Podcasts about IP

This is a free preview of a paid episode (44 min), exclusively available on our subscriber-only premium feed. Become a premium subscriber to tune into the full episode: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://cubicletoceo.co/podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Questions about our premium podcast subscription? Send us a DM ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@cubicletoceo ⁠ When a copycat company rips off your IP, sometimes the best course of action isn't to challenge them, but rather to spotlight them. Sounds counterintuitive, but that's exactly the approach that created an explosive marketing campaign for Ceres Chill, the original breastmilk chiller. In today's case study, founder and inventor Lisa Myers breaks down Ceres Chill's Dupe Drop: a campaign inviting customers to trade in knockoff chillers for the real thing. The results speak for themselves: the campaign reached 72,000 people (75% of them brand new to Ceres Chill), over 900 dupes were traded in, and Ceres Chill saw an 80% jump in orders — all accomplished organically. Lisa didn't out-lawyer her competitors. She out-marketed them, and let their own knockoffs do her selling for her. To continue our series on leveraging IP in your business, this episode is a reminder that your IP isn't just a legal shield, it's a growth lever. Connect with Lisa: Cereschill.com IG: @cereschill Look at Lisa's patent drawings: https://www.cereschill.com/pages/patent-info If you enjoyed today's episode, please: Post a screenshot & key takeaway on your IG story and tag us ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@cubicletoceo⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ so we can repost you. ⁠⁠⁠Subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠our premium feed⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for case-study style interviews every Monday.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

We're back — maybe getting a little too scheduled — with one opinion on the docket: West Virginia v. B.P.J. and Little v. Hecox, where the Court held that states may limit girls' and women's sports teams to biological sex without violation Equal Protection or Title IX. First, though, Will collects on a two-year-old prediction when the Court grants Jouppi v. Alaska, an Institute for Justice case about a five-figure airplane forfeited over a six-pack of beer. On the main event, we work through how the opinions are written (no pronouns, no "Lindsay"), what the litigants' Title IX concession did to the case, and whether there is any such thing as an as-applied equal protection challenge. Will makes a big-swing prediction about transgender status and heightened scrutiny, and we ask whether the Court's reasoning can be squared with VMI and the anti-stereotyping cases. Along the way: fencepost problems, Magneto's powers, Magic: The Gathering's crossover-IP wars, scrawny men, and Justice Kavanaugh's ode to the championship trophy.Highlights[00:00:21] Opening: continuing the roll, "starting to get a little scheduled," and record-setting season ambitions[00:02:05] Summer interim-docket check-in: a new SG filing on mail-in voting; still no rehearing petition in the birthright-citizenship case[00:03:23] Filing-day counting and the classic fencepost problem[00:04:50] Will doesn't condone violence, Dan; UFC, violent video games, and Dungeons & Dragons[00:07:46] The prediction workflow pays off: Will called the IJ excessive-fines cert push back in May 2024 (Culley)[00:08:05] Cert granted in Jouppi v. Alaska: a 5-figure aircraft forfeited over a 6-pack of beer[00:09:58] Scorecard methodology: easy predictions, Magneto clauses, and a slugging-percentage proposal[00:12:51] Dan's good news: Constitutional Rights in General Private Law, accepted at Harvard Law Review[00:13:32] The main event: West Virginia v. B.P.J. and Little v. Hecox — states can keep transgender athletes off girls' and women's teams[00:15:25] How the opinions are written: no pronouns, and the majority never says "Lindsay"[00:18:44] The Thomas concurrence: suspect class, "biological men and boys who identify as girls," and the Josef Pieper abuse-of-language quote[00:21:49] Title IX: the statutory text, the litigants' concession, and what the dissents are trying to preserve[00:29:39] The Equal Protection Clause: Skrmetti, two kinds of anti-trans laws, and Will's big-swing prediction on heightened scrutiny[00:35:29] VMI's inherent differences, bathrooms, and the anti-stereotyping mainstays (Craig v. Boren)[00:43:33] Is there such a thing as an as-applied equal protection challenge? Footnotes 7 and 9, scrawny men, and Nguyen[00:52:35] The Ninth Circuit's dropped thread: Idaho's invasive verification testing and the cis-woman plaintiff[00:54:41] Justice Kavanaugh, the sports justice: the championship-trophy passage and Flood v. Kuhn lore[00:56:52] The flip side: does Title IX sometimes require excluding transgender athletes? Dueling predictions[01:00:30] Why this isn't Bostock: Gorsuch, formalism, and a contested Indian-law analogy[01:02:49] Sign-off — and a preemptive accusation that Will will game the scorecard by refusing to recordRelevant linksCasesWest Virginia v. B.P.J. / Little v. Hecox — slip opinionJouppi v. Alaska — Institute for Justice case pageCulley v. MarshallUnited States v. SkrmettiUnited States v. Virginia (VMI)Nguyen v. INSFlood v. KuhnCommentary & articlesD'Onfro & Epps, "The Fourth Amendment and General Law" — the Yale Law Journal predecessor to the new Harvard Law Review piece announced on the showOtherDivided Argument, "Originalism Hulk" — the back-catalogue episode whose new custom cover art comes up in the Marvel tangent

This is The Visionary Breakthrough Sessions, a live, intimate coaching experience with members of my private HDx Collective. In each session, we decode the energetic patterns holding them back and unlock the identity shift required to lead, scale, and succeed in alignment with their Human Design. These sessions are by application only and exclusively available inside the HDx Collective.

Fantasy Baseball Live – August 2, 2026 @ 2pm ET Segment 1 – We have some trades•The Dodgers acquire Tarik Skubal from the Tigers for RHP River Ryan, OF Zyhir Hope and RHP Brady Smith•The White Sox acquire Luis Castillo from the Mariners and pay his entire 2027 salary, the rest of 2026 and if he pitches 180 innings in 2027, his vested 2028 option. In return, the Mariners receive reliever Seranthony Dominguez, OF Nolan Jones, and Double-A catcher Boston Smith•The Braves acquired OF Lane Thomas, LHP Baily Falter from the Royals for minor league lefty pitcher Carter Holton and Triple-A right-handed pitcher Lucas Braun. •The Guardians and Brewers swapped players Saturday afternoon, with Cleveland acquiring OF Blake Perkins and RP Craig Yoho, and Milwaukee receiving catcher Bo Naylor and RP Codi Heuer.•The Pirates acquired Camilo Doval from the Yankees in exchange for Double A catcher Omar Alfonzo and 18 year old outfielder Luis Cruz.Segment 2 – Review games of the WeekendAdditional Topics1.Max Clark – Pretty good, ehh. 2.Quinn Mathews had a decent start – 5.0 IP, 6 hits, 2 ER, 3K/3BB. Enough to make you want to start him?3.Ryan O'Hearn hits the IL with quad strain and might be done for the season – 6 to 8 weeks. Ugh!Segment 3 – Waiver WireSegment 4 – Closer Report

Is it a good movie if you have to watch it ten times? That's the question Chris and Daniel keep circling back to as they take on Christopher Nolan's The Odyssey, skipping the marketing noise and the wireframe-cyclops conspiracy theories to actually ask whether the thing works as a film. They dig into what Nolan is doing as a filmmaker, structurally and emotionally, in his adaptation of the oldest story in Western literature, and why a three hour runtime built around a decade-long wait might be the whole point rather than a flaw. The real conversation is about adaptation itself: what happens when a director spends the entire movie making an audience feel exactly what an intractable wait feels like, and why Nolan's obsession with time connects everything from Memento through Tenet to this one. Daniel makes the case that Nolan has finally figured out how to deliver Tenet's disorienting rewatch effect without forcing anyone to actually rewatch anything. Chris and Daniel also compare Nolan's spectacle-forward approach to what a Denis Villeneuve version might have looked like, and get into why single-vision directors are becoming Hollywood's new IP. Mentioned in this episode: The Odyssey (Christopher Nolan), Tenet, Dunkirk, Interstellar, Memento, Oppenheimer, Denis Villeneuve, Dune, Avatar, James Cameron, Peter Jackson, Annihilation (Alex Garland), Starship Troopers (Paul Verhoeven), Inglourious Basterds, Jackie Brown, Frank Gehry, Steven Spielberg, Disclosure Day, Zack Kreger, Ryan Coogler, Hoyte van Hoytema, Wally Pfister, David Lynch, Jack Fisk, Paris, Texas, O Brother, Where Art Thou?, Master and Commander, Winnie the Pooh: Blood and Honey, Neuromancer (trailer) Special thanks to our sponsor: Center Grid Virtual Studio: https://cgvirtualstudio.com/

Happy Mindful Monday! In this week's episode, our host Allie Brooke sits down with Hana Malhas. Hana is a professional singer-songwriter and a startup CFO. The combination sounds unusual until you hear her talk about why one made her better at the other. She has released multiple albums, performed across several countries, and founded BalaFeesh, a live music platform based in Jordan, showcasing independent Arab artists. She also holds an MBA from the University of Michigan's Ross School of Business and a track record of leading finance for startups in creative and media industries. Hana understands intellectual property the way most CFOs never will, not as a line item, but as someone who has lived inside the process of making it. She watched the music industry get turned upside down by streaming, and recognizes the same inflection point happening now in publishing. That's why she co-founded Sinai.ai, to bring AI into the world of books in a way that respects authors, protects rights-holders, and creates sustainable new revenue for the publishing industry. But at its core, she built it for the reader who used to get lost in books the way you get lost in a great song, and wants that feeling back. Because as reading evolves, she believes we shouldn't have to choose between what's new and what matters: the craft, the legacy, and the human intimacy of books.   Episode Topics How the creative process of songwriting mirrors the strategic process of financial modeling. The emotional and financial reality of intellectual property (IP) from an artist's perspective. Lessons learned from the music streaming revolution and how they apply to the current AI inflection point in publishing. Moving past the static page: What is an aiBook™ and why is it distinct from a chatbot or a summary app? How interactive reading enhances comprehension, retention, and human connection to text. Balancing cutting-edge technology with the "human intimacy" of a traditional book. Connect w| Hana Instagram Website The Growth METHOD. FREE Membership◦ ⁠⁠⁠⁠⁠⁠⁠⁠Join Here!⁠⁠⁠⁠⁠⁠⁠⁠ 1:1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ GROWTH MINDSET COACHING PROGRAMS!◦ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Application Form ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ What are the coaching sessions like?⁠⁠• Tailored weekly discussion questions and activities to spark introspection and self-discovery.• Guided reflections to help you delve deeper into your thoughts and feelings.• Thoughtfully facilitated sessions to provide maximum support, accountability, and growth.• Please apply for a FREE discovery call with me!• Allie's Socials• Instagram:@thegrowthmindsetgal• TikTok: @growthmindsetgal• Email: thegrowthmindsetgal@gmail.comLinks from the episode• Growth Mindset Gang ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠ Broadcast Channel⁠⁠⁠⁠⁠⁠⁠⁠• Growth Mindset Gang ⁠⁠⁠⁠⁠⁠⁠⁠Newsletter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠• Growth Mindset Gal ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠• Better Help Link: Save 10%SubstackDonate to GLOWIGloci 10% off Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

United Parks is bringing licensed IP to Howl-O-Scream for the first time, licensing two Sony films across all five of its events. Busch Gardens Tampa and Williamsburg each open an Anaconda house on September 11 with different storylines, Fear Has No Escape in Tampa and Dead on Arrival in Williamsburg, while I Know What You Did Last Summer: The Final Catch opens at SeaWorld Orlando, San Diego, and San Antonio. Sony says it is the first time either film has been licensed for a major Halloween event.Howl-O-Scream built its identity on avoiding IP. Original stories meant the licensing money went into the product instead, while Universal paid for rights before building a single set. That calculus has flipped in a market where guests gravitate to what they already know. The risk is the pattern other parks have followed: pay for the IP out of the same budget, build less event, and blame the IP when attendance disappoints. Guests buy the whole event, and when the event shrinks, one house cannot cover the gap.Anaconda is an animal-attack story at a company historically sensitive about how animals are portrayed, and neither film carries the pull of a Halloween staple. The two Anaconda storylines suggest houses built to swap parks next year, the right instinct, since IP buying power only works at corporate scale and the next step is infrastructure consistent enough to rotate shows between parks. One haunted house does not make a premier Halloween event.Listen to weekly BONUS episodes on our Patreon.

