer to it) is a bit of an audio curiosity. It started out as a mechanism for me to clear my head, with the hope that by saying stuff out loud it would act as a little bit of self-help. It's remains loose in style, fluid in terms of content and raw - it's a one take, press record and see what happens, affair.If you want to keep in touch with TFM and the other stuff I do then please follow me on Facebook, Insta, Twitter or Patreon. Thanks for getting this far.

I am Rolf Claessen and together with my co-host Ken Suzan I welcome you to Episode 172 of our podcast IP Fridays. Today's interview guests are Co-Founder & CEO of Inception Point AI, Jeanine Whright, and Mark Stignani, who is Partner & Chair of Analytics Practice at Barnes & Thornburg LLP. https://www.linkedin.com/in/jeaninepercivalwright https://www.linkedin.com/in/markstignani Inception Point AI But before the interview I have news for you: The Unified Patent Court (UPC) ruled on Feb 19, 2026, that specialized insurance can cover security for legal costs. This is vital for firms, as it eases litigation financing and lowers financial hurdles for patent lawsuits by removing the need for high liquid assets to enforce rights at the UPC. On Feb 12, 2026, the WIPO Coordination Committee nominated Daren Tang for a second six-year term as Director General. Tang continues modernizing the global IP system, focusing on SMEs, women, and digital transformation. His confirmation in April is considered certain. An AAFA study from Feb 4 reveals 41% of tested fakes (clothing/shoes) failed safety standards. Many contained toxic chemicals like phthalates, BPA, or lead. The study highlights that counterfeiters increasingly use Meta platforms to sell unsafe imitations directly to consumers. China's CNIPA 2026 report announced a crackdown on bad-faith patent and trademark filings. Beyond better examination quality, the agency will sanction shady IP firms and stop strategies violating “good faith” to make China’s IP system more ethical and innovation-friendly. Now, let's hear the interview with Jeanine Whright and Mark Stignani! How AI Is Rewiring Media & Entertainment: Key Takeaways from Ken Suzan's Conversation with Jeanine Wright and Mark Stignani In this IP Fridays interview, Ken Suzan speaks with two repeat guests who look at the same phenomenon from two angles: Jeanine Wright, Co-Founder & CEO of Inception Point AI, as a builder of AI-native entertainment, and Mark Stignani, Partner and Chair of the Analytics Practice at Barnes & Thornburg LLP, as a lawyer advising clients who are trying to use AI without stepping into a legal (or ethical) crater. What emerges is a clear picture: generative AI is not just “another tool.” It is rapidly becoming the default infrastructure for creative work—while the rules around ownership, consent, and accountability lag behind. 1) What “AI-generated personalities” really are (and why that matters) Jeanine's company is not primarily “cloning” real people. Instead, Inception Point AI creates original, fictional personalities—characters with backstories, ambitions, and evolving arcs—then deploys them into the world as podcast hosts and content creators (and eventually actors and musicians). Her key point: the creative work still starts with humans. Writers and creators define the concept, tone, audience, and story engine. What AI changes is speed, cost, and iteration—and therefore what is economically feasible to produce. 2) The “generative content pipeline” isn't a magic button A recurring misconception Ken raises is the idea that someone “pushes a button” and content pops out. Jeanine explains that real production looks more like a hybrid studio: A creative team defines character, voice, format, and storyline. A technical team builds what she calls an “AI orchestration layer” that combines multiple models and tools. The “stack” differs by format: the workflow for a long-form audio drama is different from a short-form beauty clip. This matters because it reframes AI content not as a single output, but as a pipeline decision: which tools, which data sources, which QA, and which governance steps are used—and where human review happens. 3) The biggest legal questions: origin, liability, ownership, and contracts Mark doesn't name a single “top issue.” He describes a cluster of problems that repeatedly show up in client conversations: Training data and “origin story” Clients keep asking: Can I legally use AI output if the tool was trained on copyrighted works? Even if the output looks new, the unease is about whether the tool's capabilities are built on unlicensed inputs. Liability for unintended harm Mark flags risk from AI content that inadvertently infringes, defames, or carries bias. The legal exposure may not match the creator's intent. Ownership and protectability He points to a big gap: many jurisdictions are still reluctant to grant classic IP rights (copyright or patent-style protection) to purely AI-generated material. That creates uncertainty around whether businesses can truly “own” what they produce. Old contracts weren't written for AI A final, practical point: many agreements—talent contracts, author clauses, data licenses—predate generative AI and simply don't address it. That leads to disputes about scope, permissions, and—crucially—indemnities. 4) Are we at a tipping point? The “gold rush” vs. “next creative era” views Jeanine frames AI as “the world's most powerful creative tool”—comparable to previous step-changes like animation, special effects, and CGI. For her, the strategic implication is simple: creators who learn to use AI well will expand what they can build and test, faster than ever. Mark's metaphor is more cautionary: he calls the moment a “gold rush” where technology is sprinting ahead of law. Courts are getting flooded with foundational disputes, while legislation is fragmented—he notes that states may move faster than federal frameworks, and that labor agreements (e.g., union protections) will be a key pressure point. 5) Democratization: more creators, more niche content, more experimentation One of the most concrete themes is access. Jeanine argues AI will: Lower production barriers for independent filmmakers and storytellers. Reduce the need for “hit-making only” economics that dominate Hollywood. Make micro-audience content commercially viable. Her example is intentionally niche: highly localized, specialized content (like a “pollen report” for many markets) that would never have made financial sense before can now exist—and thrive—because the production cost drops and personalization scales. 6) Likeness, consent, and “digital performers”: what happens when AI resembles a real actor? Ken pushes into a sensitive area: what if someone generates a performance that closely resembles a living actor without consent? Mark outlines the current (imperfect) toolbox—because, as he emphasizes, most laws weren't built for this scenario. He points to practical claims that may come into play in the U.S., such as rights of publicity and false endorsement-type theories, and notes that whether something is parody or “too close” can become a major fault line. Jeanine explains her company's operational approach: They focus on original personalities, designed “from scratch.” They build internal checks to avoid misappropriating known names, likenesses, or recognizable identities. If they ever work with real people, the model would be licensing their likeness/voice. A subtle but important business point also appears here: Jeanine expects AI-native characters themselves to become licensable assets—meaning the entertainment economy may expand to include “celebrity rights” for fully synthetic personalities. 7) Ethics: the real line is “deception,” not “AI vs. human” The ethical core of the conversation is not “AI is bad” or “AI is good.” It's how AI is used—especially whether audiences are misled. Mark highlights several ethical risks: Misuse of tools to manipulate faces and content (“AI slop” and political misuse). Displacement of creative workers without adequate transition support. A concern that AI often optimizes toward “statistical averages,” potentially flattening originality. Jeanine agrees ethics must be designed into the system. She describes regular discussions with an ethicist and emphasizes a principle: transparency. Her company discloses when content or personalities are AI-generated. She argues that if people understand what they're engaging with and choose it knowingly, the ethical problem shifts from “AI exists” to “Are we tricking people?” Mark adds a real-world warning: deepfakes are now credible enough to enable serious fraud—he references a case-like scenario where a synthetic video meeting deceived an employee into authorizing a payment. The point is clear: authenticity and verification are no longer optional. 8) The “dead actor” hypothetical: legal permission vs. moral intent Ken raises a provocative scenario: an actor's estate authorizes an AI-generated new performance, but the actor opposed such technology while alive. Neither guest offers a simplistic answer. Jeanine suggests that even if the estate holds legal rights, a company might choose to avoid such content out of respect and because the ethical “overhang” could damage the storytelling outcome. She also notes the harder question: people who died before today's capabilities may never have been able to meaningfully consent to what AI can now do—raising questions about how we interpret legacy intent. Mark underscores the practical contract problem: many rights are drafted “in perpetuity,” but that doesn't automatically settle the ethical question. 9) Five-year forecast: “AI everywhere,” but audiences may stratify Ken closes with a prediction question: in five years, how much entertainment content will significantly involve AI—and will audiences care? Jeanine predicts AI becomes the default creative layer for most content creation. Mark is slightly more conservative on the percentage, but adds an important nuance: the market will likely stratify. Low-cost, high-volume content may become saturated with AI, while premium segments may emphasize “human-made” as a differentiator—especially if disclosure norms become standard. Bottom line for business leaders and creators This interview lands on a pragmatic conclusion: AI will change how content is made at scale, and the competitive edge will go to teams that combine creative taste, operational discipline, and legal/ethical governance. If you're building, commissioning, or distributing content, the questions you can't dodge anymore are: What's the provenance of the tools and data you rely on? Who is responsible when output harms, infringes, or misleads? What rights can you actually claim in AI-assisted work? Do your contracts and disclosures match the new reality? Ken Suzan: Thank you, Rolf. We have two returning guests to the IP Friday’s podcast. Joining me today is Janine Wright and Mark Stignani. Our topic for discussion, how is AI transforming the media and entertainment industries today? We look at the issues from differing perspectives. A bit about our guests, Janine Wright is a seasoned board member, CEO, global COO and CFO. She’s led organizations from startup to a $475 million plus revenue subsidiary of a public company. She excels in growth strategy, adopting innovative technologies, scaling operations and financial management. Janine is a media and entertainment attorney and trial litigator turned technologist and qualified financial expert. She is the co-founder and CEO of Inception Point AI, a growing company that is paving new ground with AI-generated personalities and content through developing technology and story. Mark Stignani is a partner with Barnes & Thornburg LLP and is based in Minneapolis, Minnesota. He is the chair of the data analytics department with a particular emphasis on artificial intelligence, machine learning, cryptocurrency and ESG. Mark combines the power of artificial intelligence and machine learning with his skills as a corporate and IP counsel to deliver unparalleled insights and strategies to his clients. Welcome, Janine and Mark to the IP Friday’s podcast. Jeanine Whright: Thank you. Thank you. Thank you so much for having me and fun to be back. It feels nostalgic to be here. Ken Suzan: That’s right. And you both were on the program. So it’s fantastic that you’re both back again. So our format, I’m going to ask a question to Janine and or Mark and sometimes to both of you. So that’s going to be how we proceed. Let’s jump right in. Janine, your company creates AI-generated actors. For listeners who may not be familiar, can you briefly explain what that means and what’s now possible that wasn’t even two years ago? Jeanine Whright: Sure. Yeah, we are creating AI-generated personalities. So new characters, new personalities from scratch. We design who these personalities are and will be, how they will evolve. So we give them complex backstories. We give them hopes and dreams and aspirations. We every aspect of them, their families, how they’re going to evolve. And in the same way that, say, you know, Disney designs the character for its next animated feature or, you know, an electronic arts designs a character for its next major video game. We are doing that for these personalities and then we are launching them into the world as podcast hosts, content creators on social platforms like YouTube, Instagram and TikTok. And even in the future, you know, actors in feature length films, musicians, etc. Ken Suzan: Very fascinating. Mark, from your practice, what’s the single biggest legal question or dispute you’re seeing clients wrestle with when it comes to AI and media creation? Mark Stignani: Well, I think that, you know, it’s not just one thing, it’s like four things. But most of them tend to be kind of the origin story of AI data or AI tools that they use because, you know, but for the use of AI tools trained on copyrighted materials, the tools wouldn’t really exist in their current form. So a lot of my clients are wondering about, you know, can I legally use this output if it’s built upon somebody else’s IP? The second ask, the second flavor of that is really, is there liability being created if I take AI content that inadvertently infringes or defames or biases there? So there’s the whole notion of training bias from the training materials that comes out. The third phase is really, you know, can I really own this? Because much of the world does not really give IP rights into AI-generated inventions, copyrighted materials. It’s still kind of a big razor. Then at the end of the day, you know, if it’s an existing relationship, does my contract even contemplate this? So everything from authors contracts on up to just use of data rights that predate AI. Ken Suzan: And Janine and Mark, a question to both of you. How would you describe where we are right now in the AI revolution in media and entertainment? Are we approaching a tipping point? And if so, what are the things we need to watch for? Jeanine Whright: Yeah, I definitely think that we’re at a phase where people are starting to come to the realization that AI is the world’s most powerful creative tool. But that, you know, storytelling and point of view is what creates demand and audiences. And AI doesn’t threaten or change that. But it does mean that as people evolve in this medium, they’re very likely going to need to adopt, utilize and figure out how to hone their craft with these AI-generated content and these AI-generated toolings. So this is, you know, something that people have done certainly in the past in all sorts of ways in using new tools. And we’ve seen that make a significant change in the industry. So you look at, you know, the dawn of animation as a medium. You look at use of special effects, computer-generated imagery in the likes of Pixar. And this is certainly the next phase of that evolution. But because of the power of the tool and what will become the ubiquity of the tool, I think that it’s pretty revolutionary and all the more necessary for people to figure out how to embrace this as part of their creative process. Ken Suzan: Thank you, Janine. Mark, your thoughts? Mark Stignani: Yeah, I mean, I liken this to historically to like the California gold rush right now, because, you know, the technology is so far outpaced in any of the legal frameworks that are available. And so we’re just trying to shoehorn things in left and right here. So, I mean, the courts are beginning to start to engage with the foundational questions. I don’t think they’re quite there yet. I just noticed Anthropic got sued again by another group of people, big music group, because of the downloaded works they’ve done. I mean, so the courts are, you know, the courts are certainly inundated with, you know, too many of these foundational questions. Legislatively, hard to tell. I mean, federal law, the federal government is not moving uniformly on this other than to let the gold rush continue without much check and balance to it. Whereas states are now probably moving a lot faster. Colorado, Illinois, even Minnesota is attempting to craft legislation and limitations on what you can do with content and where to go with it. So, I mean, the things we need to watch for any of the fair use decisions coming out here, you know, some of the SAG-AFTRA contract clauses. And, you know, again, the federal government, I just, you know, I got a big shrug going as to what they’re actually going to come up with here in the next 90 to 100 days. So, but, you know, I think they’ll be forced into doing something sooner than later. Ken Suzan: Okay, let’s jump into the topic of the rise of generative content pipelines. My first question to Janine. Studios and production companies are now building what some call generative content pipelines. This is where AI systems produce everything from scripts to visual effects to voice performances. What efficiencies and creative possibilities does this unlock for the industry? Jeanine Whright: Yeah, so this is quite a bit of what we do. And if I could help pull the curtain back and explain a little bit. Ken Suzan: That’d be great. Jeanine Whright: Yeah, there’s this assumption that, you know, somebody is just sitting behind a machine pushing a button and an out pops, you know, what it is that we’re producing. There’s actually quite a bit of humans still in the loop in the process. You know, we have my team as creators. The other half of my team is the technologists. And those creators are working largely at what we describe as the the tip of the sphere. So they’re, of course, coming up with the concepts of who are these personalities? What are these personalities, characters, backgrounds going to be a lot of like rich personality development? And then they’re creating like what are the formats? What are the kind of story arcs? What is the kinds of content that this this character wants to tell? And what are the audiences they’re desiring to reach and what’s most going to resonate with them? And then what we built internally is what we refer to as an AI orchestration layer. So that allows us to pull from basically all of the different models and then all of these different really cool AI tools. And put those together in such a way and combine those in such a way that we can have the kind of output that our creative team envisions for what they want it to be. And at the end of the