/Summary“如果假设你不懂红楼梦，甚至带着一点畏惧，来到这里也完全不需要担心。它把厚重的文学经典掰开揉碎，用一种极其柔软和当代的方式，让你在无意间融入其中。” “王潮歌导演的作品不再只是过去那种宏大叙事的沉重感，而是变得更加温柔和包裹。它像是一个能洗涤心灵的巨大游乐场，让每一个进来的普通人都能放下心房。” “无论是几十米高的宏大舞美带来的生理性震撼，还是大观戏镇里随机换票的盲盒体验，这座戏剧幻城真正做到了让观众打破旁观者的距离，真正成为剧中的‘局中人'。” 这期节目，我们把录音棚搬到了河北廊坊的“只有红楼梦·戏剧幻城”。几位平时满世界跑的老男孩和老女孩们，聚在一起聊了聊他们在这座耗资巨大的奇幻之城里连刷数场、流连忘返的真实体验。从最初对红楼IP门槛的忐忑，到被《金陵十二钗》的威严大门所震撼；从在“大观戏镇”随机摸盲盒换票的妙趣横生，到 35 中教室里被集体青春记忆击中泪点的瞬间，我们发现，这里不仅是对经典文学的一次当代重塑，更是一场跨越时空的沉浸式造梦之旅。/Timeline00:00 齐聚廊坊戏剧幻城录制现场并抛出普通人游玩红楼梦主题幻城的初体验感受 03:10 探讨幻城相比过往宏大叙事作品所展现出的柔软感与适合大众游玩的合家欢定位 06:13 打破红楼梦原著的文化门槛，从现代建筑美学与友好友善的空间设计切入观感 13:09 分析幻城空间中现代建筑顶端保留古建元素的巧思以及沉浸式声音景观的破圈能力 19:22 分享连刷《金陵十二钗》等重头戏的震撼体验，感受宏大舞美与演员近距离表演带来的气场共鸣 27:43 体验“大观戏镇”随机拿号、17分钟微型戏剧与强制换票带来的盲盒式社交乐趣 39:40 沉浸式参与《读者》与《35中》等特色剧场，在环绕舞台与校园回忆中实现与自我对话的感动 47:05 从制片管理与商业模型角度探讨戏剧幻城的动线设计、演员排练强度及稳定运营的底层逻辑 1:00:40 针对不同人群推荐最优游玩攻略，并总结良好文艺生活在当下带给个体的精神治愈与自我照见 /Staff主播 | 杨大壹、关雅荻、罗叔制作 | 罗叔文案 | 罗叔责编 | 瞳十七后期 | 莎莎、九朵美术 | 罗叔监制 | 腿哥商务 | 瞳十七/Presented byFIREPOD燃烧学院：操盘《头号玩家》《自作主张》《歪打正着》等千万级头部节目，目前为止总交付超过2400期以上的节目，深受国内外顶级厂牌青睐，曾为爱马仕、香奈尔、普拉达、迪奥、卡地亚、开云集团、劳力士、欧莱雅、欧珑香水、始祖鸟、三叶草、华熙生物、松赞酒店、雷克萨斯、后浪、中信、北京同仁堂、欧倍青、MoveFree益节等品牌定制专属节目，并取得良好反响。要不要试试和我们合作呀：）/BGM片头：念念歌曲：Eric Clapton - Ride with the King/Contact您可以在全网，包括喜马拉雅、小宇宙、苹果播客、荔枝、网易云音乐、蜻蜓、豆瓣等内容平台，搜索“头号玩家”就可以收听到我们的播客节目。新浪微博：@燃烧吧罗叔商务合作微信： luoyoucai / 18521355812商务合作邮箱：hitomizhang1928@gmail.com / djforest@-163.com听众群：添加微信luoyoucai，跟我们一起聊天～

Endelig hverdag! Ken og Vida Lill deler fra sommerens opp- og nedturer, du får også vite hvor mye en biff og en steinbu på 9 kvm uten vann og strøm koster i 2026 og hvorfor har ikke Åge Dahl sendt ukas meny på mail? Episoden kan inneholde målrettet reklame, basert på din IP-adresse, enhet og posisjon. Se smartpod.no/personvern for informasjon og dine valg om deling av data.

Prima ed ultima puntata del videopodcast di agosto, abbiamo bisogno di una pausa perché ci sono diversi progetti che bollono in pentola e serve concentrazione massima (ci rivediamo a settembre).Due notizie apparentemente lontane che raccontano la stessa storia, quella di una connessione che promette di risolvere tutto e che invece va guardata con occhio critico.Partiamo dai borghi: secondo un nuovo studio Deloitte la fibra ottica ha raggiunto il 92% dei borghi più belli d'Italia, ma le linee attive non superano il 20%. UNCEM parla di narrazione vecchia, legata all'effetto pandemico dello smart working, mentre lo spopolamento continua a peggiorare nonostante l'infrastruttura. La banda ultralarga serve, ma da sola non basta.Poi ci spostiamo su un fronte molto diverso: la Commissione Europea ha aperto un'indagine preliminare su Meta per il design "che crea dipendenza" di Facebook e Instagram, sospettato di violare il Digital Services Act. Autoplay, scroll infinito, notifiche push: lo stesso meccanismo delle Skinner Box, applicato su scala globale.Due storie, un filo conduttore: la tecnologia da sola non basta, se non capiamo come viene progettata e come viene usata.Fonti:Corriere Comunicazioni — "Ultrabroadband, coperto il 92% dei borghi più belli d'Italia": https://www.corrierecomunicazioni.it/telco/banda-ultralarga/ultrabroadband-coperto-il-92-dei-borghi-piu-belli-ditalia/Commissione Europea — comunicato stampa IP/26/1579: https://ec.europa.eu/commission/presscorner/detail/it/ip_26_1579#marketingterritoriale #socialnetwork #borghi #bandalarga #digitalservicesact #smartworking #areeinterne

Genflow Biosciences Ltd (LSE:GENF, OTCQB:GENFF, FRA:WQ5) CEO Dr Eric Leire tells Proactive's Stephen Gunnion that accelerated US patent examination for its centenarian-derived SIRT6 gene variant strengthens protection across the company's entire therapeutic pipeline. Its MASH-related patent application has also been published, while the corresponding European application nears grant. Leire explained that building multiple layers of IP protection around SIRT6 and its applications is key to attracting commercial partners, particularly in Genflow's animal health discussions: "These patent milestones therefore strengthen our position as we continue to discuss with potential partners." On the dog clinical trial, Leire said biological age results from a UCLA spin-off lab were delayed by logistics but are now being processed, with data expected by the end of August. Looking ahead, he points to continued patent progress, advancement of the MASH programme, dog trial results and business development around the company's glaucoma programme. For more interviews with company leaders and market insights, visit the Proactive YouTube channel. If you enjoyed this video, please give it a like, subscribe to the channel and enable notifications so you never miss future updates. Read Proactive's Editorial Policy here: https://www.proactiveinvestors.co.uk/pages/editorialPolicy #GenflowBiosciences #SIRT6 #Biotech #Patent #USPTO #MASH #MetabolicDisease #GeneTherapy #Longevity #DrugDevelopment #AnimalHealth #ClinicalTrials #Biotechnology #HealthcareInnovation #ProactiveInvestors

Welcome to the latest episode of the Food and Beverage Magazine Podcast, hosted by the Editors of Food and Beverage Magazine. In this week's episode, we explore major mergers, financial results, and product launches shaping the industry. We kick off with massive acquisition news as Couche-Tard moves to acquire ABKA Group's 13,000 stores for 8.6 billion dollars, alongside Sargento's acquisition of La Terra Fina to expand its deli dips portfolio. We also cover Tyson Foods posting its Q3 2026 results and Corteva raising its full-year guidance after a strong first half.In restaurant and hospitality news, we discuss expansions and brand milestones, including Popup Bagels breaking into the Nevada market, Fogo de Chao expanding in Arizona, and Jollibee bringing its famous Chickenjoy to downtown San Francisco. We also touch on SeaWorld adding horror IP to its Howl-O-Scream food and beverage nights.For the consumer packaged goods and functional foods sectors, we dive into Truheight launching protein energy waffles, Mondelez rolling out a Chips Ahoy mystery limited-time offer, and Bush's Beans dropping a limited-edition beans on toast kit. Additionally, we look at how technology is impacting the industry, highlighting Avocados from Mexico deploying a new AI answer engine for consumers.For full articles on these stories, exclusive insights, and daily industry news, visit fbmagazine.com. Be sure to also check out our network syndication at foodservice.media, which gives brands, buyers, and operators a direct path to the categories that matter most. Thank you for listening, and remember to subscribe to the newsletter so you never miss the latest trends.

David and Jordan share their experience playing through the newest IP from Square Enix, The Adventures of Elliot.

What happens behind the scenes when you dial 911, and is the infrastructure ready for AI, satellite messaging, video, and precise location data? In this episode of Tech Talks Daily, I'm joined by John Snapp, VP of Technology at Intrado. John has spent around 23 years working with cellular, location, and 911 technologies. He explains how a mobile emergency call is located, routed through a dedicated network, and directed to the appropriate Public Safety Answering Point. We discuss where AI can provide practical support inside emergency communications. Translation can help telecommunicators understand callers without waiting for an interpreter. Real-time transcription can capture details and suggest established procedures. AI voice agents can also handle suitable nonemergency inquiries, giving trained staff additional time for calls where lives may be at risk. John is clear that emotional emergency calls still demand human understanding and authority. AI can supply information, identify possible synthetic voices, and reduce administrative work, but trained telecommunicators remain responsible for interpreting the situation and directing the response. Our conversation also examines the infrastructure beneath these capabilities. Legacy 911 networks were designed largely for voice and limited amounts of data. Next Generation 911 introduces IP connectivity capable of carrying text, images, video, and richer location information. John explains how this foundation has made satellite texting possible and why similar capabilities were far slower to introduce using older networks. Moving to NG911 creates its own problems. Different vendors can comply with the same technical standard while implementing it differently. Calls may also need to move between modern and legacy call centers, making interoperability testing between jurisdictions a major part of deployment. We also consider cloud resilience, local survivability, connectivity diversity, telephony denial of service attacks, AI generated swatting calls, and the danger of adopting automation before establishing governance. John recommends starting with lower-risk areas such as quality assurance and nonemergency calls, communicating openly about AI use, and expanding only after teams understand the operational impact. As emergency communications become richer and increasingly connected, how should public safety agencies balance faster innovation with the reliability and human judgment every caller depends on? Listen to the episode and share your thoughts with me.

Whats better than playing Magic side by side with an elf? Playing Magic side by side with a friend. Yes, but what about second friend? Ok, enough of that, its not even the right IP. Join Bryan and Marcos as we talk to the Head Judge of Magic Spotlight Marvel Super Heroes Team Trios event, John Brian McCarthy. Sealed events can be a challenge, but Team Sealed events can be even challenginger. We talk about what makes team Trios different from regular events, and what preparation goes into ensuring they run smoothly. These are a fun and unique event that are rather rare at the LGS level, but you can learn a lot from the larger events and bring the fun home with you. Show NotesIf you are looking for a professional photo in a judge uniform or want to see professional photos of judges from various games making the magic (lowercase) happen, check out John Brian's website at: www.judgesatwork.com John Brian McCarthy's Head Judge Event Briefing: https://docs.google.com/document/d/1MaCSTFCgwGocE2YR2LqoSJQzHYDymFnEt9aKcJ52GYg/edit?usp=sharing

En herre har fått granat i rumpa - Tips for å velge riktig kleshenger - Golden nattevakt i båthavna Episoden kan inneholde målrettet reklame, basert på din IP-adresse, enhet og posisjon. Se smartpod.no/personvern for informasjon og dine valg om deling av data.

Foundations of Amateur Radio Previously I've talked about one of the often lauded cornerstones of the amateur radio community, namely Emergency Response, and to be frank, I questioned then, as I do now, the reality of this, at the very least, perceived, foundational aspect of our global hobby. Before you get out the caps lock key, let me assure you that I'm aware of sporadic examples of heroic efforts made by members of our community to save lives that are held up as examples of amateur radio emergency responses. What I'm questioning is related to our collective effectiveness. We have global and increasing occurrences of wild or bush fires, we have earthquakes and tsunamis, storms, hurricanes, cyclones or typhoons, whatever you call the vortex of destruction, and global news media ensures that we hear about it within hours if not seconds. Social media provides us with mobile phone footage dubbed with expert audio to explain the latest tragedy to the rest of us. What we don't see is what happens next, while the power is out, the internet is down, mobile phones aren't working anymore and survivors are fighting tooth and nail for their return to normalcy, or at least what's left of it. It struck me that one thing I never see discussed and haven't ever discussed in over a decade and a half I've been here, is the amateur radio interface with the rest of the world. A comment I see often is that Internet connected amateur radio, like Echolink, AllStarLink and IRLP, aren't real radio and that real amateurs use RF. HF radio for the win right? What do you think the relevance of HF radio is to a family member living in the next town after a disaster, or a parent looking for their lost child? How do ordinary people benefit from the radio amateur who lives on their street, or the one who travels into the disaster zone? Ultimately, if we are to take our claimed emergency response role seriously, we as a community of radio amateurs need to consider just what it is that we can offer to the people around us in the case of an emergency. Might what we offer look like a Wi-Fi base station that's connected to the rest of the world via an IP link that happens to be running on 2m or 70cm during an emergency? Or could what we offer be described as an Amateur Radio Short Message Service, what about transmitting a DVB-T dashboard that's being updated over LoRaWAN, or a local voice relay service? Where's the infrastructure, planning, preparation and training for that? Where's the documentation for it? How are we telling the local community about it? How well do we even do outage notifications within our community, let alone outside it? The point being that there are amateurs who beat their chest about emergency preparedness and, bluntly, have little or nothing to show for it. Don't get me wrong, this isn't limited to the amateur radio community. For a few weeks I became an aspirant member of a local emergency response team, right until I discovered that their biggest issue was that their user base, the local volunteer bushfire brigades, didn't really know how to use their radio repeater system and my suggestion to go and visit each one on a rotation basis and train them was met with snorts of derision and laughter. Do you really want an emergency response to be ad hoc? "Oh, sorry, I'm missing a cable and I can't connect this to that, I'll sort it out for next time." The increased interest in the various "OTA" or "On The Air" pursuits, Parks, Peaks, Summits, Bunkers, Castles, Waterways, Islands, Lakes, Libraries, Lighthouses and Toilets to name a few, are all helping amateurs practice with the "getting on-air and make noise using a temporary installation" part of an emergency response, but few of those activities interact with the general public in any way. Ironically, the local Wireless Civil Emergency Network, or WICEN, is at least doing some community outreach by providing radio infrastructure to a few local events. It's a start, but still a very long way from interacting with your next door neighbour in preparation for a massive storm and subsequent power outage. Here's the thing. There's no end-to-end anything. Is ad hoc sticky tape and baling wire really the way you want our amateur community to respond to an emergency? Is emergency response a fanciful concept, or are there things we as a community could put together to make it reality? I'm Onno VK6FLAB

Sho Alli and Daniele Franceschi break down the Blue Jays' 5-1 win vs. the Cardinals to win the series in Toronto! They take your calls and texts - after winning three straight games (and four of their last five) has the direction shifted from sell to buy, or is this win streak a mirage given the opponents in the fading Cardinals and Nationals? They discuss the play of the team's veterans, including George Springer, who continues to stay hot - what does the future hold for him? Plus, they discuss Kevin Gausman allowing one run over 5.2 IP in what could have been his final start as a Blue Jay - where does he stand in the all-time Jays starting pitchers rankings, and should the team sell, could he still be a Blue Jay going forward?   The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Sports & Media or any affiliates. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Attorney Russ Latino announced that his client Bart Edmiston — a former Ocean Springs High School teammate of Nolan Wells — is preparing to file defamation lawsuits against people who accused him of killing Nolan. Latino says Bart fully cooperated with investigators from the beginning, turning over his boat, GPS data, and phone. He flatly denied that Bart killed Nolan or contributed to his death in any way and called the online accusations "wholly fabricated."Bart also received a credible death threat that has been reported to the FBI, state, and local law enforcement.A defamation lawsuit opens the door to discovery — depositions, document production, and testimony under oath. It is the legal mechanism least likely to protect someone with something to hide and most likely to surface the truth.Attorney Gary Bufkin filed subpoenas to Snapchat, TikTok, WhatsApp, Meta, and Life360 requesting login histories, IP addresses, GPS data, and message records from Nolan's accounts. A mutual cell phone inspection has been agreed to by both sides' forensic teams. The answers the internet has been demanding are coming through the legal system, not through viral speculation.The manufactured evidence — a debunked pool photo, an audio recording with a mismatched digital fingerprint, AI fakes of Nolan's mother — made the investigation harder, not easier. Every viral accusation poisons the witness pool. Every death threat pulls resources from the case. The people who turned Nolan Wells' death into content owe his family more than clicks.End LinksJoin Our SubStack For AD-FREE ADVANCE EPISODES & EXTRAS!: https://hiddenkillers.substack.com/ Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/channel/UC8-vxmbhTxxG10sO1izODJg?sub_confirmation=1 Instagram https://www.instagram.com/hiddenkillerspod/ Facebook https://www.facebook.com/hiddenkillerspod/ Tik-Tok https://www.tiktok.com/@hiddenkillerspod X Twitter https://x.com/TrueCrimePodDisclaimerThis publication contains commentary and opinion based on publicly available information. All individuals are presumed innocent until proven guilty in a court of law. Nothing published here should be taken as a statement of fact, health or legal advice.Hashtags#NolanWells #BartEdmiston #TrueCrimeToday #HornIsland #OceanSprings #Mississippi #TrueCrime #BenCrump #JusticeForNolan #Defamation

Bart Edmiston — one of the friends who was on Horn Island with Nolan Wells on July 4 — has retained attorney Russ Latino and is preparing defamation lawsuits against the people who accused him online of killing Nolan. His lawyer says Bart already provided his boat, GPS data, and phone to investigators. He's cooperated fully. And he just received a credible death threat because of what his attorney calls "wholly fabricated" claims.Filing a defamation suit opens the door to the one thing fabricated claims can't survive: discovery. Depositions under oath. Subpoenas that pull every text and every GPS coordinate into a courtroom. Nobody volunteers for that process if they have something to hide.Ben Crump filed subpoenas to Snapchat, TikTok, WhatsApp, Meta, and Life360 — requesting login histories, IP addresses, password resets, GPS data, and message records. Both sides agreed to a mutual cell phone inspection. The data comes back in twenty-one days. When it does, the Snapchat question gets an answer based on evidence, not speculation.The internet manufactured an entire case file out of a debunked pool photo, an altered audio recording, and AI-generated fakes of Nolan's mother. Every viral accusation made the investigation harder, not easier. And the kids at the center of it — the friends Nolan grew up with, played football with, went to that island with — are carrying death threats for something nobody has proven they did.End LinksJoin Our SubStack For AD-FREE ADVANCE EPISODES & EXTRAS!: https://hiddenkillers.substack.com/ Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/channel/UC8-vxmbhTxxG10sO1izODJg?sub_confirmation=1 Instagram https://www.instagram.com/hiddenkillerspod/ Facebook https://www.facebook.com/hiddenkillerspod/ Tik-Tok https://www.tiktok.com/@hiddenkillerspod X Twitter https://x.com/TrueCrimePodDisclaimerThis publication contains commentary and opinion based on publicly available information. All individuals are presumed innocent until proven guilty in a court of law. Nothing published here should be taken as a statement of fact, health or legal advice.Hashtags#NolanWells #BartEdmiston #HiddenKillers #HornIsland #OceanSprings #Mississippi #TrueCrime #BenCrump #JusticeForNolan #Defamation

Frank and Jonathan are on vacation, so they dumped out a jar of ten random prompts and let the conversation run wherever it wanted. The result is a loose, funny grab-bag that swings from tabletop confessions to actual streaming news. They open by asking whether their D&D characters could survive a single day in the real world, which turns into a live rescue plan for Jonathan's volatile, faith-questioning gunslinger and a great story about the priest who quietly let a party member die. From there it is physical media versus streaming (with a Netflix boycott and a terabyte of movies packed for a cruise), the most toxic fandom corners (Pokemon card scalping, weighed packs, and Star Wars media literacy), the games everyone owns but never finishes, retro comebacks worth reviving, and the classics they think are a little overrated. The back half gets newsier with Good Mythical Morning heading to Netflix as a daily show, a debate about Emmy legitimacy versus chasing a new algorithm, and a closing round on which fictional universe would actually be miserable to live in. Timestamps and Topics 00:00 Intro and Vacation Filler Setup 00:24 Would Your D&D Character Survive Real Life? 07:03 Physical Media vs. Streaming 10:32 The Most Toxic Fandom Corners 17:11 Games You Own but Never Finished, Plus Retro Comebacks 22:05 Overrated Classics and Villain Redemption Arcs 27:07 Casting the D&D Campaign 29:11 Good Mythical Morning Heads to Netflix 34:36 The Fictional Universe That Would Actually Suck Key Takeaways Instead of retiring a chaotic character, Frank pitches turning Jonathan's crisis-of-faith gunslinger into someone actively fighting a chaos god, a reminder that a table can repair a character rather than shelve it. The physical media conversation lands on owning your favorites, fueled by climbing Netflix prices, Christmas movies that vanish from streaming, and a stack of downloads big enough to survive a stranded cruise ship. Pokemon card culture gets named the most toxic fandom corner, from pack-weighing and resale fights to Target reportedly cutting boxes open to kill the scalper market. Media literacy is the throughline for the Star Wars and Dungeon Crawler Carl "too woke" complaints, since both were anti-fascist and anti-capitalist from the start. Gaming talk hits the Oblivion remaster, cautious hope for Elder Scrolls VI amid Xbox layoffs and Bethesda leaning on proven IP, and one very honest Elden Ring skill check. Good Mythical Morning moving to Netflix drives the biggest debate: fresh cash and Emmy legitimacy on one side, the risk of chasing a new algorithm and turning away from YouTube on the other. Quotes "If you think it's too woke, it's been that way from the beginning." "We have to make our point with our wallet." "I return and tell him he was already dead." "I got my ass handed to me so hard I returned it within two hours." "Don't turn your back on YouTube after you literally built your success." Call to Action If you had fun with this one, subscribe so you never miss an episode, leave a rating and review to help new listeners find the show, and share it with a friend who would have strong opinions about Pokemon card scalpers. Tag us and use #GeekFreaksPodcast when you post about it. Links and Resources All news discussed on the show comes from GeekFreaksPodcast.com. Head there for the full write-ups on everything covered in this episode. Follow Us Facebook: https://www.facebook.com/thegeekfreakspodcast Threads: https://www.threads.net/@geekfreakspodcast Patreon: https://www.patreon.com/GeekFreakspodcast Frank: @franklourence79 Listener Questions Got a hot take, a reaction, or a topic you want us to draw next time? Send us your questions, arguments, and future episode ideas. We read them, and the best ones make it onto the show.