day, what you what the stack looks like for, say, a long form audio drama, like the combination of LLMs that we’re going to use in different parts of scripting and production and, you know, ideating and all of that. And the kinds of tooling that we use to actually make it and get it to sound good and have the kinds of personality characteristics that we want to be in an authentic voice for a podcast is going to be different than the tech stack and the tool stack that we might use for a short form Instagram beauty tip reel. And so there’s a lot of art in being able to pull all of these tools together to get them to do exactly what you want them to do. But I think the second part of your question is just as interesting as the first. I mean, what is what possibilities is this unlocking? So of course you’re finding efficiencies in the creative production process. You can move faster. You can do things were less expensive, perhaps, and you were able to do it before. But on the creator side, I think one thing that hasn’t been talked about enough is how it is really like blown wide the aperture of what creators can do and can envision. Traditionally, you know, Hollywood podcasting, many of these businesses that become big businesses have become hit making businesses where they need to focus on a very narrow of wide gen pop content that they think is going to get tens of millions, hundreds of millions in, you know, fans and dollars in revenue for every piece of content that they make. So the problem with that is, is that it really narrows the kinds of things that ultimately get made, which is why you see things happening in Hollywood, like the Blacklist, which is, you know, this famous list of really exceptional content that remains unpredited, unproduced, or why you see things like, you know, 70 to 80% of the top 100 movies being based on pre-existing IP, right? Because these are such huge bets that you need to feel very confident that you’re going to be able to get big, big audiences and big, big dollars from it. But with AI, and really lowering the barrier to entry, lowering the costs of production and marketing, the experimentation that you can do is really, really phenomenal. So, you know, my creative team, if they have an idea, they make it, you know, they don’t have to wring their hands through like a green lighting process of, you know, should we, shouldn’t we, like we, we can make an experiment with lots of different things, we can do various different versions of something. We can see what would this look like if I placed it in the 1800s, or what if I gave this character an Australian accent, and it’s just the power of being able to have this creative partner that can ideate with you and experiment with you at rocket speed. With the creators that are embracing it, you can see how it is really fun for them to be able to have this wide of a range of possibility. Ken Suzan: Mark, when you hear about these generative pipelines, what are the immediate red flags or concerns that come to mind from a legal standpoint? How about ethics underlying all of this? Well, Mark Stignani: that was not, that’s the number one red flag because I mean, we are seeing not just that in the entertainment industry, but it literally at political levels, and the kind of the phrase, to turn the phrase AI slop being generated, we’re seeing, you know, people’s facial expressions altered. In some cases, we’re seeing AI tools being misused to exploit various groups of individuals and genders and age groups. So I mean, there’s a whole lot of things ethically that people are using AI for that just don’t quite cover it. Especially in the entertainment industry, I mean, we’re looking at a fair amount of displacement of human workers without adequate transition support, devaluation of the creative labor. I mean, the thing though that I’m always from a technical standpoint is AI is simply a statistical average of most everything. So it kind of devalues the benefit of having a human creator, a human contribution to it. That’s the ethical side. But on the legal side, I see chain of title issues. I mean, because these are built on very questionable IP ownership stages, I mean, in most of these tools, there has been some large copying, training and taking of copyrighted materials. Is it transformational? Maybe. But there’s certainly not a chain of title, nor is there permission granted for that training. I mentioned SAG-AFTRA earlier, I think there’s a potential set of union contract aspects to this that if you know many of these agreements and use sub-licenses for authors and actor agreements, they weren’t written with AI in mind. So that’s another red flag. And also I just think in indemnification. So if we ultimately get to a point where groups are liable for using content without previous license, then who’s liable? Is the tool maker the liable group or the actual end user? So those are probably my top four red flags. But I think ethics is probably my biggest place because just because we can do something from an ethical standpoint doesn’t mean we should. Jeanine Wright: Yeah, if I can respond to both of those points. I mean, one from a legal perspective, just to be very clear, I mean, we are always pulling from multiple different models and always pulling from multiple different sources. And we even have data sources that we license or use for single source of truth on certain pieces of information. So we’re always pulling things together from multiple different sources. We also have built into our process, you know, internal QAing and checking to make sure that we’re not misappropriating the name or likeness of any existing known personality or character. We are creating original personalities there. We design their voice from scratch. We design their look from scratch. So we’re not on our personality side, we’re not pulling or even taking inspiration from existing intellectual property that’s already out there in creating these personalities. On the ethical side, I agree. I mean, when we came out of stealth, we came out of stealth in September. There was certainly quite a bit of backlash from folks in my—I previously co-founded a company in the audio space. I mean, there’s been many rounds of layoffs in audio and in many other parts of the entertainment industry. So I’m very sensitive to the feedback around, like, is this job displacement? I mean, I do think that the CEO of NVIDIA said it right when he said, you’re likely not going to lose your job to AI, but you will lose your job to somebody who knows how to use AI. I think these tools are transforming the way that content is made and that the faster that people can embrace this tooling, the more likely they’re going to be having the kinds of roles that they want in, you know, in content creation and storytelling in the future. And we are hiring. I’m hiring AI video creators, AI audio creators. I’m hiring AI developers. So people who are looking for those roles, I mean, please reach out to me, we would love to work with you and we’d love to grow with you. We also take the ethics very seriously. For the last few months or so, I’ve met regularly with an ethicist, we talk about all sorts of issues around, you know, is designing AI-generated people, you know, good for humanity? And what about authenticity and transparency and deception, and how are we in building in this space going to avoid some of the problems that we’ve seen with things like social media and other forms of technology? So we keep that very top of mind and we try to build on our own internal values-based system and, you know, continue to elevate and include the humanity as part of the conversation. Ken Suzan: Thank you, Janine. Janine, some argue that AI content pipelines will level the field for filmmaking, giving independent creators access to tools that were once available only to major studios. Is that the future you envision? Jeanine Wright: I do think that with AI you will see an incredible democratization of access to technology and access to these capabilities. So I do think, you know, rise of independent filmmakers, you won’t have as many people who are sitting on a brilliant idea for the next fantastic script or movie that just cannot get it made because they will be able to with these tools, get something made and out there, at least to get the attention of somebody who could then decide that they want to invest in it at a studio kind of level in the future. The other thing that I think is really interesting is that I think, you know, AI will empower more niche content and more creators who can thrive in micro-communities. So it used to be because of this hit generation business model, everything needed to be made for the masses and a lot of content for niche audiences and micro-communities was neglected because there was just no way to make that content commercially viable. But now, if you can leverage AI—we make a pollen report podcast in 300 markets, you know, nobody would have ever made that before, but it is very valuable information, a very valuable piece of content for people who really care about the pollen in their local community. So there’s all sorts of ways that being able to leverage AI is making it more accessible both to the creator and to the audience that is looking for content that truly resonates with them. Ken Suzan: Mark, let’s talk about the legal landscape right now. If someone creates an AI-generated performance that closely resembles a living actor without their consent, what legal recourse does that actor have? Mark Stignani: Well, I mean, I think we can go back to the OpenAI Scarlett Johansson thing where, you know, if it’s simply—well, the “walks like a duck, quacks like a duck” type of aspect there. You know, I think it’s pretty straightforward that they need to walk it back. I mean, the US doesn’t have moral rights, really, but there’s a public visage right, if you will. And so, one of the things that I find predominantly useful here is that these actors likely have rights of publicity there, we probably have a Lanham Act false endorsement claim, and you know, again, if the performance is not parody, and it’s so close to the original performance, we probably have a copyright discussion. But again, all of these laws predate the use of AI, so we’re going to probably see new sets of law. I mean, we’re probably going to see “resurrection” frameworks, we’ll probably have frameworks for synthetic actors and likenesses, but the rules just aren’t there yet. So, unfortunately, your question is largely predictive versus well-settled at this point. Ken Suzan: Janine, your company works with AI actors. How do you navigate the questions of consent and likeness compensation when creating digital performers? Jeanine Wright: I mean, if we—so first of all, if we were to work with a person who is an existing real-life person or was an existing real-life person, then we would work with them to license their name and likeness or their voice or whatever aspects of it we were going to use in creating content in partnership with them. Not typically our business model; we are, as I said, designing all of our personalities from scratch and making all of our content originally. So, we’ve not had to do that historically. Now, you know, the flip side is: can I license my characters as if they’re similar to living characters? Like will I be able to license the name and likeness and voice of my AI-generated personalities? I think the answer is yes and we’re already starting to do that. Ken Suzan: Let’s just switch gears into ethics and AI because I find this to be a really fascinating issue. I want to look at a hypothetical. And this is to both of you, Janine and Mark: an AI system creates a new performance by a beloved actor who passed away decades ago, and the actor’s estate authorizes it, but the actor was known to have expressed opposition to such technology during their lifetime. Is this ethical? Jeanine Wright: This feels like a Gifts, Wills, and Trusts exam question. Ken Suzan: It sounds like it, that’s right. Jeanine Wright: Throwing me back to my law school days. Exactly. What are your thoughts? It’d be interesting to see like who has the rights there. I mean, I think if you have the legal rights, the question is around, you know, is it ethical to go against what you knew was somebody’s wishes at the time? I guess the honest answer is I don’t know. It would depend a lot on the circumstances of the case. I mean, if we were faced with a situation like that where there was a discrepancy, we would probably move away from doing that content out of respect for the deceased and out of a feeling that, you know, if this person felt strongly against it, then it would be less likely that you could make that storytelling exceptional in some way—it would color it in a way that you wouldn’t want in the outcome. And I feel like there’s—I mean, certainly going forward and it’s already happening—there are plenty of people I think who have name, likeness, and voice rights that they are ready to license that wouldn’t have this overhang. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I mean, again, I have to kind of go back to our property law—the Rule Against Perpetuities. You know, from a property standpoint to AI rights and likenesses—since most of the digital replica contracts that I’ve reviewed generally do talk about things in perpetuity. But if it’s not written down for that actor and the estate is doing this—is it ethical? You know, that is the debate. Jeanine Wright: Well, gold star to you, Mark, for bringing up the Rule Against Perpetuities. There’s another one that I haven’t heard for many years. This is really taking me back to my law school days. Ken Suzan: It’s a throwback. Jeanine Wright: The other thing that’s really interesting is that this technology is really so revolutionary and new that it’s hard to even contemplate now what it is going to be in a decade, much less for people who have passed away to have contemplated what the potential for it could be today. So you could have somebody who is, perhaps, a deceased musician who expressed concerns about digital representations of themselves or digital music while they were alive. But now, the possibility is that you could recreate—certainly I could use my technology to recreate—that musician from scratch in a very detailed way, trained on tons of different available data. Not just like a digital twin or a moving image of them, but to really rebuild their personality from scratch, so that they and their music could be reintroduced to totally new generations in a very respectful and authentic way to them. It’s hard to know, with the understanding that that is possible, whether or not somebody who is deceased today would or would not agree to something like that. I mean, many of them might want, under those circumstances, for their music to live on. These deceased actors and musicians could live forever with the power of AI technology. Mark Stignani: Yeah, I really just kind of go to the whole—is deep-faking a famous actor the best way to preserve them or keep them live? Again, that’s a bit more of an ethical question because the deep fakes are getting good enough right now to create huge problems. Even zoom meetings in Hong Kong where a CFO was on a call with five synthetic actors who all looked like his coworkers and they sent a big check out based upon that. So again, the technology is getting good enough to fool people. Jeanine Wright: I think that’s right, Mark, but I guess I would just highlight the same way that it always has been: the ethical line isn’t AI versus human, the ethical line is about deception. Like, are you deceiving people? And if people know what it is that they’re getting and they’re choosing to engage with it, then I think it isn’t about the power of the technology. In our business, we have elected—not everybody has—but we have elected to be AI transparent. So we tell people when they listen to our show, we include it in our show notes, we include it on our socials. Even when we’re designing our characters to be very photo-realistic, we make an extra point to make sure that people know that this is AI-generated content or an AI personality. Like, our intention is not to deceive and to be candid. From a business model perspective, we don’t need to. I mean, there’s already people who know and understand that it is AI, and AI is different than people. Because it is AI, there’s all sorts of things that you can do with it that you would not be able to do with a real person. You know, we get people who ask us on the podcast side, we get all sorts of crazy funny requests. You know, people who say, “Can I text with this personality? Can I talk to them on the phone? Can they help me cook in the kitchen? Can they sing me Happy Birthday? Can they show up at my Zoom meeting today because I think my boss would love it?” You know, all sorts of different ways that people are wanting to engage with these characters. And now we’re in the process of rolling out real-time personalities so people will be able to engage with our personalities live. It is a totally different way that people are able to engage with content, and people can, as they choose, decide what kind of content they want to engage with. Ken Suzan: Jeanine and Mark, we’re coming to the end of this podcast. I would love to keep talking for hours but we have to stay to our timetable here. Last question: five years from now, what percentage of entertainment content do you predict will involve significant AI generation, and will audiences care about that percentage? Jeanine? Jeanine Wright: I mean, I would say 99.9%. I mean, already you’re seeing—I think YouTube did a survey—that it was like 90% of its top creators said that they’re using AI as material components of their content creation process. So, I think this will be the default way that content is created. And content that is not made with AI, you know, there’ll be special film festivals for non-AI generated content, and that will be a special separate thing than the thing that everybody is doing now. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I go a little lower. I mean, I think Jeanine is right that we’re seeing, especially in the low-quality content creation and like the YouTube shorts and things like that, you know, there’s so much AI being pushed forward that the FTC even acquired an “AI slop” title to it. I do think that disclosure will become normalized, that the industries will be pushed to say when something is AI and what is not. And I think it’s very much like, you know, do you care about quality or not? If you value the human input or the human factor in this, there will be an upper tier where it’s “AI-free” or low AI assistant. I think that it’s going to stratify because the stuff coming through the social media platforms right now—I can’t be on it right now just because there’s so much nonsense. Even my children, who are without much AI training at all, find it just too unbelievable for them. So, I think it will become normalized, but I think that we’re going to see a bunch of tiers. Ken Suzan: Well, Jeanine and Mark, this has been a fantastic discussion of an ever-evolving field in IP law. Thank you to both of you for spending time with us today on the IP Friday’s podcast. Jeanine Wright: Thank you so much for having me. Mark Stignani: Appreciate your time. Thank you again.