I am Rolf Claessen and my co-host Ken Suzan and I are welcoming you to episode 177 of our podcast IP Fridays! Today's interview guest is Dr. Ernst-Peter Heilein, who is a German and European patent attorney, the founder of HEILEIN IP LAW, and a long-time IP leader at BSH Home Appliances. He is the mastermind behind the BSH v. Electrolux decision of the European Court of Justice about long-arm jurisdiction in Europe that has the whole patent world stirring in Europe at the moment! But before we jump into this fascinating interview, I have news for you! Emboline v. AorticLab (UPC Court of Appeal) The UPC Court of Appeal has clarified for the first time how a conditional revocation counterclaim should be handled, in a dispute over Emboline’s embolic protection patent EP 2 129 425 against AorticLab. A defendant can validly make its revocation counterclaim conditional on infringement being found first, meaning no ruling on the counterclaim is needed if the infringement claim fails, as the Munich Local Division had held. The Court of Appeal also closed a related gap: if the claimant appeals a non-infringement finding, the counterclaimant may conditionally appeal the unresolved counterclaim too. AorticLab missed its own appeal deadline and can now at best seek re-establishment of rights, while Emboline has already appealed the non-infringement finding. FujiFilm v. Kodak (UPC Court of Appeal) Following the closely watched long-arm jurisdiction ruling of June 2, the UPC Court of Appeal, chaired by Rian Kalden, has now granted FujiFilm an injunction against Kodak in a second proceeding. The Court upheld the limited printing plate patent and found that Kodak’s Sonora XTRA 3 plate infringes it. Kodak can no longer sell or use that plate in Germany. OpenAI v. EUIPO (General Court of the EU, T-555/25) The General Court’s Eighth Chamber dismissed OpenAI’s action against the EUIPO decision to partially cancel the OPENAI trademark. The partial refusal for classes 9, 42, and 45 rests decisively on Article 7(1)(c) EUTMR, the descriptiveness ground. For a significant part of the English-speaking public, “OPENAI” directly conveys that the goods or services are provided using freely accessible artificial intelligence. Dental Monitoring v. Align Technology (CAFC) On July 7, 2026, the Federal Circuit confirmed that AI and deep-learning patent claims covering dental image analysis are not patent-eligible under Section 101. Simply training a “deep learning device” on a specific dataset does not amount to a patent-eligible technical solution. Publisher v. Google (Munich I Regional Court) The Munich I Regional Court issued a preliminary injunction barring Google from spreading false factual claims about a publishing company in its AI Overviews. A search query combining the company’s name with the German term for “fraud scheme” had triggered an AI-generated summary containing entirely fabricated accusations of subscription traps. KPN v. Oppo (Federal Court of Justice, X ZR 103/24) On July 1, the Federal Court of Justice dismissed KPN’s appeal against the revocation of a central claim of its LTE patent EP 2 291 033. Oppo had successfully challenged the claim, leaving KPN’s infringement action against Oppo’s German distribution entity without a legal basis for now. BSH v. Electrolux: What the ECJ Ruling Means for Your Company’s Patent Enforcement Strategy A vacuum cleaner from 2001 has reshaped the European patent landscape. That sounds like an overstatement. It isn’t. For IP Fridays, I spoke with Dr. Ernst-Peter Heilein, founder of HEILEIN IP LAW and long-time Senior IP Leader at BSH Home Appliances. He guided the case BSH v. Electrolux from its first strategic idea all the way to the Grand Chamber of the European Court of Justice, a case that earned the 2025 Managing IP Award as “Europe Impact Case of the Year.” For managing directors, IP heads, and R&D leaders at German Mittelstand companies, this case is not a legal footnote. It changes where you can enforce your patents, and it changes where you yourself can be sued if your company operates across several European markets. That is what this article is about. Background: How a Patent Dispute Became an ECJ Case The invention dates back to 2001 and concerns a new vacuum cleaner technology. In 2006, BSH identified what it believed was an unauthorized use of that invention and contacted Electrolux to clarify the situation. The European patent was granted in 2009 and validated in a number of European countries. Nobody, Heilein says, could have imagined at the time that this matter would eventually reach the Grand Chamber of the European Court of Justice almost twenty years later. In late 2018, BSH successfully defended the patent through opposition and appeal proceedings before the European Patent Office. In 2019, the Higher Regional Court of Düsseldorf found that certain Electrolux vacuum cleaner models infringed the patent. A classic milestone win, the kind that occurs regularly in patent practice. Except the patent had been validated in many countries. Winning in Germany did not solve the enforcement problem everywhere else. Heilein describes the starting point in very concrete terms: how do you enforce a patent that exists in many countries without filing a separate lawsuit in every single one? And how do you prevent claims from becoming time-barred while you work that out? Running parallel proceedings in multiple countries is not just legally complex. It consumes time, personnel, and money that a mid-sized company rarely has in that quantity to spare. This is exactly where the real value of this case for you begins. From the outset, this was never an academic debate about jurisdiction. It was a question that every company holding rights in more than one country eventually faces: how do you enforce your rights efficiently without burning your budget on ten parallel proceedings? Brussels Ia Regulation: The Underrated Article 4 While searching for a solution, the BSH team came across Article 4 of the Brussels Ia Regulation. The underlying idea is simple: a person can generally be sued in the country where that person is based. In the BSH case, that pointed toward the Swedish home court, because Electrolux is headquartered in Stockholm. For a long time, this rule played no real role in patent practice. The widely held view was that cross-border patent litigation in Europe was effectively dead the moment a defendant challenged the validity of the patent. Anyone wanting to enforce a patent across several countries appeared to have no choice but to litigate country by country. Heilein and his team questioned that assumption instead of simply accepting it. This is the point I find most instructive: challenging accepted assumptions in your own field is often the difference between a standard solution and a strategic one. In 2020, the team decided to file the action in Sweden, aware that they were looking at a possibility, not a guarantee. Cross-Border Enforcement: The Three Questions Referred to Luxembourg After Electrolux challenged the validity of the patents, the Swedish home court declared itself not competent to hear the case. BSH appealed, and the Swedish Court of Appeal agreed to refer three questions to the European Court of Justice. The first question addressed the core problem: does a home court that would otherwise have jurisdiction over an infringement claim lose that jurisdiction simply because the defendant argues the patent is invalid? The second question concerned a feature common to many legal systems, including Germany’s, where infringement and validity are decided in separate proceedings. The third question originally concerned Turkey. Today, most people immediately think of the United Kingdom, and some even think of US patents. Originally, the question was simpler: do the same jurisdiction rules apply to patents from countries outside the European Union? The fact that the ECJ first assigned the case to a Chamber of seven judges and later referred it to the Grand Chamber of 15 judges already signaled how much weight the Court placed on these questions. The Judgment: What the ECJ Actually Decided A home court does not automatically lose jurisdiction simply because the defendant argues the patent is invalid. For many years, the opposite was widely assumed to be settled law. The ECJ made clear that this reading was too narrow. The court where the defendant is based can generally continue to hear the infringement case. One point matters for how you read this ruling: questions concerning the validity of a European patent still fall to the national courts of the country for which the patent was granted, as provided in Article 24(4) of the Brussels Ia Regulation. What is new is that the infringement case does not automatically collapse the moment validity is challenged. The home court keeps control of the overall proceeding. For patents from EU Member States, the home court does not automatically lose jurisdiction. It assesses the validity challenge. If it looks strong, the home court may stay the infringement case. If it looks weak, the home court may proceed. For patents from non-EU countries, the home court may stay the case if a validity proceeding is already pending there, drawing on Articles 33 and 34 of the Brussels Ia Regulation. The result is a considerably more flexible system than most observers expected . Patents from Outside the EU: Long-Arm Jurisdiction The part of the judgment with the greatest international reach concerns patents from countries outside the EU. The ECJ ruled that the special jurisdiction rule for patent validity generally does not apply to non-European patents. That means the general rule can apply instead, opening the door for infringement claims based on non-European patents to be brought before a home court where the defendant is based in the EU. Commentators quickly started calling this “long-arm jurisdiction.” One clarification matters here, because it tends to get lost in the public discussion: the ECJ did not say that a European home court can revoke or invalidate a foreign patent. That remains a matter for the authorities and courts of the country that granted it. What the ECJ said is that a European home court may assess the claims between the parties. That distinction is essential to how you should read this ruling. Consequences in Practice: Fujifilm, Regeneron, and Onesta Three recent cases show how quickly practice is already adapting to the new possibilities. Fujifilm v. Kodak: the Düsseldorf Local Division of the Unified Patent Court accepted jurisdiction over the UK part of a European patent even before the ECJ delivered its judgment, building on reasoning the Advocate General had already signaled in the BSH case. In June 2026, the UPC Court of Appeal further developed that approach based on the principles confirmed in BSH. Regeneron v. Formycon: the Munich home court applied the BSH framework and granted a Europe-wide injunction based on a European patent, one of the first examples of a national home court putting the BSH logic into practice. Onesta v. BMW: this case shows the debate has moved well beyond Europe. After Onesta attempted to assert two US patents before the Munich home court, BMW obtained an anti-suit injunction from a Texas federal court. Judge Albright took the view that US patents should generally be decided by US courts. The injunction was directed against Onesta, not against the Munich court, and Onesta has appealed the Texas decision. The Munich home court stayed the proceeding but did not reject its own jurisdiction. Whether a European home court can ultimately decide infringement claims based on US patents remains an open question, one that has turned from a European jurisdiction issue into an international jurisdiction conflict. What This Means for Your Company Heilein sums up twenty years of litigation in three lessons, and I share this assessment without reservation when advising my Mittelstand clients. First: patent enforcement has become more international. National litigation still matters, but companies should think across borders from the very beginning, not only once the first cease-and-desist letter has been sent. Second: choice of forum now carries real strategic weight. Where you bring a case can matter just as much as the legal arguments themselves. Third: long-term commitment pays off. Major developments rarely result from a single filing or a single hearing. They come from pursuing a clear strategy consistently over many years. For you as a managing director, R&D lead, or Head of IP at an innovative Mittelstand company, this translates into two concrete points. First, if you hold rights in several European countries and a competitor infringes them, you no longer necessarily have to fund five or six parallel national proceedings. A single action at the infringer’s home base can be the economically smarter option. Second, and this side of the ruling gets less attention in public discussion, if your company is based in Germany and operates across several countries, you can now be sued at your own home base over patent infringement claims tied to activities in other countries. That risk belongs in every freedom-to-operate analysis and in every assessment tied to acquisitions or market entry. Here is the full transcript of the interview: Host Today's interview guest is Dr. Ernst-Peter Heilein. If you don't know Ernst-Peter, he is a German and European patent attorney, the founder of HEILEIN IP LAW, and a long-time IP leader at BSH Home Appliances. Thank you for being on IP Fridays. Answer Yeah, great to be here! BLOCK 1 – THE PERSON BEHIND THE CASE Host When looking at your career, one thing stands out: you never really followed the traditional path of either private practice or industry. Er, how did your professional journey begin, actually? Answer My professional roots are actually in private practice. After qualifying as a Patent Attorney, I worked in private practice and fairly early founded my own law firm, which later became HEILEIN IP LAW. Host So you never completely left private practice behind? Answer Exactly. In 2005, I had the opportunity to take on additional responsibilities on the BSH side. There, I was able to build and lead a new unit within the IP organization. The team was responsible for patents in the small appliances business, as well as global design and trademark protection. At the same time, I helped build an international network of internal and external IP counsel and coordinated their work. Host That still sounds fairly like traditional IP work. When did international disputes become part of your career? Answer Over time, my focus gradually shifted from traditional IP protection to strategic enforcement. That included anti-counterfeiting activities, global trademark and design matters, and cross-border patent disputes. Host So your work became more about enforcing rights rather than simply obtaining and managing them, right? Answer Exactly. And that development eventually led me to play a strategic role in the case BSH Home Appliances versus Electrolux, a case that still accompanies me today. Host Looking back now — from private practice, to building an international IP organization, and eventually becoming involved in a case before the European Court of Justice — did you ever imagine that path? Answer No, not at all. Looking back, this combination of private practice, responsibilities on the business side, and international enforcement experience turned out to be very useful when our case eventually reached the European Court of Justice. BLOCK 2 – HOW IT ALL STARTED Host Yeah, talking about this case. The case BSH versus Electrolux started long before it reached the European Court of Justice. When did the story actually begin? Answer The story actually begins much earlier than most people would expect. The invention itself dates back to 2001 and concerns a new vacuum cleaner technology. In 2006, we identified what we believed to be an unauthorized use of the invention and contacted Electrolux to clarify the situation. The European patent in suit was granted in 2009 and validated in a number of European countries. At the time, nobody could have imagined that this would eventually lead to a decision of the European Court of Justice almost twenty years later. Host Wow, 20 years! That's a long time. So, at first this was simply a normal patent dispute? Answer Yes, absolutely! After many years of opposition and appeal proceedings before the European Patent Office, we were finally able to defend the patent successfully in late 2018. Less than one year later, in the summer of 2019, the Higher Regional Court of Düsseldorf found that certain Electrolux vacuum cleaner models infringed the patent. Host Er, at that point, one might think, that the patent owner had achieved its goal, right? Answer That is what many people would think. But that judgment did not bring the dispute to an end. A new challenge emerged. The patent had been validated in many European countries. Winning in one country, like Germany, did not automatically solve the enforcement issue in all the other countries. Host What was the practical problem then? Answer We were facing a very simple question: How do we enforce a patent that exists in many countries? And how do we prevent claims from becoming time-barred without filing separate infringement actions in every single country? Doing that would not only be legally complex. It would also require a huge amount of time, effort, and money. Host That sounds less like a major legal question and more like a business problem. Answer Exactly. At the beginning, this was not an academic discussion about jurisdiction. It was a very practical business question. How can we enforce our rights efficiently without running parallel lawsuits all over Europe? That was the real challenge we were trying to solve. BLOCK 3 – THE IDEA OF A CENTRAL ACTION Host So, how did the idea of one central action emerge? Answer While looking for possible solutions, we came across Article 4 of the Brussels Ia Regulation. The idea behind that rule is very simple. In general, a person can be sued in the country where that person is based. In our case, that pointed us toward the Swedish home court because Electrolux is based in Stockholm. Host That sounds like a fairly ordinary jurisdiction rule. Answer Yes. And that was exactly what made it interesting. Article 4 is the general rule. The question was whether that rule could also be used for patent infringement claims covering several countries. Host Was that a common approach at the time? Answer No. Quite the opposite. Many people believed that cross-border patent litigation in Europe was effectively dead. Host That sounds rather dramatic. Why did people think that? Answer Because there was a widely held view that a central patent case could be stopped as soon as the defendant challenged the validity of the patent. As a result, many companies assumed they had no real choice but to litigate country by country. Host Yet you decided to look at the issue differently. Answer Yes. Sometimes it is worth taking a fresh look at accepted assumptions. We felt that Article 4 might play a much more important role than many people believed. Host So at that point, you already saw an opportunity, right? Answer Yes, we saw a possibility! Not a guarantee. But we believed there was a strong legal basis for bringing all claims before the Swedish home court. Host And that eventually led to the lawsuit being filed in Sweden, right? Answer Exactly. In 2020, we decided to file the action in Sweden. That followed our success before the European Patent Office in late 2018 and in the Düsseldorf infringement proceedings in 2019. At that stage, our objective was very practical. We were simply trying to find an efficient way to enforce rights that exist in many countries. Host At that point, you already think the case might end up before the European Court of Justice? Answer No. Not at all. We were focused on solving a business problem. The idea that the case would eventually reach the European Court of Justice came much later. BLOCK 4 – THE OBSTACLE: GAT v. LuK Host You mentioned that, er, many people believed cross-border patent litigation in Europe was no longer a realistic option. Why was that? Answer The main reason was an earlier decision of the European Court of Justice known as GAT versus LuK, decided in 2006. For many years, that decision was understood to mean that a home court could lose its ability to hear a patent infringement case as soon as the defendant challenged the validity of the patent. In practice, that understanding made many cross-border patent cases extremely difficult. As a result, many people believed that cross-border patent litigation was not effective. Host And yet you decided to follow exactly that path, right? Answer Yes. Sometimes it is worth questioning assumptions that have been accepted for many years. We believed that Article 4 of the Brussels Ia Regulation played a more important role than many people thought. That is why, in 2020, we decided to file the case in Sweden. Host And at that point, did you already realize that the case might eventually reach the European Court of Justice? Answer No. Not at all. Our goal was simply to find a practical solution to a real enforcement problem. The idea that this would eventually become a case before the European Court of Justice was far from our minds. BLOCK 5 – THE QUESTIONS REFERRED TO THE EUROPEAN COURT OF JUSTICE Host So, how did the case eventually reach the European Court of Justice then? Answer After we filed the lawsuit in Sweden in 2020, Electrolux challenged the validity of the patents. The Swedish home court then concluded that it could not hear the case and declared itself not competent to proceed. We appealed that decision, because the issues were important and affected far more than just our case. We suggested that several questions should be referred to the European Court of Justice. The Swedish Court of Appeal agreed and sent those questions to Luxembourg. Host So, what were these main questions? Answer At the heart of the case, there were three questions: First: if a home court has jurisdiction over a patent infringement case, does it lose that jurisdiction simply because the defendant argues that the patent is invalid? Second: Does it make a difference if the national legal system requires validity issues to be decided in a separate proceeding? And third: Do this jurisdiction rules also apply to patents from countries outside the European Union? Host The third question sounds particularly interesting. Answer Yes, at the time, the discussion in our case focused on Turkey. Today, many people immediately think about the United Kingdom, and some even think about US patents. But originally, the question was much simpler. We wanted to know, whether the same jurisdiction rules also apply when patents from non-European countries are involved. Host And, did you realize how important that third question might become? Answer No, certainly not to that extent. At the beginning, most of the discussion focused on the relationship between the different jurisdiction rules within Europe. Only later did it become clear that the European Court of Justice’s answers might have consequences far beyond the European Union. Host So, how did the European Court of Justice react then? Answer That was actually quite interesting. The European Court of Justice first heard the case before a Chamber of seven judges. Later, it referred the case to the Grand Chamber of 15 judges. That already showed that the European Court of Justice considered the issues to be important. And when the judgment finally came out, some of the answers were very different from what many observers had expected. BLOCK 6 – THE DECISION OF THE EUROPEAN COURT OF JUSTICE Host Let’s talk about the European Court of Justice’s answers. What was, in your view, the most important part of the decision? Answer The most important point was this: A home court does not automatically lose jurisdiction just because the defendant argues that the patent is invalid. For many years, many people believed exactly the opposite. The European Court of Justice made it clear that this understanding was too narrow. The home court where the defendant is based can generally continue to hear the infringement case. That is really the key message of the decision. Host Why is that so important? Answer Because it gives new momentum to cross-border patent enforcement in Europe. Before this decision, many people assumed that a defendant could effectively stop a central infringement case simply by challenging the validity of the patent. The European Court of Justice made clear that this is not automatically the case. Host Does that mean the home court hearing the infringement case will now also decide whether the patent is valid? Answer No, and that is a very important point. The European Court of Justice confirmed that questions about the validity of a European patent should still be decided by the national courts of the country for which the patent was granted, as provided for in Article 24(4) of the Brussels Ia Regulation. What is new, is that the infringement case does not automatically fall apart because of a validity challenge. The home court can keep control of the overall case. Host So, how does that work in practice? Answer The European Court of Justice gives the home court some flexibility. For patents from Member States of the European Union, the home court does not automatically lose its power if the defendant says the patent is invalid. The home court can look at the validity challenge. If it seems strong, the home court may stay the infringement case. If it seems weak, the home court may continue the infringement case. For patents from countries outside the European Union, the home court may also stay the case if there is already a validity case pending in that country. In such situations, Articles 33 and 34 of the Brussels Ia Regulation may apply. That creates a much more flexible system than many people expected. Host Er, we have discussed the implications for patents from Member States of the European Union, but a lot of attention has been given to another part of the decision, that we already talked about briefly, namely patents from countries outside the European Union. Answer Absolutely, and that may be the part of the judgment with the biggest international impact. Host Why? Answer Because the European Court of Justice decided that the special jurisdiction rule for patent validity does not generally apply to patents from non-European countries. In simple terms, that means the general rule can still apply. And that opens the possibility of bringing infringement cases based on non-European patents before the home court where the defendant is based in the European Union. Host That sounds like a very far-reaching statement. Answer It is. That is why many commentators started talking about what is often called “long-arm jurisdiction.” In other words, a European home court may, under certain circumstances, deal with infringement claims relating to patents from countries outside the European Union. Host So, many listeners may now wonder: Can a Swedish or a German home court really decide a dispute involving a British or Turkish patent? Answer Ah, we need to be careful here. The European Court of Justice did not say that a European home court can cancel or revoke a foreign patent. That remains a matter for the authorities and national courts of the country that granted the patent. What the European Court of Justice said is that a European home court may assess the claims between the parties in a dispute. That is an important distinction. Host Did you realize during the proceedings how important this part of the decision might become? Answer Not to this extent. We started with a very practical enforcement problem. Only later did it become clear that the European Court of Justice’s answers might have consequences far beyond the original case. Today, the decision is discussed not only in connection with Turkish patents, but also British patents and even possible claims involving US patents. Host If you had to summarize the decision in one sentence, and I know, this is a very difficult task, what would that sentence be? Answer The European Court of Justice did not re-invent cross-border patent enforcement in Europe. But after many years, it clearly gave it much more room to develop. BLOCK 7 – THE REACTION OF THE IP COMMUNITY Host So, how was the decision received after it was published? Answer Ah, the reaction was very strong. It quickly became clear that many people saw the decision as much more than just another patent case. Many articles and commentaries described it as an important development in European patent litigation. Host Did that surprise you? Answer To some extent, yes. Of course, we knew that the questions referred to the European Court of Justice were important. But I was surprised by how quickly the decision became a major topic of discussion across the European patent community. Host Er, you later presented the decision at several conferences yourself, right? Answer Yes. The discussion started right away. I had the opportunity to discuss and present the case at several conferences and events, including the annual VPP conference in Germany and the Ingolstadt Patent Symposium. I recently received an invitation to serve as a panel speaker on cross-border litigation at the AIPPI World Congress 2026 in Hamburg. What struck me most was that both internal and external IP counsel were trying to understand the practice consequences of the decision. Host So, what was the question you were asked most often? Answer Almost always the same one: How far does this decision really go? People wanted to know whether this was simply a correction of earlier case law or whether it marked the beginning of a new phase in cross-border patent enforcement. Host And what did you say? Answer I would describe it as: neither a revolution nor a minor adjustment. The European Court of Justice did not rewrite the system. But it clearly changed the balance between the different jurisdiction rules. That is why I believe the decision will continue to be discussed for many years, both in practice and in academia. Host Er, one year later, the case received the Managing IP Award as the “Europe Impact Case of the Year.” What did that recognition mean to you? Answer First of all, it was a great honor for everyone involved. But for me, the most important thing was the message behind the award. The award showed that the decision affects much more than the parties involved in the case. It has an impact on European patent practice as a whole. And it also shows that the underlying jurisdiction questions reach far beyond patent law. They are relevant whenever companies have to enforce rights across borders in an increasing international world. That is what makes this case special. Host You often describe this case as a team effort. Answer Absolutely. A case of this size is never the work of one person. Many people contributed over many years. On the BSH side, team members from different functions played an important role throughout the proceedings. And we worked closely with external advisors in several countries. So I see the award as recognition of a shared achievement rather than an individual success. Host Looking at the discussions today, would you say the debate is over? Answer Not at all. I actually think we are only at the beginning. There are still many practical questions that home courts will have to answer in the coming years. That is exactly why the decision remains so interesting. BLOCK 8 – WHAT DOES THE DECISION MEAN IN PRACTICE? Host Let’s move from legal theory to practical business implications. What does this decision mean for patent owners and companies? Answer In my view, the biggest change is strategic. Patent owners now have better opportunities to bring cross-border disputes together in one central proceeding. At the same time, companies need to be aware that they may face claims at their European headquarters covering activities in several countries. So the decision creates opportunities, but it also creates new risks. Host That sounds really like a significant shift; right? Answer I would call it a rebalancing rather than a revolution. The European Court of Justice did not create a completely new system. But it made clear that the general rule — suing a defendant where it is based — plays a much bigger role than many people had assumed. As a result, the court at the defendant’s home base becomes much more important strategically. Host In the patent community, people often talk about cases such as Fujifilm v. Kodak, or Regeneron v. Formycon or Onesta v. BMW. Why are those cases attracting so much attention now? Answer Because they show how quickly practice is already adapting to the new possibilities. Fujifilm was important because it was one of the first UPC cases to test the logic that was later confirmed in BSH. At that time, the BSH case was already pending before the European Court of Justice, and the Advocate General had expressed a view that pointed in that direction. Against that background, the Düsseldorf Local Division accepted jurisdiction over the UK part of a European patent even before the European Court of Justice delivered its judgment. In June 2026, based on the principles confirmed in BSH, the UPC Court of Appeal further developed that approach. Host And what happened in Regeneron v. Formycon ? Answer In the Regeneron case, the Munich home court applied the approach confirmed in BSH and granted a Europe-wide injunction based on a European patent. That was one of the first examples of a national home court using the BSH framework in practice. That demonstrates that the decision is not just an academic discussion. It already has practical consequences. Host And what about the Onesta case? Answer The Onesta case shows that the debate has moved beyond Europe. After Onesta attempted to assert two U.S. patents before the Munich home court, BMW obtained an anti-suit injunction from a Texas federal court. Judge Albright took the view that U.S. patents should generally be decided by U.S. courts. The Onesta case therefore illustrates that the limits of the BSH logic are now being tested internationally. Host Did that end the proceedings in Munich? Answer Not necessarily. What makes the case interesting is that the Texas injunction was directed against Onesta, not against the Munich home court. At the same time, Onesta appealed Judge Albright’s decision in the United States. The Munich home court therefore decided to stay the case for the time being. Importantly, however, the Munich home court did not reject its own jurisdiction. So, at least for the moment, the underlying question remains open. Host Can a European home court ultimately decide infringement claims based on U.S. patents? Answer That question has not yet been answered. But the case has already shown that such an attempt can trigger strong reactions outside Europe. In that sense, the debate has moved from a European jurisdiction question to an international jurisdiction conflict. Host For our audience of internal and external IP counsel, what are the main lessons from this decision? Answer For me, there are three key takeaways. First: Patent enforcement has become more international. National litigation remains important, but companies should think across borders from the very beginning. Second: The choice of forum is becoming more important. Where you bring a case may be just as important as the legal arguments themselves. And third: Long-term commitment matters. This case shows that major developments rarely happen because of a single filing or a single hearing. They usually result from pursuing a clear strategy consistently over many years. Host Do you think this decision will also influence the Unified Patent Court, the UPC? Answer Yes, I believe so. The decision fits into a broader trend toward more centralized patent litigation. Both, the UPC and the BSH decision are driven by the same idea: Handling cross-border disputes more efficiently and more consistently. What is interesting is that many of the questions were faced in BSH versus Electrolux are now reappearing in a new form before the UPC. Cases like Fujifilm versus Kodak show that the discussion about jurisdiction, scope, and cross-border effects is far from over. Institutions may be new. But the underlying challenge remains the same: How do we enforce patents effectively across borders? Host Some commentators even see this as a step toward a more independent European patent judiciary. Do you agree? Answer To some extent, yes. Professor Hanns Ullrich, who supervised my doctoral studies on the legal protection of a then new semiconductor technology many years ago, recently observed that the UPC is gradually developing its own European case law.[DH1] I think that is — again — a very accurate observation. If you look at the developments since BSH and the first UPC decisions, you can see that European patent litigation is becoming more connected. National courts will remain important. But at the same time, we are seeing a more integrated European patent system taking shape. How far that development will go remains to be seen. Host Looking back on the entire journey — from a vacuum cleaner patent, through litigation in several countries, all the way to the European Court of Justice and an award-winning decision — what is your personal conclusion? Answer My main conclusion is that innovation needs effective legal protection. But it also requires the willingness to challenge established assumptions and explore new approaches. For me, the BSH versus Electrolux case shows that persistence, teamwork, a willingness to challenge accepted assumptions, and a long-term strategic view can sometimes lead to developments that go far beyond the original dispute. BLOCK 9 – THE PERSON BEHIND THE DECISION Host Ernst-Peter, today we have talked a lot about jurisdiction, patent enforcement, and European case law. When you look back at this journey, which has lasted almost twenty years, what impressed you most? Answer Probably the realization that major developments rarely follow a straight line. When we started thinking about the case, we were dealing with a very practical problem. Nobody said: Let’s create a landmark decision of the European Court of Justice. We were simply looking for a reasonable and practical solution for a company. The fact that this would eventually lead to a decision with Europe-wide impact was something nobody could foresee at the time. Host Were there moments when you thought the case might fail? Answer Of course. Whenever a case lasts many years, there will be setbacks, new questions, and unexpected developments. That is exactly why persistence is so important. In the end, success is often not about one filing or one hearing. It is about staying focused on a clear objective over a long period of time. Host You often talk about teamwork. Is that one of the main lessons from this case? Answer Absolutely. A case of this size requires commitment from many people and institutes over many years. On the BSH side, my role was to help maintain the strategic direction and long-term commitment that such a case requires. At the same time, experts from different functions within BSH contributed technical expertise, testing, documentation, and practical support throughout the proceedings. On the legal side, Roman Sedlmaier and his team at IP-Counsels Gigerich & Sedlmaier (IPCGS) helped develop the cross-border litigation strategy and the overall case architecture. Our Swedish litigation team then carried the arguments through all stages of the proceedings. Looking back, it was the combination of institutional commitment, technical expertise, strategic leadership, well-designed case architecture, and consistent execution that made the difference. Host One final question. What advice would you give to young internal or external IP counsel? Answer Stay curious: Don’t be afraid to question accepted assumptions. Be patient: Intellectual property is usually a marathon, not a sprint. And never forget that every patent dispute involves an invention, a business, and many people who have worked hard to bring that innovation to market. For me, that connection between technology, law, and strategy is what still makes this profession so fascinating today. Host Ernst-Peter, thank you very much for joining us today on IP Fridays. Answer Thank you. It was a pleasure to be here.

Luxury real estate and media collide in this episode of RWorld Talk, recorded live at Rock the Market in Palm Beach. Host Chris Krzemien sits down with Billy Nash, one of South Florida's most recognized luxury agents and the creator of the globally distributed docuseries Passport Properties, for a candid conversation about building a business, building a brand, and doing both on your own terms.Billy spent a year filming across nine countries, including Morocco, Portugal, Spain, Croatia, Sardinia, and Scotland, producing a 53-minute docuseries that he owns outright through the creator economy model. The show has already generated active listings including an 18 million dollar property in Puglia, a 14.5 million dollar vineyard in Spain, and a 10 million dollar estate in Sardinia. He did it without a Hollywood studio, without giving up his IP, and without stopping his core real estate business in the Palm Beaches, Miami, and the Florida Keys.The conversation covers everything from what the luxury buyer actually looks like today to why AI is a tool and not a threat, why content authenticity beats volume every time, and what it really takes to build a relationship-based business from zero every single month.We discussed:➡️ Why the emotional difference between a $1 million buyer and a $20 million buyer➡️ How Jason went from reading Sell It Like Serhant on his honeymoon to joining the team➡️ How to win relocation buyers by selling a lifestyle and not just a house➡️ Why every client gets the same level of service regardless of price point➡️ The $200,000 check mistake he wishes he could take back➡️ What the Serhant culture actually looks like from the inside➡️ Why you cannot do real estate part-time and what happens when you tryIf you have ever thought about moving into luxury real estate or building a referral-based business from a nontraditional background, this is the episode for you.Chapters:00:00 Welcome 01:10 Passport Properties Update01:51 World Travel Highlights03:38 Show Impact on Business05:17 Why Create the Series07:22 Real Estate Reality Check09:00 Luxury Service Mindset11:26 Content and Media Strategy14:16 AI and the Deal Maker14:58 Who Buys Luxury Today17:51 Authenticity Takeaways19:22 Final Advice and WrapFOLLOW US:Instagram: @rworldtalkLinkedIn: @rworldtalkpodcastWebsite: https://rworld.com/#RWorldTalk #RealEstate #Realtor #Luxury #PersonalBrand #ContentMarketing #Relationships #AI #Marketing #BusinessGrowth #SouthFlorida #LuxuryHomes #Networking #SocialMedia