The Daily Quiz - Entertainment, Society and Culture Today's Questions: Question 1: Which actor has starred in films including Inception and The Revenant? Question 2: Name the movie that matches the following plot summary: 'A blacksmith teams up with an eccentric pirate to save his love.' Question 3: What is the plot of the movie Finding Nemo? Question 4: Which actor played the role of Iron Man in the Marvel Cinematic Universe? Question 5: What is the plot of the movie Alien? Question 6: Which actor plays the role of Heimdall in the Marvel Cinematic Universe? Question 7: Which actor has starred in films including Star Wars and Blade Runner? Question 8: What is the plot of the movie Raiders of the Lost Ark? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Phil and Jim get together again to watch each other's movie choice and discuss them. Phil made Jim watch Inception and Jim made Phil watch Key Largo. Jim got confused, Phil got bemused. So who do you think got it right?

Tune in as Rolo Tony (@PoorOldRoloTony), who's a Vegas-Residency cohost on These Guys Got Juice, rejoins the podcast in order to navigate Predestination, the 2014 timey-wimey thriller about a time-traveling operative's efforts to defeat a terrorist and the repercussions that this mission ends up having in its own intricate fashion. Drawing connections from this film to Looper and Tenet, the ways in which a certain major aspect of the story have poorly aged, effective ways to borrow from Inception (like Trance) and unsuccessful ways to do the same thing (like Transcendence), and Sarah Snook's top-notch performance turn out to be some of the topics for this episode.Written and directed by Peter and Michael Spierig, Predestination stars Ethan Hawke, Sarah Snook, Noah Taylor, Cate Wolfe, Christopher Kirby, Christopher Sommers, Christopher Stollery, Freya Stafford, Tyler Coppin, Madeleine West, and Christopher Bunworth.Spoilers start at 29:55How Predesination‘s Sarah Snook Tackled The Weirdest Love Story EverCreate your podcast today! #madeonzencastrHere's how you can learn more about Palestine and IsraelHere's how you can keep up-to-date on this genocideHere's how you can send eSIM cards to Palestinians in order to help them stay connected onlineGood Word:• Rolo Tony: Timecrimes• Arthur: Cape Fear (1991)Reach out at email2centscritic@yahoo.com if you want to recommend things to watch and read, share anecdotes, or just say hello!Be sure to subscribe, rate, and review on iTunes or any of your preferred podcasting platforms!Follow Arthur on Twitter, Goodpods, StoryGraph, Letterboxd, and TikTok: @arthur_ant18Follow Arthur on Bluesky: @arthur-ant18Follow the podcast on Twitter: @two_centscriticFollow the podcast on Instagram: @twocentscriticpodFollow Arthur on GoodreadsCheck out 2 Cents Critic Linktree

In Christopher Nolan's 2010 blockbuster Inception, Leonardo DiCaprio's protagonist is paid to implant an idea into a target's subconscious. If you look the film up, its genre is listed as being ‘science fiction' - but could that soon have to be revised? Dream engineering is an experimental new field - with scientists, dream researchers and engineers pursuing the goal of influencing our thoughts as we sleep. For some, the idea holds the promise of a bright future, with benefits for our memories, creativity and wellbeing. On the other hand, though, the ethical issues it causes amid the unregulated world of an emerging technology have led to warnings of a future where our very dreams could be for sale. In The Dream Makers, Anand Jagatia investigates the fascinating potential and developing concerns over what the future of dream engineering could hold.

Épisode sur Origine (Inception) sorti en 2010 et réalisé par Christopher Nolan. Rendez-vous sur le site du podcast PREMIERVISIONNEMENT.COM pour accéder facilement à toutes les autres rétrospectives couvertes par le podcast. Liens du podcast: Playlist Officiel sur Spotify: https://open.spotify.com/playlist/43WS0oy4ytOVjE4mxGq1mf?si=0dba5df83ecf4b42 feed rss: https://anchor.fm/s/590d508/podcast/rss Facebook: https://www.facebook.com/premiervisionnement/ Twitter: @visionnement Le podcast est disponible sur la plupart des distributeurs de balado-diffusion. Bonne écoute!

In this episode of finding meaning, we look at how easy it is for ideas to be planted into someone's subconscious. Religious beliefs, sociological, beliefs, political beliefs are all planted in our minds.

What does it take to break into the trailer business, survive the agency grind, and help shape campaigns for some of the biggest films of the last two decades? This week on Trailer Geeks and Teaser Gods, we sit down with Creative Director, Producer and Creative Executive Kazadi Katambwa to discuss craft, career, and creative instinct. Kazadi walks through his journey from film-loving college student in the Midwest to runner at Wiser Post, to assistant editor at Intralink, and eventually to cutting and producing major theatrical campaigns for films like The Dark Knight, Inception, Dunkirk, Mad Max: Fury Road, and many more. Along the way, the conversation explores the realities of Hollywood career paths, the importance of mentorship, and the delicate art of marketing great movies without getting in their way. Kazadi shares behind-the-scenes stories about working with Christopher Nolan, the challenge of distilling high-concept films into thirty seconds, and the creative leap from editor to producer to studio executive. From humble beginnings with a Thomas Guide in the passenger seat to shaping global campaigns at Amazon Studios, this episode is packed with insight, humor, and hard-earned wisdom for anyone who loves trailers or dreams of making them. Key Takeaways From Runner to Creative Voice Kazadi reflects on starting at the very bottom of post-production and learning the craft by watching great editors work. Patience, curiosity, and a willingness to say yes opened doors that formal plans never could. Reverse Engineering Great Trailers Early on, Kazadi studied timelines and cuts to understand how trailers were built. That hands-on education became the foundation of his editorial instincts. Working on The Dark Knight and Inception Marketing films of that caliber brought unique pressures. Great movies can be harder to market because the campaign must rise to the same level of excellence. Quiet Can Be Louder Than Loud On campaigns like Dunkirk, restraint and confidence became creative tools. Sometimes a simple heartbeat and the right image communicate more than any barrage of sound. The Power of Relationships Career moves from Intralink to Seismic to Buddha Jones happened through trust and collaboration. In trailer marketing, reputation and relationships remain everything. Evolving From Editor to Executive Moving from the editing chair to creative leadership required a new mindset. Protecting the creative while guiding teams became the next chapter of the journey. Understanding Filmmakers Working with directors like Christopher Nolan reinforced a crucial lesson. Great campaigns respect the filmmaker's vision and find ways to amplify it rather than replace it. Notable Quotes "Sometimes marketing a bad movie is hard. But marketing a great movie can be even harder." "Loud is not always the best thing. Quiet can be just as powerful." "Study the timeline. That's where the education really happens." "The best trailers feel confident. You can sense when a campaign is trying too hard." "Relationships are what move careers forward in this town." Connect Kazadi Katambwa – linkedin.com/in/kazadi-katambwa-819921123 Corey Nathan – @coreysnathan on all platforms Our Sponsors Meza Wealth Management – mezawealth.com The Golden Trailer Awards – goldentrailer.com Join the Community Like what you hear? Leave us a rating and review! Connect with Corey on all platforms @coreysnathan Subscribe for new episodes every week and keep up with the world's best trailer creatives!

GREED, EXCESS, & THE UGLINESS OF THE HUMAN SOUL!! With Leonardo DiCaprio receiving his 7th Best Actor Nomination for Paul Thomas Anderson's One Battle After Another, John & Aaron RETURN to give their Wolf of Wall Street reaction, recap, commentary, breakdown, & spoiler review! Download Cash App Today: https://click.cash.app/ui6m/4sigm8c0 #CashAppPod. Cash App is a financial services platform, not a bank. Banking services provided by Cash App's bank partner(s). Prepaid debit cards issued by Sutton Bank, Member FDIC. See terms and conditions at https://cash.app/legal/us/en-us/card-.... Discounts and promotions provided by Cash App, a Block, Inc. brand. Visit http://cash.app/legal/podcast for full disclosures. The Wolf of Wall Street Full Movie Reaction Watch Along:   / thereelrejects   Gift Someone (Or Yourself) An RR Tee! https://shorturl.at/hekk2 John Humphrey and Aaron Alexander react to The Wolf of Wall Street (2013), Martin Scorsese's outrageous crime thriller and biographical dark comedy based on the real-life rise and fall of stockbroker Jordan Belfort. Starring Leonardo DiCaprio (The Departed, Inception) in one of his most unhinged and charismatic performances, the film chronicles Belfort's meteoric ascent from ambitious penny-stock hustler to obscenely wealthy Wall Street kingpin — and the excess, corruption, and self-destruction that followed. Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to The DMF — Discovering Meaning in Film and Acting. I'm Justin Younts, and in this episode I sit down with filmmaker Jaze Bordeaux to dive into an increasingly important conversation in modern cinema: film ownership in the digital age.If there's a movie you truly love and know you'll want to revisit, should you actually own it? With streaming platforms constantly shifting licensing agreements, the risk of losing access to your favorite films is more real than ever. Imagine waking up one day to find your entire digital library gone — removed due to rights expiring or distribution deals changing.Jaze and I explore why taking action now to secure your film collection matters — whether that means investing in Blu-rays, DVDs, or platforms that allow true digital ownership rather than temporary access.In this conversation, we discuss:Physical media vs streamingDigital licensing and film rightsThe fragility of digital librariesFilm preservation and collector cultureThe future of movie ownershipHybrid models of physical + digital accessAs actors, filmmakers, and cinephiles, the way films are stored, distributed, and preserved directly impacts how we study performances and access cinema history. Understanding ownership isn't just about collecting — it's about protecting the films that shape us.Join us as we break down the importance of owning the movies you love and what the future may hold for film libraries in an ever-changing industry.Don't wait until it's too late — let's take control of our movie collections together.Check out these links:⁠⁠http://jazebordeaux.com/⁠⁠⁠⁠https://www.facebook.com/jazebordeaux/⁠⁠⁠⁠https://www.instagram.com/jazebordeaux/⁠⁠⁠⁠https://www.threads.net/@jazebordeaux⁠⁠⁠⁠https://www.tiktok.com/@jazebordeaux⁠⁠⁠⁠https://x.com/jazebordeaux00:00:00 - Introduction00:00:06 - Discussion on Media Ownership00:01:45 - Transition to Physical Media00:02:16 - Creating Your Own On-Demand Service00:02:59 - The Role of Plex00:03:36 - Cross-Platform Media Consumption00:04:02 - Transition to Filmmaking00:04:07 - On-Set Experience00:05:04 - Advice for Film Students00:07:05 - The Importance of Acting00:09:47 - The Work of an Actor00:11:48 - Getting On-Set Experience00:12:52 - Inspiration to Get into Film00:15:13 - Communication Between Directors and Actors00:16:21 - Collaboration with Actors00:16:40 - The Role of Actors in Character Development00:19:42 - Transition to Film Naming00:20:06 - The Story Behind Film Naming00:20:14 - The Inception of EFC00:21:03 - Importance of Film Title00:21:21 - Challenges in Film Naming00:27:12 - Marketing and Audience Expectations00:30:09 - The Origin of EFC

God, isn't it so satisfying to finish something? Films are better than TV that way. ...and we've also managed to finish Satoshi Kon's film catalog this week, since we finally cover Paprika. Is it all it's cracked up to be? Did Christopher Nolan rip it off? Does it have the worst English-language tagline for an anime of all time? Listen and find out. We also talk about The Sandman, Inception, vocaloids, sleep demons, and the common types of dreams. | Follow us on Apple Podcasts | Support us on Patreon | Follow us on BlueSky | We're on Threads/Instagram | Subscribe to us on YouTube | Join the fan Discord

In Hollywood Haunts the World: An Investigation into the Cinema of Occulted Taboos (Headpress, 2026), Robert Guffey deconstructs the most powerful taboos of the twentieth century (and the initial decades of the twenty-first century) by analyzing how disturbing and transgressive ideas involving Theosophy, Gnosticism, Freemasonry, Darwinian Evolution, Surrealism, Freudian and Jungian psychology, race relations, paranoia, UFOs, xenophobia, political conspiracies, the JFK assassination, virtual reality, and alternate dimensions have been reflected in films — both American and foreign — throughout the past one hundred years. Popular films and TV shows that fall under cutting-edge scrutiny include Guillermo del Toro's Nightmare Alley, Larry Wade Carell's Girl Next, Matt Shakman's WandaVision, Anthony and Joe Russo's Avengers: Infinity War, Scott Derrickson's Dr. Strange, Steven Spielberg's Ready Player One, Jennifer Kent's The Babadook, Christopher Nolan's Inception, Stanley Kubrick's Eyes Wide Shut, Vince Gilligan's Breaking Bad, Oliver Stone's JFK, Mark Frost and David Lynch's Twin Peaks, John Carpenter's They Live, Alan Pakula's The Parallax View, John Frankenheimer's The Manchurian Candidate, Jack Arnold's It Came from Outer Space, Edgar G. Ulmer's The Man from Planet X, Robert Florey's Murders in the Rue Morgue, Buster Keaton's Sherlock Jr., and Victor Sjöström's The Phantom Carriage. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Hollywood Haunts the World: An Investigation into the Cinema of Occulted Taboos (Headpress, 2026), Robert Guffey deconstructs the most powerful taboos of the twentieth century (and the initial decades of the twenty-first century) by analyzing how disturbing and transgressive ideas involving Theosophy, Gnosticism, Freemasonry, Darwinian Evolution, Surrealism, Freudian and Jungian psychology, race relations, paranoia, UFOs, xenophobia, political conspiracies, the JFK assassination, virtual reality, and alternate dimensions have been reflected in films — both American and foreign — throughout the past one hundred years. Popular films and TV shows that fall under cutting-edge scrutiny include Guillermo del Toro's Nightmare Alley, Larry Wade Carell's Girl Next, Matt Shakman's WandaVision, Anthony and Joe Russo's Avengers: Infinity War, Scott Derrickson's Dr. Strange, Steven Spielberg's Ready Player One, Jennifer Kent's The Babadook, Christopher Nolan's Inception, Stanley Kubrick's Eyes Wide Shut, Vince Gilligan's Breaking Bad, Oliver Stone's JFK, Mark Frost and David Lynch's Twin Peaks, John Carpenter's They Live, Alan Pakula's The Parallax View, John Frankenheimer's The Manchurian Candidate, Jack Arnold's It Came from Outer Space, Edgar G. Ulmer's The Man from Planet X, Robert Florey's Murders in the Rue Morgue, Buster Keaton's Sherlock Jr., and Victor Sjöström's The Phantom Carriage. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In Hollywood Haunts the World: An Investigation into the Cinema of Occulted Taboos (Headpress, 2026), Robert Guffey deconstructs the most powerful taboos of the twentieth century (and the initial decades of the twenty-first century) by analyzing how disturbing and transgressive ideas involving Theosophy, Gnosticism, Freemasonry, Darwinian Evolution, Surrealism, Freudian and Jungian psychology, race relations, paranoia, UFOs, xenophobia, political conspiracies, the JFK assassination, virtual reality, and alternate dimensions have been reflected in films — both American and foreign — throughout the past one hundred years. Popular films and TV shows that fall under cutting-edge scrutiny include Guillermo del Toro's Nightmare Alley, Larry Wade Carell's Girl Next, Matt Shakman's WandaVision, Anthony and Joe Russo's Avengers: Infinity War, Scott Derrickson's Dr. Strange, Steven Spielberg's Ready Player One, Jennifer Kent's The Babadook, Christopher Nolan's Inception, Stanley Kubrick's Eyes Wide Shut, Vince Gilligan's Breaking Bad, Oliver Stone's JFK, Mark Frost and David Lynch's Twin Peaks, John Carpenter's They Live, Alan Pakula's The Parallax View, John Frankenheimer's The Manchurian Candidate, Jack Arnold's It Came from Outer Space, Edgar G. Ulmer's The Man from Planet X, Robert Florey's Murders in the Rue Morgue, Buster Keaton's Sherlock Jr., and Victor Sjöström's The Phantom Carriage. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Episode Notes Full descrptions from the Library of Congress “The Tramp and the Dog” (1896)                                                          "The Tramp and the Dog," a silent film from Chicago's Selig Polyscope Company, is considered director William Selig's most popular early work. Filmed in Rogers Park, it is recognized as the first commercial film made in Chicago. Previously a lost film, it was rediscovered in 2021 at the National Library of Norway. The film depicts a tramp who attempts to steal a pie from a backyard windowsill, only to be met by a broom-wielding housewife and her dog, who foils the crime. The film is one of the first known as “pants humor,” where a character loses (or almost loses) his pants during an altercation. This scene inspired future comedy gags showing drifters and tramps losing their pants to dogs chasing them. “The Oath of the Sword” (1914)                                                                        A three-reel silent drama, "The Oath of the Sword" depicts the tragic story of two young lovers separated by an ocean. Masao follows his ambitions, studying abroad at the University of California, Berkeley, while Hisa remains in Japan, caring for her ill father. This earliest known Asian American film production featured Japanese actors playing Japanese characters and was produced by the Los Angeles-based Japanese American Film Company. Made at a time when Hollywood studios were not yet the dominant storytellers of the American film industry, "The Oath of the Sword" highlights the significance of early independent film productions created by and for Asian American communities. James Card, the founding curator at the George Eastman Museum, acquired “The Oath of the Sword” in 1963. The museum made a black and white photochemical preservation in 1980. In 2023, a new preservation reproducing the original tinting was done in collaboration with the Japanese American National Museum, and the film has since become widely admired. “The Maid of McMillan” (1916)Known to be the first student film on record, this whimsical, silent romance film was shot on campus in 1916 by students in the Thyrsus Dramatic Club at Washington University in St. Louis, Missouri. Club members Donald Stewart (Class of 1917) and George D. Bartlett (Class of 1920) wrote the screenplay. The original nitrate print of “The Maid of McMillan” was rediscovered in 1982, and two 16mm prints were made; the original nitrate was likely destroyed at this time. In 2021, with funding from the National Film Preservation Foundation, one of those 16mm prints was scanned at 4k and reprinted onto 35mm helping to secure the film's survival and legacy. “The Lady” (1925)When “The Lady” debuted in theaters in 1925, the silent film era had hit its stride, and this movie represents a powerhouse of artists at their peak. Director Frank Borzage was a well-established expert in drawing out intense expressions of deep emotion and longing in his actors. He did just that with the film's lead actress, Norma Talmadge, also at the height of her career, both in front of and behind the camera. Talmadge produced “The Lady” through her production company and commissioned one of the most prolific screenwriters, Frances Marion, to deliver a heartfelt story of a woman seeking to find the son she had to give up, to protect him from his evil grandfather. “The Lady” was restored by the Library of Congress in 2022. “Sparrows” (1926)As a silent actress, producer and key founder in the creation of the American film industry, Mary Pickford's performance in “Sparrows” represents her ability to master the genre she helped nourish: sentimental melodramas full of adventure and thrills, with dashes of comedy and heartfelt endings. Pickford plays Molly, the eldest orphan held within the swampy squalor of the Deep South, who moves heaven and earth to save the other orphan children from a Dickensian world of forced labor. The film takes some departures from the visual styles found in Pickford's other films, invoking an unusual tone of despair while deploying camera angles and lighting akin to German Expressionist cinema. “Sparrows” was preserved by the Library of Congress in collaboration with the Mary Pickford Company in 2020. “Ten Nights in a Barroom” (1926)                                                                     Featuring an all-Black cast, “Ten Nights in a Barroom” was produced in 1926 by the Colored Players Film Corporation of Philadelphia and is the earliest of only two surviving films made by the company. This silent film is based on the stage melodrama adapted from the 1854 novel “Ten Nights in a Bar-Room and What I Saw There” by Timothy Shay Arthur. Released in 2015 by Kino Lorber as part of the five-disc set “Pioneers of African-American Cinema,” the compilation was produced by the Library of Congress, in association with the British Film Institute, George Eastman Museum, Museum of Modern Art, National Archives, Smithsonian's National Museum of African American History and Culture, Southern Methodist University and the UCLA Film & Television Archive. Preserved by George Eastman Museum. “White Christmas” (1954)                                                           While the chart-topping song "White Christmas" was first performed by Bing Crosby for the 1942 film "Holiday Inn," its composer, Irving Berlin, was later inspired to center the song in the 1954 musical "White Christmas." Crosby, along with Danny Kaye, Rosemary Clooney, Vera-Ellen Rohe and director Michael Curtiz, embedded "White Christmas" in American popular culture as a best-selling single and the top-grossing film of 1954, as well as regular holiday viewing throughout the decades. The story of two World War II veterans-turned-entertainers and a singing sister act preparing a show for a retired general, the film and its grand musical numbers were captured in VistaVision, a widescreen process developed by Paramount Pictures and first used for "White Christmas." “High Society” (1956)                                                                  Often referred to as the last great musical of the Golden Age of Hollywood, “High Society” features an all-star cast including Bing Crosby, Grace Kelly, Frank Sinatra and Louis Armstrong (and his band), along with a memorable score of Cole Porter classics. Set in Newport, Rhode Island, the film showcases the Newport Jazz Festival (established in 1954) and features a remarkable version of Cole Porter's “Now You Has Jazz.” It includes the first big-screen duet by Frank Sinatra and Bing Crosby, singing “Well, Did You Evah?” This was Grace Kelly's last movie before she retired from acting and married the Prince of Monaco; she wore her Cartier engagement ring while filming. “Brooklyn Bridge” (1981)                                               With “Brooklyn Bridge,” Ken Burns introduced himself to the American public, telling the story of the New York landmark's construction. As with later subjects like the Civil War, jazz and baseball, Burns connects the building of the Brooklyn Bridge to American identity, values and aspirations. Released theatrically and nominated for an Academy Award for Best Documentary Feature, “Brooklyn Bridge” marked the beginning of Burns' influential career in public media*.* More than just a filmmaker, Burns has become a trusted public historian. His storytelling presents facts, but maybe more importantly, invites reflection on what America is, where it's been, and where it's going. His influence is felt not only in classrooms and through public broadcasting, but across generations who see history as something alive and relevant. “Say Amen, Somebody” (1982)George Nierenberg's documentary is a celebration of the historical significance and spiritual power of gospel music. With inspirational music, joyful songs and brilliant singers, the movie focuses on the men and women who pioneered gospel music and strengthened its connections to African American community and religious life. Prior to production, Nierenberg, who is white, spent over a year in African American churches and communities, gaining the trust of the performers. Restored by the Smithsonian's National Museum of African American History and Culture in 2020, the film features archival footage, photographs, stirring performances and reflections from the father of gospel Thomas A. Dorsey and its matron Mother Willie Mae Ford Smith. Nierenberg shows the struggles and sacrifices it takes to make a living in gospel, including criticism endured by women who sought to pursue careers as professional gospel singers while raising their families. “The Thing” (1982)Moody, stark, often funny and always chilling, this science fiction horror classic follows Antarctic scientists who uncover a long-dormant, malevolent extraterrestrial presence. “The Thing” revolutionized horror special effects and offers a brutally honest portrait of the results of paranoia and exhaustion when the unknown becomes inescapable. “The Thing” deftly adapts John W. Campbell's 1938 novella “Who Goes There?” and influenced “Stranger Things” and “Reservoir Dogs.” It remains a tense, thrilling and profoundly unsettling work of cinema. “The Big Chill” (1983)Lawrence Kasdan's best picture-nominated “The Big Chill” offers an intimate portrait of friends reunited after the suicide of one of their own and features actors who defined cinema in the 1980s – Glenn Close, William Hurt, Jo Beth Williams, Kevin Kline, Jeff Goldblum and Meg Tilly. This powerful ensemble portrays American stereotypes of the time – the yuppie, the drug dealer, the TV star – and deftly humanizes them. Through humor, tenderness, honesty and an amazing soundtrack, it shows formerly idealistic Americans making and dealing with the constant compromises of adulthood, while buoying one another with uncompromising love and friendship. “The Karate Kid” (1984)An intimate story about family and friendship, “The Karate Kid” also succeeds as a hero's journey, a sports movie and a teen movie – a feel-good movie, but not without grit. The film offers clearly defined villains, romance and seemingly unachievable goals, but also an elegant character-driven drama that is relatable and touching. A father who has lost his son meets the displaced son of a single mother and teaches him about finding balance and avoiding the pitfalls of violence and revenge. Race and class issues are presented honestly and are dealt with reasonably. Our hero practices a lot, gets frustrated, gets hurt, but still succeeds. It's as American as they come, and it's a classic. “Glory” (1989)“Glory,” described by Leonard Maltin as “one of the finest historical dramas ever made,” portrays a historical account of the 54th Regiment, a unit of African American soldiers who fought for the North in the Civil War. Authorized by the Emancipation Proclamation of 1863, the regiment consisted of an all-Black troop commanded by white officers. Matthew Broderick plays the young colonel who trains the troop, and Denzel Washington (in an Academy Award-winning performance) is among an impressive cast that includes Morgan Freeman, Cary Elwes and Andre Braugher. American Civil War historian James M. McPherson said the film "accomplishes a remarkable feat in sensitizing a lot of today's Black students to the role that their ancestors played in the Civil War in winning their own freedom.” “Philadelphia” (1993)                                                                  “Philadelphia” stars Tom Hanks in one of the first mainstream studio movies to confront the HIV/AIDS crisis. In the film, law partner Andrew Beckett (Hanks) is fired from his firm when they discover that he is gay and has AIDS. He hires personal attorney Joe Miller (Denzel Washington) to help him with litigation against his former employer. Director Jonathan Demme is quoted as saying, “The film is not necessarily just about AIDS, but rather everyone in this country is entitled to justice.” The film won two Oscars: one for Hanks and the other for Bruce Springsteen's original song, “The Streets of Philadelphia.” Through the song's mainstream radio and MTV airplay, it brought the film and its conversation around the HIV/AIDS pandemic to a wider audience. “Before Sunrise” (1995)                                                              Richard Linklater has explored a wide range of narrative storytelling styles while consistently capturing ordinary, everyday American life. However, his innovative use of time as a defining and recurring cinematic tool has become one of his most significant accomplishments. As the first film in his “Before” trilogy – three films, each shot nine years apart – “Before Sunrise” unfolds as one of cinema's most sustained explorations of love and the passage of time, highlighting the human experience through chance encounters and conversation. With his critically acclaimed 12-year production of the film “Boyhood” (2014) and a new 20-year planned production underway, his unique use of the medium of film to demonstrate time passing demonstrates an unprecedented investment in actors and narrative storytelling. “Clueless” (1995)                                                             A satire, comedy and loose Jane Austen literary adaptation dressed in teen movie designer clothing, “Clueless,” directed by Amy Heckerling, rewards both the casual and hyper-analytical viewer. It's impossible to miss its peak-1990s colorful, high-energy, soundtrack-focused on-screen dynamism, and repeated viewings reveal its unpretentiously presented and extraordinarily layered and biting social commentary about class, privilege and power structures. Heckerling and the incredible cast never talk down to the audience, creating main characters that viewers root for, despite the obvious digs at the ultrarich. The film centers on Cher (Alicia Silverstone) as a well-intentioned, fashion-obsessed high school student who is convinced she has life figured out. In the age of MTV, the film's popularity launched Paul Rudd's career and Silverstone's iconic-1990s status. The soundtrack, curated by Karyn Rachtman, helped solidify the film as a time capsule of clothing, music, dialogue and teenage life. “The Truman Show” (1998)Before social media and reality television, there was “The Truman Show.” Jim Carrey breaks from his usual comedic roles to star in this dramatic film about a man who, unbeknownst to him, is living his life on a soundstage filmed for a popular reality show. Adopted at birth by the television studio, Truman Burbank (Carrey) grew up in the (fictitious) town of Seahaven Island with his family and friends playing roles (paid actors). Cameras are all over the soundstage and follow his activities 24/7. Almost 30 years since its release, the film continues to be a study in sociology, philosophy and psychology, and has inspired university classes on media influence, the human condition and reality television. “Frida” (2002)Salma Hayek produced and starred in this biopic of Frida Kahlo, adapted from the book “Frida: A Biography of Frida Kahlo” by Hayden Herrera. The film explores Kahlo's rise as an artist in Mexico City and the impact disability and chronic pain from an accident as a young adult had on her life and work. The film centers around her tumultuous and passionate relationships, most significantly with her husband, painter Diego Rivera (Alfred Molina). Directed by Julie Taymor, the film was nominated for six Academy Awards, including Best Actress. It won awards for Best Makeup and Best Original Score for Elliot Goldenthal, who also won a Golden Globe in the same category. “The Hours” (2002)Director Stephen Daldry's “The Hours” weaves the novel “Mrs. Dalloway” into three women's stories of loneliness, depression and suicide. Virginia Woolf, played by Nicole Kidman (who won an Oscar and a Golden Globe for her performance), is working on the novel while struggling with what is now known as bipolar disorder. Laura, played by Julianne Moore (nominated for Best Actress in a Supporting Role), is unfulfilled in her life as a 1950s housewife and mother. Clarissa (played by Meryl Streep) is – like Mrs. Dalloway – planning a party, but for her close friend who is dying of AIDS. The film is based on Michael Cunningham's Pulitzer Prize-winning novel. It earned nine Academy Award nominations, including Best Picture, and won a Golden Globe for Best Picture. “The Incredibles” (2004)                                                 With an all-star cast and memorable soundtrack, this Academy Award-winning Pixar hit uses thrilling action sequences to tell the story of a family trying to live normal lives while hiding their superpowers. For the first time, Pixar hired an outside director, Brad Bird, who drew inspiration from spy films and comic books from the 1960s. The animation team developed a new design element to capture realistic human anatomy, hair, skin and clothing, which Pixar struggled with in early films like “Toy Story.” The film spawned merchandise, video games, Lego sets and more. The sequel, “Incredibles 2,” was also a huge hit, and together, both films generated almost $2 billion at the box office. “The Wrecking Crew” (2008)                                                     “The Wrecking Crew” is a documentary that showcases a group of Los Angeles studio musicians who played on many hit songs and albums of the 1960s and early 1970s, including “California Dreamin',” “The Beat Goes On,” “You've Lost That Lovin' Feeling” and “These Boots Are Made for Walkin'.” Through interviews, music, footage and his own narration, director Denny Tedesco reveals how the Wrecking Crew members – including his father, guitarist Tommy Tedesco – were the unsung heroes of some of America's most famous songs. Production for the film began in 1996, and the film was completed in 2008. Due to the high cost of song licenses, the official release was delayed until 2015, when a successful Kickstarter campaign raised over $300,000 to pay for the music rights. “Inception” (2010)                                                                         Writer and director Christopher Nolan once again challenges audiences with multiple interconnected narrative layers while delivering thrilling action sequences and stunning visual effects. “Inception” asks the question, “Can you alter a person's thoughts by manipulating their dreams?” Taking almost 10 years to write, the film was praised for its aesthetic significance and Nolan's ability to create scenes using cameras rather than computer-generated imagery. A metaphysical heist film with an emotional core driven by grief and guilt, “Inception” offers a meditation on how dreams influence identity, and it resonates deeply in an age of digital simulation, blurred realities and uncertainty. The film earned $830 million at the box office and won four Academy Awards. “The Loving Story” (2011)Nancy Buirski's acclaimed documentary gives an in-depth and deeply personal look at the true story of Richard Loving (a white man) and Mildred Loving (a Black and Native American woman), who were forbidden by law to marry in the state of Virginia in the 1960s. Their Supreme Court case, Loving vs. Virginia, was one of the most significant in history, and paved the way for future multiracial couples to marry. The movie captures the immense challenges the Lovings faced to keep their family and marriage together, through a combination of 16mm footage, personal photographs, accounts from their lawyers and family members, and audio from the Supreme Court oral arguments. “The Grand Budapest Hotel” (2014)“The Grand Budapest Hotel” stands as one of Wes Anderson's most successful films and demonstrates his own brand of unique craftsmanship, resulting in a visually striking and emotionally resonant story. As one of the most stylistically distinctive American filmmakers of the last half-century, Anderson uses historically accurate color and architecture to paint scenes to elicit nostalgia and longing from audiences, while at the same time weaving in political and social upheaval into the film. The film is an example of Anderson as a unique artist who uses whimsy, melancholy, innovative storytelling and a great deal of historical research, which is on display in this visually rich gem of a movie. Find out more at https://registry-a-podcast.pinecast.co

Where do personal opinions end and the forcing of someone else's truth begin? And who decides where that line should be drawn? It seems the fine art of constructive conversation has lost its luster. When discussing diverging theories or opposing views, why do we now seem to feel someone is trying to convince us they have the answer? And possibly even change our mind on our belief or opinion to more closely align to theirs. Debate has been a healthy part of education for generations. Debate clubs and, even competitive debate events, were common on most high school and college campuses. Is it still possible to walk away from a healthy exchange of opposing view points and maintain the same opinion you entered with? Authenticity and neutrality (and other Divine Feminine attributes) are critical to this type of debate and that is what we will discuss in this episode. It is now possible to book 1:1 mediumship, energy healing, QHHT, or numerology sessions with your favorite Ohm-g Podcast Host.Check out everyone's offers here: https://ohm-gpodcast.com/products Check out our memberships!!  https://www.buymeacoffee.com/ohmgpodcastllc/membership  Check us out on Facebook @ohmgpodcast and Instagram @ohmg_podcast.  Send us an email at support@ohm-gpodcast.com to get on our mailing list for monthly virtual and live events. We look forward to connecting with you. If you enjoy our content and want to support us please go to your favorite podcast platform and leave us a 5-star review. We will catch you on the next episode! Learn more about your ad choices. Visit megaphone.fm/adchoices

AP correspondent Ed Donahue reports on an honor for some classic movies.