professorjrod@gmail.comIf “the internet is down” is the sentence that makes your brain freeze, this guide is for you. We take the pressure off by turning networking into a set of simple ideas you can picture and repeat under stress, the same way you'll need to think on the help desk and on the CompTIA A+ exam. I walk through what a network is, why businesses rely on it, and how PAN, LAN, and WAN show up in real life, from Bluetooth devices to the internet itself.From there, we connect the dots across the gear and the settings: what switches do inside a LAN, why routers matter for getting online, how modems talk to your ISP, and what an access point really does for Wi‑Fi. We cover IP addressing with clean examples, the difference between private and public IPs, and how NAT translates between them. Then we hit the “must know” services: DHCP for automatic configuration, DNS for turning names into numbers, and the core ports that show up again and again. I also share a quick help desk story that proves why “never guess, always verify” saves time.The second half expands beyond networking into the wider set of IT support fundamentals: laptop design and upgrade limits, battery safety, modern connectors like USB‑C power delivery, docking stations, mobile tech like NFC and biometrics, and printer troubleshooting that becomes easy once you understand the printer type and the laser process. We wrap with practical explanations of virtualization and cloud computing, including IaaS, PaaS, and SaaS, plus why the smartest solution is often the right service, not more hardware.Subscribe for more CompTIA A+ and IT certification study help, share this with a friend who's studying, and leave a review so more new techs can find the show.Support the showArt By Sarah/DesmondMusic by Joakim KarudLittle chacha ProductionsJuan Rodriguez can be reached atTikTok @ProfessorJrodProfessorJRod@gmail.com@Prof_JRodInstagram ProfessorJRod

Three Things is a Vela Wood podcast where we ask entrepreneurs three questions about their experience and expertise. In this episode, we talk with Teta Flumo-McIntosh, Founder and Director of Ohemaa Legal, a Caribbean-based consultancy that specializes in Intellectual Property and emerging AI law. The firm offers legal education, IP consultation, and strategic guidance to creators, artists, startups, and businesses. Teta joins us from Barbados as a part of the Young Leaders of the Americas Initiative (YLAI) Fellow Program. VW has been fortunate to participate in the YLAI program for the last several years, and Teta is our sixth fellow. You can connect with Teta here. Time Stamps 1:46 – YLAI Program & Teta’s Experience 4:07 – Teta’s Background and Ohemaa Legal 6:24 – Barbados IP Protections & US Differences 18:09 – Ohima Legal Five-Year Plan 22:42 – Teta’s Pets 25:13 – Teta’s Favorite Movie 27:32 – Rihanna and Bill Withers 29:25 – Favorite Travel Destination & Travel Bucketlist 34:56 – Teta’s Karaoke Song 36:00 – Closing Remarks Related Content Vela Wood – Global Reach Three Things with Denisse Vigueras Three Things with Travis Holt: Insurance For Startups Three Things with Rustam Rafikov Meet Our Entrepreneur In Residence From The Dominican Republic From The DR To Dallas: What Arístides Learned At Vela Wood Bringing Startup Culture To Law In Brazil References Young Leaders of the Americas Initiative (YLAI)

Someone could be testing stolen credit cards on your website right now — and your payment processor isn't going to stop it.It's called a card testing attack. Fraudsters get their hands on stolen card numbers and run them through checkout pages with weak fraud controls to find out which ones are still active. Most merchants don't know it's happening until the damage is already done — chargebacks, fraud alerts, processor warnings, or a Visa monitoring program flag. And here's the part most business owners get wrong: fraud prevention isn't your processor's job. It's yours.In this episode, I show you exactly how fraudsters test stolen cards on ecommerce sites and the fraud prevention tools every online business should have turned on to protect their merchant account — including several settings most merchants don't even know exist.

Hostka: Mgr. Vanessa Udvardyová - psychologička, IPčko Duševné zdravie je krehká téma, o ktorú sa musíme učiť denne starať. V novej epizóde podcastu Starajme sa sme privítali psychologičku Vanessu Udvardyovú z IPčka(https://ipcko.sk). Spoločne sme sa pozreli na to, ako si udržať psychickú pohodu a čo býva najčastejším spúšťačom našej nepohody. V rozhovore sa však dotkneme aj jednej prekvapivej témy. Zatiaľ čo v terapii bežne stretávame psy či mačky, Vanessa nám priblížila, akú nečakanú, no dôležitú úlohu môžu pri práci s ľuďmi zohrať ježkovia. V čom spočíva čaro týchto tichých stvorení a ako nám pomáhajú otvárať sa v náročných chvíľach? Súťažná otázka: Vďaka akému zmyslu dokáže ježko ľahko vycítiť, či má človek stres? Poznáte správnu odpoveď? Pošlite ju na https://www.starajmesa.sk/sutaz kde nájdete súťažný formulár. Zo všetkých správnych odpovedí vyžrebujeme troch výhercov, ktorí získajú 20€ poukážku na nákup v Super zoo! Súťaž pre tento diel končí 14.8.2026, tak sa poponáhľajte a zapojte sa! V podcaste Starajme sa vám spolu s hosťami prinesieme zaujímavé témy zo sveta chovateľstva. Na svoje si prídu naozaj všetci, od psičkárov až po akvaristov. Všetky časti a kopu ďalších informácií o zvieratkách nájdete na https://www.starajmesa.sk/​​​  

Frokostshowet har tatt sommerferie, men i mellomtiden kan du kose deg med høydepunktene fra mai! Vi har samlet noen av de beste øyeblikkene fra månedens sendinger. God sommer og god lytting! Episoden kan inneholde målrettet reklame, basert på din IP-adresse, enhet og posisjon. Se smartpod.no/personvern for informasjon og dine valg om deling av data.

How can society better support people during life's most vulnerable moments? After working in justice centered philanthropy, motherhood unexpectedly changed things for Eboni Nash. She's the director of development at 4th Trimester, an organization helping new moms and growing families find care and community. Connect with the guest: @4thtrimester_org 4thtri.org Eboni on LinkedIn Grow with us on ⁠IP+⁠! Informed Pregnancy Media presents two all new intimate short-form video series following Garrett and HeHe's real-time pregnancy journeys as they prepare for an empowered birth and postpartum experience. Each episode features weekly updates with personal photos and videos to help bring these raw stories to life, a visually dynamic guide through each mother's emotional and physical experiences. ⁠Watch Growing with Garrett⁠ ⁠Watch Growing with HeHe⁠ Keep up with Dr. Berlin and Informed Pregnancy Media online! ⁠⁠⁠informedpregnancy.com⁠⁠⁠ ⁠⁠⁠@doctorberlin⁠⁠⁠ ⁠⁠⁠Youtube⁠⁠⁠ ⁠⁠⁠LinkedIn⁠⁠⁠ ⁠⁠⁠Facebook⁠⁠⁠ ⁠⁠⁠X⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

本集節目由【台灣萬代南夢宮】合作播出這個夏天，台灣萬代南夢宮最盛大的玩具・模型盛典，即將登場‼️集結 20+超人氣 IP、10 大主題展區、限定商品、體驗試玩一次集合打造今年夏天最不能錯過的 IP 嘉年華！Bandai Namco Asia Journey in Taiwan

Collective CIO Natalie Silverstein joins Next In Media to explore how creators are evolving into full-fledged media networks and what it takes for brands to scale authentic partnerships in a hyper-fragmented landscape. Natalie, also breaks down real-time crisis agility, strategies for training AI language models on video content, and how to combat the algorithmic reach recession with targeted paid media. Key Highlights

In this episode, I'm sitting down with Tal Yeshanov. Someone I've known for a very long time in this industry, and one of the sharpest risk leaders I know. Tal's path into fraud started almost by accident at Google and YouTube. Then took her through building fraud programs at Eventbrite, before its IPO, and Uber during its earliest hockey-stick growth years. Tal has spent her career building holistic fraud detection systems from scratch, in industries where there was no playbook to follow.For years, fraud teams operated off a snapshot. Device at checkout. IP at checkout. Did the payment information match? Tal walks through why that single-moment view is no longer enough. And why the shift toward an orchestration platform, one that pulls in customer journey risk signals from the moment a user lands on your site rather than just the moment they transact, is where modern fraud programs are actually headed.The deeper theme of this episode is what happens when you stop treating fraud detection as a scoring exercise, and start treating it as a full picture. Tal shares a personal story about a rule she built early in her career that was, on paper, flawless. It caught the exact triangulation fraud pattern it was designed for. It also caught a company executive, because his girlfriend used his credit card in a different city. That's false positive reduction in fraud detection in its most human form, and it's a direct argument for upstream fraud prevention data collection: pulling in more signals earlier in the journey instead of adding more rules at the transaction point.What you'll hear in this episode:How Tal moved from Google and YouTube into building fraud programs at Eventbrite and Uber with no existing playbook to follow.Why holistic fraud detection means tracking customer journey risk signals from first visit to transaction, not just a snapshot at checkout.How an orchestration platform unifies device, IP, email, and behavioral data that used to live in separate point solutions.A real story about false positive reduction in fraud detection, including a rule that was technically perfect and still failed a legitimate customer.How the same holistic approach extends to account takeover detection, including typing cadence, autofill behavior, and device history.Why domain expertise vs AI in fraud isn't a competition, and how agentic AI is being used right now to query databases, support customer service teams, and triage escalations.A candid conversation about AI replacing fraud jobs, including a real example of a company that prematurely laid off its fraud leadership.Why fraud team tribal knowledge doesn't transfer to an AI model, and what companies risk losing when it walks out the door.Tal's fraud leadership philosophy, built on transparency and empathy, and why it creates teams that stay in touch for years.The ongoing industry shift from risk team vs fraud team naming, and why more companies are choosing the broader term.You should listen to this episode if you:Work in fraud detection, risk operations, account security, or trust and safety.Are evaluating an orchestration platform or trying to move your fraud program beyond point-in-time scoring.Want a practical, non-hypothetical look at where agentic AI actually fits in fraud operations today.Are a fraud leader worried about AI replacing fraud jobs on your team, or trying to make the case for why domain expertise still matters.Care about fraud leadership philosophy and want to build a team that stays loyal and stays sharp.

If someone handed your competitor every prompt, workflow and AI system you use today, would you still have an advantage?   That is the question that opens this live roundtable, recorded in a sealed room at the first Founder AI Studio Live in Toronto. Ten women who are not just using AI but building with it: intellectual property strategists, AI educators, investors, community builders, and operators who have built and exited companies.   No keynote. No panel. Just founders comparing notes from the front line.   IP lawyer Andrea Bolden takes on the part most founders get wrong: whether your prompts, workflows and custom GPTs count as intellectual property, why switching off the training toggle is not the protection you think it is, why people trademark a name while giving away the entire body of work underneath it, and which AI tools will actually indemnify you if you get sued.   The room also gets into what happens to knowledge businesses when knowledge stops being scarce, why AI-native builds beat AI retrofits, the environmental cost nobody wants to raise, the risk of putting your child's face into these systems, and the six companies capturing most of the value from all of it.   It ends with a lightning round on the one tool each founder actually uses.   CHAPTERS 00:00 Context: what this room was 01:35 Not a keynote, not a panel 02:16 The question: would you still have an advantage? 03:09 Forty-five products that all do the same thing 05:46 Being the tastemaker 07:54 AI as a democratizing force 10:03 AI-native builds vs. AI retrofits 11:00 The contractor line item that changed everything 14:24 From "done for you" to "done for you-ish" 16:01 Building instead of talking about building 18:35 The real unlock is the speed of learning 23:00 If you sell knowledge, what are you selling now? 24:42 Dyslexia, ADHD and AI as a translation layer 28:22 Are your prompts and GPTs your IP? 29:28 The training toggle myth 30:30 Trademarking the name, losing the body of work 32:15 Tim Ferriss and what is already public 34:08 Can AI legally be an author? 35:32 Which AI tools will indemnify you 37:03 Writing a book with AI 39:27 Just because AI can, should it? 43:14 Share the why, not the whole how 44:00 The one thing to do next week 45:22 Canada's AI strategy and where the money is going 47:32 Environmental impact and who absorbs it 49:55 Your child's face inside an LLM 50:52 Sycophancy and outsourced thinking 51:58 What work do we reserve for humans? 54:16 Six companies and who holds the stake 56:14 Lightning round: the one tool 1:01:27 The advantage was never the tool   TOOLS MENTIONED Claude / Claude Code / Claude Cowork, ChatGPT, Microsoft Copilot, Lovable, Gamma, Codex, DeepSeek, Kling, Go High Level   LINKS Next Founder AI Studio Live   IN THE ROOM Host: Monique Bryan, Brand Authority Strategist Featuring: Andrea Bolden, IP and business lawyer   PARTNERS Captured by Perspective Studio Productions Presented in partnership with BDC Capital, Inclusive Entrepreneurship   Founder AI Studio Live is an invite-only working session for established women founders already building with AI. The room is the asset.   #AIforFounders #IntellectualProperty #WomenInAI Who Knows You is hosted by Monique Bryan, brand authority strategist and built for founders, operators, and experts who are doing real work and ready to be picked for it. Take the AI Visibility Audit to find out where your positioning is breaking down and what to fix: [RUN YOUR AUDIT] Connect with Monique:Before we build, let us talk. https://moniquebryan.com/book/ - Website: moniquebryan.com LinkedIn: Monique Bryan Instagram: @moniquebryan

In this episode, host Dan Keller and Professor Jeremy Bearer-Friend discuss the role of AI in tax and IP, tax rates, becoming a tax professor, wealth inequity, and living on a cattle ranch and alfalfa farm.

In this episode, we welcome Natasha Braier ASC, ADF, the cinematographer behind acclaimed films such as She Said, Honey Boy, The Neon Demon, Gloria Bell, and I Love Boosters. In our conversation, Natasha shares her journey from her roots in Argentina to building a career in Los Angeles, along with a behind-the-scenes look at the making of I Love Boosters, directed by Boots Riley. She also discusses DeepLight, the cinematography community she founded, and offers thoughtful advice for the next generation of filmmakers.“The Making Of” is presented by AJA:Futureproofing with IP videoAs production workflows rapidly evolve, IP video is key to building more scalable, future-ready pipelines. To get up to speed on the IP fundamentals and gain insights into the various IP paths – like ST 2110, NDI, Dante AV, and SRT – download AJA's free IP video white paper today.A Solution Built Around Your WorkflowThe OWC Express 4M2 Ultra is available in a range of configurations to fit your workflow and budget. Choose from ready-to-run solutions with up to 32TB of high-performance NVMe storage, giving you the speed, capacity, and reliability needed for everything from multi-camera editing to demanding VFX and finishing workflows. Available now. Learn more hereIntelligent Production HubNew this summer from the Intelligent Production Hub: hands-on training in the AI and real-time tools working productions run on.Intro to NVIDIA NvRTX (Jul 29), AI Video Creators Workshop (Aug 7), AI Creativity with Comfy (Aug 12), plus role-based AI sessions for editing, VFX, sound, and design.See the full schedule hereZEISS Introduces Horizon Anamorphic: Full-Frame 2x Anamorphics with a New Lens Technology PlatformZEISS unveils the Horizon Anamorphic series, a new lineup of full-frame 2x anamorphic cinema lenses designed to deliver a distinctive cinematic look along with a new lens technology platform that answers the need for speed and precision demanded by contemporary production workflows.Spanning 35mm to 200mm across seven focal lengths, Horizon lenses combine their anamorphic look—incorporating a pronounced oval bokeh and stretched sense of spatial depth—with a lightweight, fully integrated motorized system that eliminates the need for external focus or iris motors. Read more hereElgato Prompter XLThe Elgato Prompter XL is a professional all-in-one teleprompter with a 15.6” removable display and a reading range of up to 15 feet. Featuring USB 3.2 connectivity and broad compatibility, it's ideal for live productions and content creation. Available now at Videoguys.com—call 800-323-2325 to learn more.Explore herePodcast Rewind:July 2026 - Ep. 143.Explore a Partnership with The Making Of:Reach over 270,000 film production industry, broadcast professionals, and content creators reading this newsletter. To learn more, please email mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Hackers are using overlooked IoT devices such as IP cameras, printers and smart speakers to gain access to networks and spread ransomware. Philip Wylie explains how an outdated IP camera became a ransomware gateway, why default passwords and poor segmentation remain serious risks, and how to protect your network using separate VLANs, firmware updates, monitoring and zero-trust controls. The interview also explores medical devices, OT security, AI-enabled devices and the growing demand for IoT penetration-testing skills. Big thanks to ThreatLocker for sponsoring my trip to ZTW26 and also for sponsoring this video. To start your free trial with ThreatLocker please use the following link: https://www.threatlocker.com/davidbombal // Philip Wylie's SOCIAL // X: https://x.com/phillipwylie LinkedIn: / phillipwylie YouTube: / @phillipwylie Instagram: / phillipwylie // Book REFERENCE // The Pentester Blueprint Phillip Wylie: US: https://amzn.to/4jkigAa UK: https://amzn.to/42vShPB // YouTube video REFERENCE // Pentester Blueprint: Your Road to Success: • Pentester Blueprint: Your road to success How to hack IP Cameras (Ethically) and learn IoT hacking: • How to hack IP Cameras (Ethically) and lea... // Website REFERENCE // https://training.brownfinesecurity.com/ // David's SOCIAL // Discord: discord.com/invite/usKSyzb Twitter: www.twitter.com/davidbombal Instagram: www.instagram.com/davidbombal LinkedIn: www.linkedin.com/in/davidbombal Facebook: www.facebook.com/davidbombal.co TikTok: tiktok.com/@davidbombal YouTube: / @davidbombal Spotify: open.spotify.com/show/3f6k6gE... SoundCloud: / davidbombal Apple Podcast: podcasts.apple.com/us/podcast... // MY STUFF // https://www.amazon.com/shop/davidbombal // SPONSORS // Interested in sponsoring my videos? Reach out to my team here: sponsors@davidbombal.com // MENU // 0:00 - Coming Up 0:56 - Intro 03:08 - The Weakness in Pen-testing 07:38 - How Do Hackers Get Access? 11:30 - How To Protect IoT Devices 14:36 - Dangers of Medical IoT Devices 18:24 - Countries Banning IoT Devices 20:46 - Phillip's Recommendations 22:42 - What is Exploit DB 27:30 - How Vulnerable Are You? 28:28 - Advice To The Youth 29:40 - How To Start Learning 31:15 - Conclusion 31:23 - Threatlocker Advert Please note that links listed may be affiliate links and provide me with a small percentage/kickback should you use them to purchase any of the items listed or recommended. Thank you for supporting me and this channel! Disclaimer: This video is for educational purposes only. #iot #iothacking #security