Caleb and Eric are back in the bar for another bonus episode as the two get lost in conversation discussing a variety of topics, including the Dune novels and adaptations, as well as the films of Christopher Nolan. They also dig deep into the The Dark Knight films, after they both revisited the trilogy.   This episode was recorded on Dec. 31st, 2024.   And follow Caleb and Isaac on their sister feed, Bending the Elements:   Bending the Elements: An Avatar Podcast | The Novice Elitists (podbean.com)   And Join Caleb, Isaac & Eric on the Romulan's Bearing Gifts Podcast: Romulans Bearing Gifts: The Star Trek Podcast | Libsyn Directory   And their other movie podcast, Prognosis Negative: Doctor Who: Prognosis Negative   You can also find Isaac & Eric as co-hosts of The Best Picture Podcast: The Best Picture Podcast | Libsyn Directory  

Nick and the mono moto James Powell break down their inception heist and "dream" team! Also the MOTO movie trailer and Pipe Dreams by Choice! Enjoy!

What do Inception, Tim Robinson, Luis Buñuel, Woody Allen, and Chantal Akerman have in common? They all get compared to Hong Sang-soo's On the Beach at Night Alone in this episode of Deep Cut! Listen on as we unpack the movie that's loosely about Hong's and Kim Min-hee's career-changing relationship, digest more awkward dinner scenes, and discuss the merits of going to the beach in the winter.Links:Scold your friends for being inauthentic at our FREE patreon, discord server, and our socials @ www.deepcutpod.com Timestamps:00:00 Intro02:31 General reactions08:00 Context / Hong+Kim relationship14:32 SG public opinion survey18:04 Hong Sang-soo's 'Inception'20:08 Hong Sang-soo / Tim Robinson21:43 Hong / Buñuel25:45 Hong not planning era27:17 Ryan Swen Notarized and dinner scene33:16 What to do with this movie?38:13 Hong's Chantal Akerman41:10 Hong as Woody Allen

Iniziamo a pralare dei mitici libricini, e poi si passa alla musica, alle esperienze fatte e ovviamente... cibo! Trascrizione interattiva e Vocab Helper Support Easy Italian and get interactive transcripts, live vocabulary and bonus content: easyitalian.fm/membership Come scaricare la trascrizione Apri l'episodio in Transcript Player Scarica come HTML Scarica come PDF Vocabolario Scarica come text file Scarica come text file with semicolons (per app che utilizzano flashcard) Iscriviti usando il tuo feed RSS privatoper vedere la trascrizione e il vocab helper subito sulla tua applicazione per ascoltare i podcast sul tuo cellulare. Note dell'episodio The Most Beautiful Italian Word (according to Italians) - https://www.youtube.com/watch?v=rbKSArNUR_4 Con Fabio oggi parliamo della sua esperienza all'estero e poi del suo ritorno in Italia. Come è andata? Dove tornerebbe? Ma non solo, parliamo di libri, di musica e cibo. E di seguito per chi vuole sapere di più di Fabio: Tutti i link utili per sapere di più di Fabio: https://fabiocerpelloni.com/ Any Language You Want - https://a.co/d/f7dp9fU Tiny Book Author (Amazon link) - https://a.co/d/4tSF01G Trascrizione Raffaele: [0:23] Bello, eh, questo stacco di batteria? Bellissimo! Matteo: [0:27] E buongiorno a tutti e due, oggi siamo in tre già dall'inizio. Raffaele: [0:33] Siamo di nuovo in tre. ricordiamo per chi si fosse perso la produttiva precedente, andatevela a recuperare. E questo spiegherà perché in questa puntata siamo in tre. Matteo, ma dove eravamo rimasti? Matteo: [0:53] Beh, e dove eravamo rimasti? Raffaele: [0:55] Io lo chiedo a te e tu lo chiedi a me? Matteo: [0:58] Non lo so. Raffaele: [0:59] Eravamo rimasti alle lingue, no? Abbiamo parlato quasi per tutta la puntata precedente di lingue. In quest'altra puntata, con il nostro Fabio, proviamo a trattare altri argomenti. Però usiamo le lingue come ponte. E quindi io ho subito una domanda per te, Fabio. Ovvero, sei italiano, ma scrivi libri e anche articoli, di questo poi magari ne parliamo nell'after show, in inglese. Come hai raggiunto questo livello di fluency si dice in inglese, di competenza chiamiamola in italiano? Ma anche di fiducia in se stessi, perché in tanti non scriverebbero un libro nella loro lingua madre. Tu invece scrivi libri in una lingua che non è la tua lingua madre. Fabio: [1:42] Ok. Quindi... buongiorno a tutti. A me è sempre piaciuto scrivere, devo dire, anche quando ero alle scuole superiori superiori, scuole superiori e medie. I miei temi che ci facevano fare... diciamo che sono sempre andato bene nei temi. Mi piaceva scrivere, mi piace esprimermi in forma scritta. Formandomi come insegnante ho dovuto scrivere parecchio in inglese, perché c'erano i vari... adesso non so come si può dire... assignments. I vari... (Compiti.) Compiti, esatto, compiti o comunque test dove dovevi produrre un testo scritto. E già questa cosa a me piaceva, perché poi anche scrivendo, vedi, ti vengono in mente cose, ti viene in mente... dubbi. Ci va la virgola, ci va questa proposizione, quell'altra, come esprimo quest'idea, quali parole uso? Quindi è un continuo scoprire quando scrivi. Sia idee che hai, ma anche a livello di forma, quindi di capire come strutturare una frase, un testo, un paragrafo. È una cosa che mi è sempre piaciuta, la faccio anche nella mia attività da libero professionista. Come ho raggiunto questo livello? Scrivendo, ricevendo anche un feedback, un riscontro. Da me stesso più che altro, perché poi sono sempre stato io quello che andava a vedere se il testo andava bene, se non andava bene. Adesso con l'intelligenza artificiale è tutto molto più semplice, quindi per qualcuno che vuole scrivere hai un assistente diretto che ti può dire "guarda, qua ci va questo, perché bla bla bla..." Poi sull'intelligenza artificiale possiamo farci un... Matteo: [3:51] Una serie più che una puntata. Fabio: [3:55] Comunque sì, addirittura adesso, non per dire, però arrivo a scrivere in inglese e mi sono quasi dimenticato le regole di punteggiatura dell'italiano. Perché le virgole in italiano, ho sempre il dubbio dove vanno, come vanno, se ci vanno. Mentre in inglese, scrivendo solo in inglese, perché poi scrivo solo in inglese, sono molto più sicuro di quello che metto sulla pagina. Raffaele: [4:26] C'è sempre interferenza. Ma i tuoi libri hanno una caratteristica, qual è questa caratteristica? Fabio: [4:33] Che sono corti. Sono corti. Appunto io li chiamo tiny books, libricini, perché il mio primo libro, Any Language You Want, in realtà è stato quasi una sorpresa per me. Perché io non ho mai pensato di scrivere un libro, in realtà. Io ho sempre visto questa cosa dello scrivere un libro, pubblicare un libro come un obiettivo impossibile. Scrivere un libro? Quante cose devi dire? Come fai a pubblicarlo? E poi cosa scrivo? Questo era quello che pensavo. Poi ho letto un libricino di business che si chiama Anything You Want di Derek Sivers, che era, che è, è stato un imprenditore americano, dove lui semplicemente aveva pubblicato questo libricino. Ogni pagina, su ogni pagina, ogni due facciate raccontava una storia di come aveva costruito il suo business. Ed era un libricino di meno di 100 pagine, molto piccolo. Ho detto "wow, cavolo, 'sto libro qua ha detto molto di più, ho trovato molto di più in questo libro che in tanti altri che ho letto. Perché comunque leggo parecchio. E ho detto "Quasi quasi lo scrivo anch'io un libro così", un libro corto, storie corte, iniziano e finiscono, ogni capitolo è una storiella. Storiella vera poi, perché non scrivo mai di... cioè non scrivo romanzi o storie inventate. E allora ho detto "Wow, allora ci provo anch'io, quindi non devo pubblicare 300 pagine per diventare un autore." [È] così che ho scritto poi il mio primo e il mio secondo. Che poi il mio secondo è "come scrivere un libricino". (Un metalibro.) Un metalibro, esatto, sempre storie mie. Parlo sempre... cioè parlo sempre di me, non perché sono egocentrico ma perché vorrei far vedere quello che può funzionare. L'ho fatto col primo con language learning, e l'ho fatto col secondo con il self publishing, lo scrivere. Raffaele: [6:53] C'è un grande vantaggio dei libricini, che ho sentito tra l'altro da, come chiamarlo, da un linguista e esperto anche di business che dovresti conoscere, ma ne parliamo nell'after show. Che dice che il vantaggio dei libri piccolini, è quello che ti spingono poi all'azione più facilmente. Finisci il libro presto e sei subito portato all'azione. Mentre invece libri grandi tendono ad addormentarti per certi versi. Quindi leggi il libro, ma poi alla fine del libro ti sei dimenticato di farci qualcosa con il libro. Fabio: [7:26] Sì, ne ho letto uno, appunto, anzi più di uno in realtà, dove è un continuo dire sempre la stessa cosa, sempre il solito, due o tre concetti, i soliti due o tre concetti, e tu dici "ma ok, non mi serve un altro esempio di questo concetto". E a volte questa cosa è un po' dovuta anche all'industria del publishing che richiede poi... l'autore... "o scrivi 250 pagine oppure non possiamo pubblicarti perché magari il libro non si vede sullo scaffale". Mentre un libro piccolo è più funzionale, ti dà quello che ti dà, quello che ti deve dare e basta: è inutile diluire o comunque dilungarsi, ecco. Raffaele: [8:21] Matteo, hai sentito nella puntata precedente? Fabio ha vissuto a Londra. Matteo: [8:27] Fabio ha vissuto a Londra, esattamente, ma questo lo dovevi sentire tu, che sei il Londra lover... Raffaele: [8:35] Eh vabbè, ma ci hai vissuto più tu che io però, è un'altra cosa che ci accomuna. Matteo: [8:40] Ma io prima di andare a Londra, perché poi andiamo anche a Londra, volevo chiedere a proposito dei due libricini: ma c'è un due senza tre in arrivo? Fabio: [8:49] C'è, c'è il 3. C'è il 3, è ancora un'idea, c'è un elenco di cose che voglio mettere dentro. Però ci sarà, io voglio continuare a farlo, sì, sì. Matteo: [9:04] A quel punto la seconda domanda è: ma è per caso su Any Martial Art You Want? Fabio: [9:12] No, non è su martial arts. Mia cognata mi ha detto "ah, hai scritto un secondo libro su come scrivere il primo libro, quindi il tuo terzo cos'è? Scrivi un terzo libro su come scrivere un secondo libro? Cos'è, Inception?" No, non è Inception, è sempre un libro di storie. Allora, ho un po' di idee, però quella che più mi piace, perché poi sempre parlando poi di language learning, di apprendimento linguistico: se fai qualcosa che hai... passione, per la quale passione o comunque qualcosa che ti entusiasma, poi la cosa ti riesce meglio. E quindi sto pensando a un libro di storie mie personali, sempre, ovviamente, però con un messaggio più universale. Non ho ancora ben chiaro il progetto, però questa cosa a me entusiasma molto. Anche perché io nel podcast che avevo aperto nel 2021, tutti [i miei primi] episodi erano storie mie personali, che utilizzavo per insegnare inglese. Prendere quei contenuti, aggiustarli e scrivere una storia, come testo scritto, e racchiudere il tutto in un libro poi... non so, questo qua è un progetto che mi ispira molto. Quindi diciamo che [all']80% questo è il terzo libro. Raffaele: [10:43] In bocca al lupo. Fabio: [10:44] Grazie. Raffaele: [10:46] "Crepi" si dice! No "grazie"! Fabio: [10:47] Crepi, crepi, infatti! Matteo: [10:48] Sei vegetariano? Fabio: [10:50] Io? Sono vegano. Matteo: [10:53] Ah vedi allora per questo non ha detto "crepi"! Matteo: [10:56] Ce li abbiamo tutti e tre allora: l'onnivoro, il vegetariano e il vegano. Matteo: [11:00] Posso fare una domanda che vorrei fare poi a tutti i nostri futuri ospiti, per fare poi una raccolta? Ci dai una ricetta? Fabio: [11:13] Una ricetta vegana? Matteo: [11:15] Una ricetta. Una ricetta che ti piace, una ricetta ovviamente che ti piace e che mangeresti, quindi se sei vegano, vegana. Raffaele: [11:22] La domanda più difficile delle due puntate. Fabio: [11:23] Questa è difficile sì! Allora, la ricetta: riso saltato con le verdure. E come si fa? Prendi il riso, lo salti e ci metti le verdure. Matteo: [11:41] Andiamo un po' più... almeno dicci le verdure. Fabio: [11:46] Ci metti il peperone, ci metti la carota, il broccolo, salti tutto, un po' di salsa di soia, riso integrale ai minerali: è più nutriente. E lo salto. Guarda, questo è come mi ha conquistato la mia compagna, con un riso saltato con le verdure. Raffaele: [12:07] Ma mi sembra una ricetta più asiatica che non italiana. Fabio: [12:10] Sì, perché sia io che la mia compagna siamo innamorati del sud-est asiatico, ci abbiamo viaggiato per cinque mesi e mezzo quando eravamo di ritorno dalla Nuova Zelanda. Così, con lo zainetto, senza... abbiamo pianificato i primi due giorni a Bali e poi il resto non sapevamo in realtà, non avevamo un piano. Avevamo un piano che stavamo in giro con i soldi che avevamo guadagnato in Nuova Zelanda a farci un mega viaggio, con un budget ristretto comunque. Non è che abbiamo fatto hotel 5 stelle, resorts... nulla di tutto ciò. Ma, con l'Asia sì, soprattutto io col Vietnam: mi piace molto. Raffaele: [13:02] Fantastico. Fabio, ti devo interrompere a questo punto, perché io prima ho lanciato l'amo per Londra ma non avete abboccato. Poi tu adesso hai detto che sei stato in Nuova Zelanda. Ma hai vissuto in più posti in giro per il mondo. Ti va di raccontarci un po' di questi tuoi... non viaggi soltanto, ma proprio di esperienze di vita all'estero? Fabio: [13:21] Allora, io sono partito per Londra nel 2011, lavoravo per Pret a Manger, che è tipo Starbucks. E ho fatto lì i primi... facciamo un anno e mezzo. Un anno e mezzo. Ero con la mia ex compagna, a Londra esperienza formativa, però esperienza che mi ha tirato fuori dal guscio, dalla protezione di mamma e papà. Ero lì facendo un lavoro per il quale non avevo studiato, perché facevo panini e zuppe. E il mio inglese lì è migliorato, perché comunque stando a contatto, parlando con i miei colleghi, sono migliorato. Poi con la mia compagna dell'epoca ci siamo lasciati, e ho detto "dove vado?" E pensavo "vado in Canada, adesso me ne vado in Canada, voglio comunque andare in un altro paese dove parlano l'inglese, così vado avanti, imparo sempre di più, diventerò insegnante". Avevo visto che c'era qualcosa qui col visto che non poteva funzionare, ho detto "no, sai dove vado? Andiamo da un'altra parte del mondo!" E sono andato in Australia. In Australia sono atterrato ad Adelaide e l'Australia per me è stato il mio... ancora lo ricordo come i miei due anni più belli dei miei 38 anni. Perché ho conosciuto un sacco di persone, ho visto un sacco di bei posti, poi a me piace il deserto, ho conosciuto la mia compagna attuale, che è quella che mi ha conquistato col riso con le verdure. In realtà l'avevo conosciuta in Italia perché, adesso la storia un po' si complica, in Italia io insegnavo così amatorialmente lezioni di batteria e lei era una mia studentessa. Matteo: [15:21] Oh, quindi legati dall'amore non solo per il sud-est asiatico, ma anche per la batteria e la musica. Fabio: [15:33] Sì, esatto. Una settimana prima che io partissi per l'Australia, io e Aloha, che è la mia compagna, abbiamo iniziato la relazione. Quindi è stata davvero dura all'inizio, perché in Australia io all'inizio ero da solo i primi quattro mesi. Lei poi mi fece la sorpresa di dire "vengo giù anch'io". Ma io ero io ero cotto, innamorato perso, cotto. Quindi i primi quattro mesi a distanza, in realtà quelli sono stati più brutti secondo me. Raffaele: [16:04] E che distanza poi, non è esattamente Napoli-Milano. Fabio: [16:07] Esatto, esatto, poi dall'Australia lei mi ha raggiunto, abbiamo fatto tutto quello che abbiamo fatto, perché abbiamo comprato un van, abbiamo girato, lavoravamo nelle farm, nelle piantagioni e abbiamo fatto lì quei due anni. E da lì poi ho detto "ma dove andiamo? Il visto è scaduto!" Il paese più vicino è la Nuova Zelanda, facilissimo da entrarci per candidarsi per il visto, l'abbiamo preso ed è lì poi che io ho preso la mia prima certificazione per diventare insegnante, ho iniziato a insegnare nelle scuole di lingua ad Oakland, in una scuola di lingua inglese ad Oakland, ho fatto tutta la mia prima esperienza. E la mia... Aloha lavorava in pasticceria, perché lei... no pasticceria, era una... vabbè comunque lavorava in un posto dove facevano da mangiare. E abbiamo fatto due anni lì, poi prima di tornare in Italia appunto abbiamo detto "andiamo a vedere l'Asia". Perché poi in Australia e in Nuova Zelanda incontravamo tante persone che dicevano "sono stato in Vietnam, abbiamo visto la Malesia, e la Cambogia, di qua. di là..." Tante persone in viaggio, sentivamo che avevano appunto avuto queste esperienze. Matteo: [17:27] E quindi dicevate "ma dovremmo vederla anche noi". Giusto. Fabio: [17:31] Esatto. Quindi prima di tornare facciamo anche noi i backpackers, come già lo facevamo, e andiamo lì. Abbiamo fatto appunto questi cinque mesi e mezzo vagando con lo zainetto, bellissimo. Io vorrei andare lì in pensione. Raffaele: [17:54] E invece sei tornato in Italia? Matteo: [17:56] Infatti sì, stavo per dire, vi siete stufati di girare? Fabio: [18:00] Beh, più che stufati,sapevamo l'inizio del viaggio e la fine. In realtà siamo tornati perché il visto della Nuova Zelanda era scaduto, in Indonesia, [nel] sud-est asiatico non potevamo stare. Anche perché i servizi... noi ci lamentiamo magari dell'Italia magari, però ci sono posti dove i servizi sono molto scadenti. E quindi siamo tornati, siamo tornati. Io poi ho iniziato a lavorare al British Council. Matteo: [18:39] Lavori ancora? No, non lavori [più] al British Council. Fabio: [18:43] Al British Council sono... come si dice... collaboratore, insomma, freelance. Raffaele: [18:49] Com'è tornare in Italia dopo aver vissuto diversi anni all'estero? Fabio: [18:54] Ma all'inizio, quando tornavo, perché ogni tanto tornavamo, io non vedevo poi l'ora di andare via, perché comunque la mia routine era dall'altra parte, avevo i miei progetti in Australia, Nuova Zelanda. Poi quando siamo tornati in realtà non è stato poi così scioccante o che so, deprimente o magari... È stata un'esperienza normale, abbiamo preso una casa in affitto, poi abbiamo comprato casa. Shock culturale non c'è stato in realtà, perché fondamentalmente siamo italiani quindi sapevamo cosa trovavamo. In realtà è stato anche... dopo aver visto certe cose fuori dall'Italia, in realtà ci siamo resi conto che in realtà ci sono tante cose che funzionano nel nostro paese. Però siccome siamo qui, non te ne accorgi poi. Te ne accorgi quando non le hai. Raffaele: [19:59] Le dai per scontate. Fabio: [20:01] Esatto, le dai per scontate. E quindi è stato anche un po'... mi ha fatto apprezzare in realtà di più l'Italia, il tornare. Matteo: [20:10] Questo è interessante, molto interessante. Fabio: [20:13] Eh bisogna... per quello che quando si dice "viaggiare ti apre gli occhi, viaggiare..." cioè non è un cliché, è così. Logico: se viaggi... scusa. Matteo: [20:23] No no no, continua. Fabio: [20:24] No, dico, se viaggi in paesi magari dove la cultura è identica... però neanche tanto perché, per esempio in Australia abbiamo avuto un paio di episodi dove ci siamo trovati davvero male. Ora senza... io l'Australia la porto al top, numero uno. Qua non potete vedere, ma ho bandiere australiane appese, ho un didgeridoo, insomma un po' di cose. Però ci siamo trovati male un paio di volte con l'assistenza sanitaria, e ci siamo detti "cavolo, ma in Italia ci lamentiamo però sta cosa è inconcepibile, non ci è mai successa prima". Quindi adesso non voglio dire che il sistema, come si dice... il sistema healthcare dell'Australia non funziona, anzi. Però [ci sono] state un paio di cose che ho detto "mah, le cose..." Anche a Londra, ma in realtà ovunque, in realtà ovunque: trovi cose che qua non hai e viceversa. Matteo: [21:23] Sì, il fatto del viaggiare che ti apre a volte... automaticamente pensiamo sempre verso... guardando noi verso una direzione, guardiamo verso il luogo dove arriviamo e pensiamo sempre che l'apertura è verso nuove cose. Ma a volte, come spesso succede, ci si accorge che anche dietro di noi era una situazione diversa da come la vedevamo. Fabio: [21:53] Esatto. In Cambogia abbiamo visto persone in motorino con la flebo. Raffaele: [22:03] Cosa? Fabio: [22:04] Sì, perché la storia... la Cambogia ha avuto questo genocidio davvero deprimente negli anni '70 con Pol Pot, questo dittatore che aveva fatto fuori 3 milioni di cambogiani, soprattutto gli intellettuali. Cioè se avevi gli occhiali eri considerato intellettuale e quindi dovevi essere fatto fuori. E quindi c'è tutta una sorta di... non ci sono certe figure, tipo medici, ingegneri, intellettuali, che possono portare avanti il paese. Si stanno riprendendo... Questo me la raccontava una volontaria australiana che era lì, quindi magari da verificare questa cosa, però questo è quello che mi aveva detto lei. E quindi manca tutta quella fetta di società, di figure professionali lì, e sono quindi praticamente tutti contadini, pescatori, lavoranti, insomma nel settore agricolo. E la sanità? La sanità lì infatti eravamo in una situazione dove "cavolo, se qua cadiamo in motorino che si fa? Se abbiamo un incidente, se succede qualcosa?" Qua sei... devi poi andare in giro con la flebo attaccata in motorino, come ne abbiamo visti tanti. Persone in motorino con la flebo che uscivano da questa clinica, poi dici "vabbè..." Raffaele: [23:39] Pazzesco, molto Interessante però. Fabio, però il nostro tempo qui nella puntata aperta a tutti è finito. Quindi io ti faccio un'ultima domanda brevissima: come possono trovarti i nostri ascoltatori? Fabio: [23:51] Allora possono trovarmi sul mio sito fabiocerpelloni.com o mi potete trovare su YouTube, Fabio Cerpelloni. Vi mando lì. Ah scusate, un terzo canale è su Substack, che ho ed è chiamato Better Writers Matteo: [24:15] Benissimo. Allora inseriremo tutti questi link nelle show notes, così tutti quanti potete andare a fare un po' di stalking. Raffaele: [24:26] Matteo, però c'è un problema: io ho ancora delle domande per Fabio. Matteo: [24:29] E non c'è problema, in realtà noi abbiamo ancora un po' di tempo con Fabio e lo andiamo a passare di là. Io già so che Raffaele prende il caffè, Fabio la pizza, ho preparato tutto nella nostra saletta dell'aftershow. Quindi salutiamo tutti quanti e andiamo a mangiare pizza e bere caffè. Fabio: [24:53] Bel piano! Raffaele: [24:54] Ciao a tutti. Matteo: [24:56] Ciao. Fabio: [24:57] Ciao ciao!

In Episode 507 seht ihr den Test eines Stevens E-Inception AM 7.7.2 ACT und wir stellen euch einen leichten City Backpack von Apidura vor. Das gewohnte Gewinnspiel wartet ebenfalls auf euch.

Sam Mills is an innovative and wildly creative writer, who has always wanted to publish books. She's written non-fiction books, 'Uneven', 'The Fragments of my Father', and others, also crossover, genre-bending novels like 'Blackout', and 'The Quiddity of Will Self'. She's written for The Guardian, The Independent, the New Humanist and more, along with running 'Dodo Ink', a small indie press that publishes daring and difficult literary fiction.Her new novel is 'The Watermark'. Inspired by 'Inception', it tells the story of Rachel and Jaime, who become trapped by Augustus Fate, a once-lauded novelist, in his latest creation. They must find their way back home through a labyrinthine network of novels, flitting from a harsh Russian Winter, to Victorian Oxford, from a utopian metropolis to an AI-dominated future.We discuss why she likes the romance of being a writer, and that helps her deal with the instability of it. Also, you can hear how she creeps close to the line of burnout, yet knows exactly when to pull back. Sam shares pen opinions, and how she's developed the cafe-writer's sense of when to leave.Get a copy of the book at uk.bookshop.org/shop/writersroutineThis week's episode is sponsored by the 'Quick Books Reviews Podcast', take a listen wherever you get your shows.Support 'Writer's Routine' -patreon.com/writersroutineko-fi.com/writersroutineSubscribe to the newsletter - writersroutine.substack.com@writerspodwritersroutine.com Hosted on Acast. See acast.com/privacy for more information.

Adam was featured on the Mind Explorations Podcast hosted by Astrid Harms, where they discussed open loops, nested loops, the movie Inception, and the use of metaphors and symbols to access levels of disassociation. The podcast can be found here: https://www.youtube.com/channel/UCUEqrIkeZSUELfsirJG0AVwAstrid's site is here: https://www.soulessense.co/Adam's 1 Day course on Nested Loops Mastery in Vegas is here: https://2026.htlive.net/cox-nested-loops

Amazingly, this channel turned 10 years old this week! Dan Bardell, Dan Rolinson and Matt Lynch reunite to talk about the channel's Inception, the early days and the change from fan media to actually working in the media, as well as the rebrand to "1874".

2602 Behind the Scenes with JAWS – From Inception To Next Gen (Jan. 14, 2026) Show Notes Transcript Glen Gordon, long the key developer behind JAWS for Windows, continues his story in part two of our interview. Hosts Nancy and Peter Torpey talk with Glen about his early work developing JAWS, major changes in screen … Continue reading 2602 Behind the Scenes with JAWS – From Inception To Next Gen (Jan. 14, 2026) →

In Inception, a skilled thief who steals corporate secrets through dream-sharing technology is offered a chance at redemption by performing the seemingly impossible task of planting an idea into a target's subconscious rather than extracting it.Inception was released on July 16, 2010, and stars Leonardo DiCaprio, Ken Watanabe, Joseph Gordon-Levitt, Marion Cotillard, Elliot Page, Tom Hardy, Cillian Murphy, Tom Berenger, and Michael Caine, and was directed by Christopher Nolan.Links:Interview with Josh Safdie on Marty Supreme, (The Big Picture) The Inception Sound EVERYWHERE NOWRecommendations:Tim: Paprika (Kon, 2006)Tay: Looper (Johnson, 2012)Follow: SSC on Instagram Tim on Letterboxd

This week, Laura and Hugo dive into films chosen by you. Drawing from our LAB Suggestions programme, where audiences select their favourite films to be shown on the big screen in Amsterdam, they share their standout picks. From the chilling plausibility of Children of Men to a friendly (but pointed) debate over whether Christopher Nolan's Inception owes more than a little to Satoshi Kon's Paprika.Along the way, they share tidbits from conversations with Colin Farrell and Alfonso Cuarón, plus a voice note from one of our listeners whose pick, The NeverEnding Story, is heading to the big screen.Get tickets to LAB Suggestions @ LAB111Get tickets to Hamnet @ LAB111Get tickets to The Actor's Archive: Jane Fonda @ LAB111Get tickets to Fight The Power: Goodbye Julia @ LAB111

In this episode of Hiring to Firing, hosts Tracey Diamond and Emily Schifter use the film Inception as a springboard to unpack the very real world of corporate espionage and trade secret theft. Joined by Troutman Pepper Locke partner and former Hiring to Firing co-host Evan Gibbs, co-chair of the firm's Corporate Espionage Response Team, they examine how insider threats arise in the workplace, the surge in trade secret litigation, and the high‑stakes emergency injunctions that can follow. The conversation offers practical guidance on onboarding and offboarding employees, tightening data security, and training managers to spot red flags before confidential information walks out the door. Tune in to learn how to protect your organization from data theft and avoid becoming the unwitting beneficiary — or victim — of corporate espionage.For a deeper dive into trade secret damages, attend the firm's webinar "Damages Decoded: How Receiving and Losing Trade Secrets Can Cost Your Company Millions" taking place on January 21. Click here to register.Troutman Pepper Locke's Labor + Employment Practice Group provides comprehensive thought leadership through various channels. We regularly issue advisories that offer timely insights into the evolving employment law landscape, and maintain the HiringToFiring.Law Blog, a resource spotlighting best practices for employers. Our Hiring to Firing Podcast, hosted by Tracey Diamond and Emily Schifter, delves into pressing labor and employment law topics, drawing unique parallels from pop culture, hit shows, and movies. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Has anyone ever planted a seed of doubt in your mind? In this week's episode I explain the dangers of “Dark Psychology” and how to mitigate it by exposing the manipulative tactics that individuals use to try and control us. Also, I discuss the importance of surrounding yourself with people who align with your vision, dreams, goals, and mindset. As we enter the new year, may we be mindful of how much the MIND controls our actions, behaviors , and ultimately shapes our reality. Check out Speaking Frankly Podcast on Spotify and SUBSCRIBE! Also, check out my website www.janayfrank.com to learn more about my business Speaking Frankly Coaching where I help my clients navigate Love, Life, Pain, and everything in between. Thank you for listening and SPEAK FRANKLY ALWAYS!

Tom Trowbridge is an entrepreneur and business builder; he is a co-founder of Fluence Labs, and Hedera Hashgraph (HBAR) where he was President from Inception. He hosts the DePIN Day conference series and the DePINed podcast and is an investor in leading DePIN projects and crypto funds. Tom is an advocate for decentralized systems and distributed ledger/blockchain technology and believes these open source tools provide the best opportunity to build fairer, more transparent, and higher-functioning societies, government, and business ecosystems. He is passionate about driving education regarding blockchain, Bitcoin and the great promise of distributed systems. In this conversation, we discuss:- The early days of HBAR - Decentralized storage/compute - Difference between decentralized compute vs centralized cloud - DePIN - DeAI - Crypto economic models - Fiat-linked rewards address crypto reward volatility - Staking models for cloud DePINs - DePIN offers a new, sustainable model for value creation Fluence LabsX: @fluence_projectWebsite: www.fluence.networkTelegram: t.me/fluence_projectTom TrowbridgeX: @TheTomTrowLinkedIn: Tom Trowbridge---------------------------------------------------------------------------------This episode is brought to you by PrimeXBT.PrimeXBT offers a robust trading system for both beginners and professional traders that demand highly reliable market data and performance. Traders of all experience levels can easily design and customize layouts and widgets to best fit their trading style. PrimeXBT is always offering innovative products and professional trading conditions to all customers.  PrimeXBT is running an exclusive promotion for listeners of the podcast. After making your first deposit, 50% of that first deposit will be credited to your account as a bonus that can be used as additional collateral to open positions. Code: CRYPTONEWS50 This promotion is available for a month after activation. Click the link below: PrimeXBT x CRYPTONEWS50FollowApple PodcastsSpotifyAmazon MusicRSS FeedSee All

Time Stamps:3:15 - Epstein Files Photo Dump 2.025:43 - PSYOP Inception30:50 - The 'Seven-Fold Way'34:17 - The McMartin Preschool Tunnels39:54 - Trump's Epstein Reaction45:39 - (First Call-in) - JD Vance 2028 Goyslop51:08 - In-Q-Tel Systematics PROMIS software scandal & the Iran Contra Playbook56:58 - Cabot Phillips PizzaGate Connection1:11:53 - Postmortem (Christmas Edition) Call-in Portion1:17:25 - Man Charged with Inciting Antisemitic Hatred Online1:30:38 - White House East Wing Subterranean A.I. Data Center1:35:33 - Pedophile Peter Thiel1:41:53 - Candace vs. AJ KayfabeVenture into the shadowy realms of power and secrecy with Already Dead, where hosts Jose Galison (@towergangjose) and Austin Picard (@theatrethugawp) dissect the intricate web of conspiracy, covert operations, and the underlying political machinations that might just be pulling the strings of our society.What to Expect:Live Listener Interaction: Call in to share your theories, ask burning questions, or discuss personal experiences related to the topics at hand.In-Depth Explorations: Each episode focuses on a different conspiracy or hidden aspect of political history, offering a platform to question and analyze what's often left unsaid.Thought-Provoking Guests: We invite individuals with insider knowledge or those who've taken the red pill to discuss topics that range from the fringe to the forefront of conspiracy culture.Critical Analysis of Current Affairs: We don't just report on events; we interpret them through the lens of parapolitics, looking for patterns and hidden agendas.Join Us: Every Tuesday at 9:30 PM ET, dive into the depths of the unknown with us. Subscribe, participate in our live call-ins, and be part of a community that seeks to understand the world beyond the surface narrative.Disclaimer: This podcast thrives on speculation, hypothesis, and the examination of alternative theories. It's meant to provoke thought and encourage personal research. Not all discussed is proven fact, but rather a call to question, explore, and understand. Warning: For those not ready to challenge their worldview, tread carefully. Once you enter the world of Already Dead, you might find that the truth is often already dead to the uninitiated. Welcome aboard, where curiosity is your guide.Please consider supporting my work- Patreon- https://www.patreon.com/nowayjose2020Only costs $2/month and will get you access to episodes earlier than the public No Way, Jose! Rumble Channel- https://rumble.com/c/c-3379274 No Way, Jose! YouTube Channel- https://youtube.com/channel/UCzyrpy3eo37eiRTq0cXff0gMy Podcast Host- https://redcircle.com/shows/no-way-joseApple podcasts- https://podcasts.apple.com/us/podcast/no-way-jose/id1546040443Spotify- https://open.spotify.com/show/0xUIH4pZ0tM1UxARxPe6ThStitcher- https://www.stitcher.com/show/no-way-jose-2Amazon Music- https://music.amazon.com/podcasts/41237e28-c365-491c-9a31-2c6ef874d89d/No-Way-JoseGoogle Podcasts- https://www.google.com/podcasts?feed=aHR0cHM6Ly9mZWVkcy5yZWRjaXJjbGUuY29tL2ZkM2JkYTE3LTg2OTEtNDc5Ny05Mzc2LTc1M2ExZTE4NGQ5Yw%3D%3DRadioPublic- https://radiopublic.com/no-way-jose-6p1BAO Vurbl- https://vurbl.com/station/4qHi6pyWP9B/Feel free to contact me at thelibertymovementglobal@gmail.com#EpsteinFiles #EpsteinPhotoDump #PSYOPInception #MindWarManipulation #LimitedHangout #O9A #SevenFoldWay #McMartinPreschoolTunnels #TrumpEpsteinReaction #JDVance2028Goyslop #InQTelSystematics #PROMISSoftwareScandal #IranContraPlaybook #CabotPhillips #TPUSAPizzaGate #AntisemiticJustification #WhiteHouseAIDataCenter #PedophilePeterThiel #CandaceVsAJKayfabe #InfluencerWars

Time Stamps: 3:15 - Epstein Files Photo Dump 2.025:43 - PSYOP Inception30:50 - The 'Seven-Fold Way'34:17 - The McMartin Preschool Tunnels39:54 - Trump's Epstein Reaction45:39 - (First Call-in) - JD Vance 2028 Goyslop51:08 - In-Q-Tel Systematics PROMIS software scandal & the Iran Contra Playbook56:58 - Cabot Phillips PizzaGate Connection1:11:53 - Postmortem (Christmas Edition) Call-in Portion1:17:25 - Man Charged with Inciting Antisemitic Hatred Online1:30:38 - White House East Wing Subterranean A.I. Data Center1:35:33 - Pedophile Peter Thiel1:41:53 - Candace vs. AJ KayfabeVenture into the shadowy realms of power and secrecy with Already Dead, where hosts Jose Galison (@towergangjose) and Austin Picard (@theatrethugawp) dissect the intricate web of conspiracy, covert operations, and the underlying political machinations that might just be pulling the strings of our society.What to Expect:Live Listener Interaction: Call in to share your theories, ask burning questions, or discuss personal experiences related to the topics at hand. In-Depth Explorations: Each episode focuses on a different conspiracy or hidden aspect of political history, offering a platform to question and analyze what's often left unsaid. Thought-Provoking Guests: We invite individuals with insider knowledge or those who've taken the red pill to discuss topics that range from the fringe to the forefront of conspiracy culture. Critical Analysis of Current Affairs: We don't just report on events; we interpret them through the lens of parapolitics, looking for patterns and hidden agendas.Join Us: Every Tuesday at 9:30 PM ET, dive into the depths of the unknown with us. Subscribe, participate in our live call-ins, and be part of a community that seeks to understand the world beyond the surface narrative.Disclaimer: This podcast thrives on speculation, hypothesis, and the examination of alternative theories. It's meant to provoke thought and encourage personal research. Not all discussed is proven fact, but rather a call to question, explore, and understand.Warning: For those not ready to challenge their worldview, tread carefully. Once you enter the world of Already Dead, you might find that the truth is often already dead to the uninitiated. Welcome aboard, where curiosity is your guide.Please consider supporting our work- Austin's Patreon: https://www.patreon.com/c/TheUnderclassPodcastAustin's Spreaker: https://www.spreaker.com/podcast/the-underclass-podcast--6511540Austin's Rumble: https://rumble.com/user/TheUnderclassPodcastAustin's YouTube: https://www.youtube.com/@TheUnderclassPodcast#EpsteinFiles #EpsteinPhotoDump #PSYOPInception #MindWarManipulation #LimitedHangout #O9A #SevenFoldWay #McMartinPreschoolTunnels #TrumpEpsteinReaction #JDVance2028Goyslop #InQTelSystematics #PROMISSoftwareScandal #IranContraPlaybook #CabotPhillips #TPUSAPizzaGate #AntisemiticJustification #WhiteHouseAIDataCenter #PedophilePeterThiel #CandaceVsAJKayfabe #InfluencerWarsBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-underclass-podcast--6511540/support.

We are entering your dreams and eating fruit, congee, and un café before discussing Inception (2010). This action and espionage-packed film set in dreams is fun and entertaining, although the rules are difficult to follow. Are we awake, or are we dreaming in different levels of consciousness throughout the film? As long as the top keeps spinning, we'll remain the men of your dreams.

Daniel sits down with manifestation teacher Ayelet Polonsky, for a conversation that goes far beyond surface-level spirituality.What begins as a discussion about time, dreams, and Inception quickly deepens into an exploration of belief versus faith, desire, power, ego, and the responsibility that comes with conscious creation. Together, they examine how language shapes perception, where manifestation can become ethically dangerous, and why awareness, not dominance, is the foundation of real power.Ayelet shares her experiences studying and living in India, Israel, and indigenous traditions, along with her approach to manifestation work, one rooted in regulation, inner coherence, and personal accountability rather than wish fulfillment. Daniel challenges ideas where clarity is needed, questions terminology where it matters, and openly reflects on his own relationship to power, validation, and restraint in spiritual spaces.Ayelet's bio:Ayelet Polonsky, aka "The Manifestation Mentor" is an adventure loving, green living, healthy dessert fanatic & yogi... who helps people turn their "thoughts into things!"Professionally she is an Inspirational Speaker, Life Coach and Therapist.Ayelet is trained in Cognitive Behavioral, Narrative Therapy & EFT.Her work has been featured in Mind Body Green, Elephant Journal, Glamor Magazine, Fox News, NBC, and CBS News.She lived in India for a large chunk of six years and learned Visualization and Meditation under some of the greatest Enlightened Masters until she arrived in Israel five years ago, where she's been a student and teacher of Mysticism and Manifestation under great mystics & rabbis.Ayelet has led transformational retreats and workshops for women all around the world.As her husband says, “Ayelet is in the transformation business.” She lives to help women break through the blockages of self-worth so that they can unlock miracles!"Deep inner work can be hard work, so she makes sure you're having FUN and laughing A LOT along the way!All of her links are here: https://linktr.ee/ayeletpolonskyThe link contents are The Think BIG Podcast, The 21-Day Joy Challenge, The Manifestation Mindset Online Course, and many more.She also does 1 on 1 coaching sessions.

YouTubeとSpotifyで字幕付きでビデオポッドキャスト公開中Inception Point AI – InceptionPoint AI — AI-Powered Personality Creatorshttps://www.inceptionpoint.ai/Jeanine Wright - Inception Point AI | LinkedInhttps://www.linkedin.com/in/jeaninepercivalwright(0:00) Inception Point AIとジャニーンさん(8:55) Podcastのマネタイズ(11:00) AIで魅力的なホストや番組が作れるのか(20:30) ユーザーの反応(29:30) 音声の先(30:55) AIキャラクターの学び(36:40) 見ているデータと指標(42:45) おすすめの番組(44:00) 今後やりたいこと ＜About Off Topic＞Podcast:Apple - https://apple.co/2UZCQwzSpotify - https://spoti.fi/2JakzKmOff Topic Clubhttps://note.com/offtopic/membershipX - https://twitter.com/OffTopicJP草野ミキ:https://twitter.com/mikikusanohttps://www.instagram.com/mikikusano宮武テツロー: https://twitter.com/tmiyatake1

In this episode of the Healthy, Wealthy, and Smart podcast, host Dr. Karen Litzy welcomes Dr. Eva Norman, a seasoned physical therapist with over 25 years of experience. Dr. Norman shares her journey of establishing a unique physical therapy model that operates outside the traditional insurance framework. She discusses the inception of her business, Live Your Life, which provides personalized, in-home therapy services tailored to individual needs. The conversation delves into the challenges and successes of running a cash-based practice, the importance of listening to clients, and the innovative approaches Dr. Norman has implemented to transform patient care.   Takeaways Dr. Eva Norman's practice focuses on personalized, in-home therapy services. The business model operates outside traditional insurance frameworks. Listening to clients' needs is crucial for business growth and patient satisfaction. Dr. Norman's practice offers a wide range of services, including physical, occupational, and speech therapy. The practice has expanded to include acupuncture, massage, and dietitian services. Partnerships with local agencies enhance service delivery and patient care. Telehealth services have been integrated to reach underserved areas. The practice emphasizes the importance of a holistic approach to patient care. Dr. Norman's innovative model has led to numerous patient success stories. The conversation highlights the value of diversifying services in a cash-based practice.   Chapters 00:00:00 Introduction and Guest Welcome 00:00:00 Dr. Eva Norman's Background 00:00:00 Inception of Live Your Life 00:00:00 Challenges and Successes 00:00:00 Innovative Therapy Approaches 00:00:00 Expanding Services and Partnerships 00:00:01 Telehealth and Holistic Care 00:00:01 Patient Success Stories 00:00:01 Advice for Aspiring Therapists 00:00:01 Conclusion and Contact Information   More About Dr. Norman: Dr. Eva Norman has been practicing physical therapy for more than 25 years. Her passion and commitment continue to be to bring the benefits of physical therapy to the residents of her community and to those in need of it in the surrounding counties. She received her B.S. and M.S. degrees in Physical Therapy in 1996 and her Doctor of Physical Therapy degree in 2009, from Thomas Jefferson University in Philadelphia, PA. Through the years, Dr. Norman has practiced in different practice settings with patients of all ages with various diagnoses. Early on in her career she developed a strong interest in geriatric rehabilitation. To expand her skill set over the years she has taken numerous continuing education courses and also worked in the areas of neurology, orthopedics and cardiopulmonary rehabilitation. In April 2013, she became a Certified Exercise Expert for the Aging Adult. Dr. Norman is currently licensed in Minnesota and Florida. She is an active member of the American Physical Therapy Association (APTA) since 1994. Currently, he is the APTA Federal Affairs Liaison for Florida and PT PAC Ambassador for Florida. Dr. Norman also serves on the Board of Trustees for the Foundation for Physical Therapy Research. In September of 2009, Eva founded Live Your Life Physical Therapy, LLC in response to her passionate desire to offer to her clients, patients, and the public, services (both in home and the community) that could help them to experience health, wellness, and a more active lifestyle throughout their life spans, through the creative applications of preventative and rehabilitative physical therapy.   Resources from this Episode: Live Your Life PT Live Your Life on Instagram Dr. Norman on LinkedIn Live Your Life on Facebook   Jane Sponsorship Information: Book a one-on-one demo here Mention the code LITZY1MO for a free month   Follow Dr. Karen Litzy on Social Media: Karen's Instagram Karen's LinkedIn   Subscribe to Healthy, Wealthy & Smart: YouTube Website Apple Podcast Spotify SoundCloud Stitcher iHeart Radio

Is the Family Proclamation a statement of policy? A document written by lawyers for the Church to use in amicus briefs against same-sex marriage? Did Pres. Hinckley commandeer the Relief Society meeting to present the Family Proclamation? Did the Relief Society Presidency feel excluded by not reviewing it in advance? Is it "just a matter of time" until the Church comes around and caves to social pressure to institute same-sex sealings?Matthew has written about these and other myths that have plagued Church members for too long. So has Angela. And now, so has Elder Ronald A. Rasband in his mic drop talk from this Conference.We're "bringing receipts" and laying down the truth: The Family Proclamation is revelatory and doctrinal. And it isn't going away!ResourcesTheFamilyProclamation.orgBusting Myths about the Family Proclamation by Matthew WatkinsDo We Proclaim the Proclamation? by Matthew Watkins“We Don't Know, So We Might as Well”: A Flimsy Philosophy for Same-Sex Sealings by Matthew WatkinsSeership and World Conferences: The Divine Origin and Inception of the Family Proclamation by Dr. Byron KorthDelivering the Family Proclamation: Insights from Former Relief Society President Elaine L. Jack by Barbara Morgan Gardner and Olivia OsguthorpeExperiencing Jesus Christ Through the Family Proclamation - a fantastic BYU Conference

Welcome back to The Culture Garden Podcast! In this episode, Rich and Skool dive into The New York Times' list of the Top 100 Films of the 21st Century, breaking down entries ranked 60–51 and what makes each one stand out. From the intensity of Whiplash and the chaos of Uncut Gems to the brilliance of Best in Show, Punch Drunk Love, Inception, Pan's Labyrinth, Borat, The Favourite, and the powerful 12 Years a Slave, the duo explores performances, themes, and the cultural impact of each film.The conversation also touches on the subjective nature of rankings, standout actors, and storytelling choices that have shaped modern cinema. Plus, they crown their King of the Hill from the first 50 films on the list.We appreciate you for listening — be sure to subscribe, comment, like, and share.Y'all be cool how y'all be cool!Instagram: @theculturegardenpodcastE-mail: theculturegardenpodcast@gmail.com

This week on the New Music Business Podcast, Ari sits down with recent GRAMMY Award winners Matt B and Angela Benson. Matt B is a GRAMMY-winning R&B singer, songwriter, and global recording artist whose career spans over a decade. His most recent project, ‘Alkebulan II', earned him and Angela a GRAMMY Award, following years of DIY artistry. Over the course of this album, Matt and Angela recorded across Africa, collaborated with artists like Eddie Kenzo and Oxlade, and worked with the Royal Philharmonic Orchestra at Abbey Road Studios. As a label owner, producer on ‘Alkebulan II', and longtime Recording Academy member, Angela has been instrumental in shaping Matt's artistic direction, visual world-building, and global strategy.In this episode, Matt B and Angela Benson walk through their incredible DIY journey and how they found themselves on the GRAMMY-winning path. They discuss the challenges of writing and recording in multiple African languages, shooting a full visual album across multiple countries, and balancing the creative workload between artist and manager. The pair break down how independent artists can navigate the GRAMMY process, the importance of joining the Recording Academy, the role of networking and bartering in major creative endeavors, and most importantly, the communication and patience required to run a music career as a married team.https://www.instagram.com/mattbworldhttps://www.instagram.com/angelavbenson01:40 – Home Studio & Recent Travels02:10 – Returning to His Alma Mater After the Grammy Win03:00 – Life & Opportunities After Winning a Grammy04:15 – Performing in Uganda & Global Breakthrough Moments05:20 – Inception of the Akebulan Concept09:00 – Connecting With Oxlade & Eddie Kenzo11:00 – Creating the “Gimme Love” Music Video13:00 – Building a Full Visual Album DIY17:40 – Finding Producers & Collaborators Worldwide20:00 – Incorporating the Royal Philharmonic Orchestra30:00 – Navigating Grammy Nominations & Recording Academy Membership47:00 – Working as a Husband-and-Wife Artist/Manager TeamEdited and mixed by Peter SchruppMusic by Brassroots DistrictProduced by the team at Ari's TakeOrder the THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.com Hosted on Acast. See acast.com/privacy for more information.

Join TMT, Mayowa, and Koj on Submarine and A Roach. Nigeria's funniest and #1 comedy podcast for Episode 238, "The Danish Inception." The boys kick things off with their usual nonsense, diving straight into the chaotic and hilarious world of tiktok reverse love scam racism.The conversation takes a darker turn as they explore the rise of alté serial killers via.......sigh.....music.Then, in true Submaroach fashion, they switch gears to African accents in Hollywood by way of Stella Damascus.Culture chat continues with Tmt's signature storytelling prowess, and the boys discuss Tinubu's recent ambassador appointments and the bewildering political appointments. Time will tell.Throughout the episode, the boys blend serious topics with their signature humour, taking you on a wild ride through culture, politics, and the ever present chaos of Nigerian life. From alté killers to Nollywood stardom and Tinubu's international moves, they cover it all with a side of laughs.Get ready for another wild, thought-provoking, and hilarious episode of Submarine and A Roach.

Pull the lips apart and blow. Every kid needs a whoopie cushion. Straw tart blow berry pop torch with Dunaway. Appropriately sized Grinch. Every fart is funny when you're six. Cushion Regrets. Christmas village appropriation. Three Holes In A Bottom!! Always call the garage door guy. International Eating Holidays. What is the apple jacks flavor? Shoe breakfast. Paprika dump. Three fume sleep. Whipping Buggys with Tom and more on this episode of The Morning Stream. Hosted on Acast. See acast.com/privacy for more information.

Pull the lips apart and blow. Every kid needs a whoopie cushion. Straw tart blow berry pop torch with Dunaway. Appropriately sized Grinch. Every fart is funny when you're six. Cushion Regrets. Christmas village appropriation. Three Holes In A Bottom!! Always call the garage door guy. International Eating Holidays. What is the apple jacks flavor? Shoe breakfast. Paprika dump. Three fume sleep. Whipping Buggys with Tom and more on this episode of The Morning Stream. Hosted on Acast. See acast.com/privacy for more information.

This week on Swimming with Allocators, Apurva Mehta, Co-Founder and Managing Partner at Summit Peak Investments, joins Earnest and Alexa to share his unique journey from institutional portfolio management to building a venture fund of funds. The discussion covers building strong networks and communities for allocators and GPs, adapting to the evolving and increasingly crowded venture landscape, and maintaining discipline in fund size and valuations. Key takeaways include the importance of deep relationships and responsiveness, rigorous diligence in a noisy market, and the advantages of staying nimble to deliver consistent returns and foster long-term partnerships. Also, don't miss Shane Goudey of Sidley as he discusses venture funds practice, building a robust, full-service legal team for venture capital clients and the current surge in fund formation and liquidity as the venture market heats up at the end of 2025. Highlights from this week's conversation include: The Journey of Apurva Mehta in Allocations and Investing (0:32) How Apurva Built A Network-First Allocator Community (3:54) The Inception of Summit Peak and Entrepreneurial Spirit (7:46) The Importance of Being the Central Node in Venture (11:09) Identifying New GPs and Evolving Venture Networks (15:13) On The Challenges of Filtering and Iterating for Success (19:20) The Legal and Fund Formation Landscape with Shane Goudey (22:57) Fund Manager Trends and What Surprises Apurva (27:53) Concerns About Market Valuations and Fund Size Discipline (30:39) Impact of Market Dynamics on Growth Deal Approaches (34:18) Being Proactive Versus Passive in Co-Investing (38:28) Trends and Predictions for the Next 10 Years in Allocations (41:49) Summit Peak's Vision For Success and Staying Nimble (44:57) Summit Peak Investments is a venture-focused investment platform backing the next generation of exceptional managers. With a dual strategy of investing in top-performing pre-seed and seed-stage funds alongside targeted Series B+ co-investments, Summit Peak partners with GPs and founders to generate long-term, outsized returns. Learn more at summitpeakinv.com.  Sidley Austin LLP is a premier global law firm with a dedicated Venture Funds practice, advising top venture capital firms, institutional investors, and private equity sponsors on fund formation, investment structuring, and regulatory compliance. With deep expertise across private markets, Sidley provides strategic legal counsel to help funds scale effectively. Learn more at sidley.com. Swimming with Allocators is a podcast that dives into the intriguing world of Venture Capital from an LP (Limited Partner) perspective. Hosts Alexa Binns and Earnest Sweat are seasoned professionals who have donned various hats in the VC ecosystem. Each episode, we explore where the future opportunities lie in the VC landscape with insights from top LPs on their investment strategies and industry experts shedding light on emerging trends and technologies.  The information provided on this podcast does not, and is not intended to, constitute legal advice; instead, all information, content, and materials available on this podcast are for general informational purposes only. Learn more about your ad choices. Visit megaphone.fm/adchoices

Adam creates a hypnosis session designed to help poor sleep by using levels of dissociation or the ideas of dreams within dreams from the movie Inception. This is ideas to listen to while in bed just before sleeping. To access a a subscriber-only version with no intro, outro, explanation, or ad breaks with just the hypnosis and nothing else click subscribe. To access all hypnosis-only versions and exclusive subscriber sessions and have invitations to live hypnosis sessions over Zoom, tap 'Subscribe' nearby or click the following link.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://creators.spotify.com/pod/profile/adam-cox858/subscribe⁠⁠⁠

In this episode of Pods Like Us, Marv sits down with William Corbin, Chief AI Officer and co-founder of Inception Point AI, to discuss the evolution of AI in podcasting, the creation of AI-generated voices, the business model behind Inception Point AI, and the future of content creation. William shares behind-the-scenes stories, ethical considerations, and how AI is making content more accessible and personalized.  Timestamps - 00:00 – Introduction & Guest Welcome  ● Marv introduces William Corbin and the founding team of Inception Point AI.  ● William's current role as Chief AI Officer.  01:30 – The Founding Story  ● How William assembled the founding team using AI.  ● The unique process of selecting Janine Wright as CEO via AI analysis.  02:30 – Company Motto & AI-First Culture  ● Inception Point AI's creed: “Always AI, always forward, always fun.”  ● How AI is integrated into every aspect of the company.  02:50 – William's Podcasting Origins  ● Early podcasting experiments in 2004 with RSS feeds.  ● The journey from hobbyist to professional podcaster.  05:00 – The Coronavirus 411 Podcast  ● Launching a daily COVID-19 news podcast.  ● Achieving syndication on 1,800 radio stations and becoming the #2 daily news podcast.  06:30 – The Power of Niche Content  ● Using AI to create hyper-targeted podcasts (e.g., fishing reports for specific lakes).  ● The value of serving small, passionate audiences.  08:00 – AI's Role in Content Accessibility  ● How AI transforms raw data into engaging stories.  ● Making content accessible for people with disabilities.  10:00 – The Evolution from Blogging to Podcasting  ● The shift from written blogs to audio content.  ● Podcasting as the new “blogosphere.”  12:00 – Quality Control & AI-Generated Voices  ● Challenges with AI-generated content: glitches, fact-checking, and quality assurance.  ● Moving from voice clones to fully AI-generated voices for ethical and legal reasons.  15:00 – Ethical Considerations in AI Voice Creation  ● Avoiding unauthorized use of real voices (e.g., Siri's voice actress story).  ● Transparency and consent in AI voice usage.  18:00 – The Origin of “Inception Point”  ● How the company name was chosen with the help of AI.  20:00 – AI Voices as Non-Characters  ● Creating backstories for AI voices without misleading listeners.  ● Ensuring authenticity and transparency.  22:00 – Business Model & Monetization  ● Three revenue streams: licensing, ad revenue, and partnerships.  ● AI personalities as brand ambassadors.  25:00 – The Future of AI in Content Creation  ● AI's growing intelligence and its impact on media.  ● The importance of advocating for AI as a new form of intelligence.  28:00 – Addressing Backlash & Industry Resistance  ● Reactions to AI in Hollywood and the podcasting community.  ● The importance of starting conversations about AI's role in media.  32:00 – AI vs. Human-Hosted Podcasts  ● Surprising listener growth after switching to AI hosts.  ● Where AI excels and where human hosts still shine.  35:00 – Content Longevity & Accessibility  ● The value of evergreen podcast content.  ● Making content accessible to all, including those with disabilities.  38:00 – The Impact of AI on Jobs  ● AI's role in creating new job opportunities.  ● The need for optimism and adaptability in the face of technological change.  41:00 – Reviving Underutilized Content  ● Using AI to give new life to old research, university archives, and media catalogs.  44:00 – Serving Underserved Audiences  ● Producing “critical content” for niche audiences (e.g., allergy reports, space weather).  47:00 – Embracing Mistakes & Continuous Improvement  ● The importance of learning from errors in AI and human content creation.  50:00 – The Diversity of Podcasting  ● The wide range of podcast genres and formats.  ● The role of smart speakers in podcast discovery.  53:00 – Living Biographies & Real-Time Updates  ● AI-powered biographies that update as public figures' lives evolve.  56:00 – Novelty Podcasts & Audience Insights  ● Unique podcast concepts (e.g., “A Moment of Silence,” “Bird Songs for Cats”).  ● Data-driven content creation.  59:00 – Final Thoughts & Contact Information  ● William's passion for accessible content and technology.  ● How to contact William and Inception Point AI.    Contact & Resources - William Corbin: william@inceptionpoint.ai | LinkedIn  ● Inception Point AI: info@inceptionpoint.ai  ● Pods Like Us: themarvzone.org   

It's an X-MEN reunion with James McAvoy & Elliot Page! Recorded at New York Comic Con, Elliot and James compare their superpowers, talk about the meaning of X-Men in their lives, and talk everything from INCEPTION and THE ODYSSEY to SPLIT and NARNIA. UPCOMING EVENTS Brendan Fraser 11/18 in NYC -- ⁠⁠⁠⁠⁠Tickets here⁠⁠⁠⁠⁠ Check out the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Happy Sad Confused patreon here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! Learn more about your ad choices. Visit megaphone.fm/adchoices

Derrick Todd Lee (DTL) terrorized the Baton Rouge and Lafayette Louisiana. A Serial Killer who took the lives of at least (7) women in the late 1990's and early 2000's, Lee's reign of terror finally ended in late May of 2003 when he was captured in Atlanta, GA after being linked by DNA.In Part 1 of this multi-part docuseries award winning host Kelly Jennings brings you inside Lee's formative years that reflected various signs which would eventually create the monster Lee would grow up to become.This is DTL Hosted by Kelly Jennings and produced by the experts at Envision Podcast Productions.For Media or Advertising Inquiries Envisionpodcaststudios@gmail.comTimestamps 01:09 The Birth of Evil03:32 A Freshman's Perspective04:41 Life on LSU Campus07:07 Baton Rouge Serial Killers x309:29 DTL's Early Life13:13 Early Signs of Trouble17:58 The Path to Violence22:20 Troubled Relationships  27:47 The Shift to Murder28:21 The Unfolding Horror#DTL #podcast #DerrickToddLee #BatonRouge #SerialKiller #unspeakable