How can building an audience in advance help your stories reach the people who make movies? And how can you prove there's demand for your book or screenplay before you've written it? Brooks Elms shares his advice after more than 20 years as a WGA screenwriter. In the intro, what doesn't work for book marketing and what does [Amy Chan SubStack; Unsingle; Rephonic]; Goodreads giveaway for Bones of the Deep; FutureVision XPrize. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to see the opportunity in AI when others only see the threat How to test a story with samples, and what a 16-second movie can do Building the trailer before you write the screenplay Letting your audience finance the film once they have validated the idea Why Hollywood still wants existing IP, and what makes them pay attention Feeling safe enough to write the truth, and finding a concrete path forward You can find Brooks on LinkedIn or email him at brooks@brookselms.com. Transcript of the interview with Brooks Elms Jo: Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. So welcome to the show, Brooks. Brooks: Thank you. It's awesome to be here. Jo: Fantastic. So first up— Tell us a bit more about you and how you got into screenwriting. Brooks: I started filmmaking first. A buddy came up to me in high school and said, “Hey, we're making a karate movie, do you want to help us?” I was like, “Oh my God, yes, that sounds amazing.” So next thing I know, I had this karate outfit on, and we were just making this completely ridiculous and totally fun movie, and it was amazing. It was so fun. Then it went to a whole other level when we shared it with a friend, this guy Jay Sharon, and he watched the movie and he laughed so hard he literally fell out of his chair. I was like, “Oh my God,” the fun I had making it could actually transfer to somebody else. I was hooked. So from there I went to NYU film school, and then made a few independent feature films which were good but not great in terms of how they were received. They were great for me in terms of enjoyment, but I knew I needed to iterate faster at that point. So then I was like, “Well, it's expensive and it takes a long time to make a movie,” at least back then. So I pivoted to screenwriting, and pumped out two, three scripts a year, got signed at UTA, got writing assignments, and basically launched a screenwriting career. Then I still tried to get some stuff going, but it's hard when movies are so expensive. It's not hard, it's just that it takes a lot of precision in the marketing, and a lot of conversations to find the right matches to finance something, and you're either interested in doing that or you're not. I just was like, “Well, I'll just mostly write screenplays.” Then I started teaching at UCLA Extension and then coaching after that, along with writing. Then all the way up to the future. What's great about moving forward is that with AI, shot-making is becoming very close to cinematic quality. You can actually match cinematic quality in moments in some genres, but probably by next year. Right now you could actually do a really good horror movie all AI for 10, 20,000 bucks, depending on how much you're doing yourself or getting other people to do. So the economics are going to absolutely explode. So I'm sitting on dozens of scripts that didn't get through the Hollywood packaging bottleneck because they're too expensive, and I now have this giant slate that's ready to go, and I'm just absolutely thrilled. It's been a lifelong dream for me. Jo: Oh, so much to come back on there. Where to start? I do want to talk about what you just said there, sitting on dozens of scripts and now seeing the opportunity. I actually wrote down in my journal about a year ago, I see what's coming with AI, and I think that the best thing I can do is create as much original IP as possible, so that I can make the most of the opportunity ahead. So let's just get into the AI, because a lot of people feel it's a super bad thing. Talk about the opportunities and the attitude that you've got [around AI], and that you've seen others have around this, for what is ahead in a positive way. Brooks: It's fascinating to see how people respond to AI. I wonder, when the printing press rolled around, if there was some sort of backlash. Books must be handwritten. They can't be mass-produced. Here's one of my theories. At a deep psychological level, it's so profoundly powerful that I think the default setting is, “Oh, crap.” When I was a kid, some things were hard, and that power imbalance, when something big, new and powerful comes along: I'm going to get screwed, and so this is somehow a bad thing. I think that's the base psychological thing going on with most of the noise. Obviously there are some legit problems, in terms of copyright infringement from learning models, or from some of the environmental situation. So I'm not saying it's all rainbows and butterflies, but I think 90% of the noise around it comes from a fear of change. Here's the other one—a fear of, “Oh, yikes, I'm going to get taken advantage of somehow by either robots, or the corporations are going to use the robots against me,” or something like that. I have real empathy for me when I feel that way a little bit, but I don't feel it much, and for other people that do feel it. The other thing is, you know what it is? I think they fear their own empowerment even more. I had a therapist who was really good. He said, people aren't so much afraid of failing as they are afraid of succeeding. Because if we fail, we're stuck in act one and we don't go anywhere. The fear is answering the call and going to act two, when everything effing changes in the new world. So I think people are afraid of how goddamn powerful they're going to be when they can have a team of AI agents helping them do everything they want in business or life or whatever. I think it's the same thing with the internet. People are like, “Oh, I don't like social media, blah, blah, blah.” And I get it. There's a lot of noise and a lot of crap. Yet we have access to billions of people, and the algorithms in social media right now I think are level three out of 10. They're just going to get better and better. Even as it is now, if I do a post about something and it gets ignored, that's on me. The algorithms are trying to match me to my people. So if I'm not unique enough and authentic enough and aware enough of how virality works, that's on me, and it's a learnable skill that I can embrace and then change and then get better at. So I think people then resist that change. They resist the empowerment of learning the art of virality, or learning the art of some sort of social media stuff or whatever. The last thing I'll say about this rant is, I don't want to act like I'm the guru on the hill that has all the answers. I refuse calls all the time. I'm scared about all sorts of things. I'm certainly not perfect. I feel frustrated when I'm trying to put my big ideas into action and I can't get this technology thing to work or that one, and I throw tantrums. I'm trying to come at it from a real human perspective, but by and large, I've got stars in my eyes. I'm like, “This is amazing. This is going to be so powerful.” For so many people, you just have to be ready to embrace it and just go along for the ride, because there's going to be some big-ass changes. There already are, and that's going to accelerate. Jo: You mentioned there learning the art of whatever it is. One of the things is, I've spent 20 years, and so have you, learning our craft and our art, and now it can be done very easily. I'm generating video, as you mentioned, which is a craft I haven't spent 20 years on, but now I can generate. So things have definitely changed in that way. Just coming to the screenwriting side. Probably about a decade ago now, I did my first screenwriting course. I've written screenplays. Then I looked at the game you have to play and, like you said, the conversations you have to have, the events you have to go and network at, all the things that you have to do to put a screenplay in front of the right person at the right time. I was like, “I cannot do that. It's just not going to happen. I can't do that along with everything else.” So I put it aside, but now I feel maybe it's time to bring it back because things are changing. So can you maybe talk about, if someone has a screenplay now that they've written, or some IP like a book that they have now— What would you recommend people do in terms of wanting to get that [IP] in front of somebody, or doing something with it themselves? Brooks: It's such a good question. By the way, not even a screenplay—you could do the same things with a novel. Let me try to be succinct here, which is a good challenge for me. A simple way to look at it is, you're giving samples. Let's say it's a lemonade stand, and you give out a little shot of your… maybe you have cayenne pepper lemonade, some sort of fun lemonade. If you give out a sample and people are into it, they're going to come back and they're going to tell friends. If you give a sample of the lemonade and they're not into it, then you go back to the kitchen and you mix up a different flavour. So that's some basic business, but the internet allows us to do that at scale. So what I like to encourage people to do when I coach them is come up with the minimum viable material. It can be a 10-second clip. There's a writer in my community who made a really beautiful 16-second movie. It's one shot. I love it so much. It's two wine glasses. There's a lipstick smudge on one of the wine glasses. They're half full, and it's just that shot. It's sitting there, and all of a sudden you hear this thundering, thumping down these stairs, dun, dun, dun, dun, dun, dun. Then you see out of the corner of the frame one person runs by, and then the other person behind her runs by and goes, “Wait.” That's it. That's the whole movie. It's 16 seconds. He did that with his phone. So there's so much going on. There's a couple of basic elements, but he just did it with his phone, and you can evoke enormous emotional impact on people through social media, whether it's just words. You guys have a big advantage as novelists because you're so good with words. Whether it's a little bit longer, like sudden fiction, that's a couple of pages or whatever. Even just copywriters are really in a good position for the future because they're super potent with two words or three words or 10 words. Then novelists are probably really advantageous because it doesn't cost anything to just put some words out on the internet. The point is, if you put something out, it's a signal, and you're talking about billions of people who could find that signal. If you do it and then you look at the response, and then you try again, you look at the response, we can do this iteration infinitely for free. So you can do it already. You've been able to do it for 10, 15, 20 years, just with words. But now you're going to basically be able to do that with movies or clips or trailers. So the thing that I'm leading in my community of writers is having people build trailers in advance, or clips. When a book or a movie is done, how the heck do we get people to see it? One way is a trailer or some sort of behind-the-scenes material. You can just do that stuff now before even writing the screenplay. I saw that you were doing this project, a trailer for this competition. And then you mentioned, “Oh, I've got to write the screenplay.” Not really. You have to develop the story enough to know what you're referring to, and then it's about studying the craft of either trailer construction, or whatever the clips are, or viral clips. They all have a structure, and then you just test it. If you enjoy that testing process, which I find absolutely thrilling, it feels like the filmmaking version of a stand-up comedian. If I did stand-up, I say a joke, they laugh or they don't laugh. It's really beautiful feedback from the universe. Nerve-wracking, right? But we can do that now as storytellers. We put a story out there in any format, and the audience responds. Just like you have to read any room, you have to learn how to read the engagement on social media. What do likes mean? What do shares mean? What do comments mean? How do you deal with trolls? All that is just part of the new art. Once you get good at it, holy smokes, that's the key to the kingdom. You can build audiences in advance, and for movies you could even have them finance your movie in advance, if you've built an email list of 20,000, 30,000, 40,000 people because you kept putting out all these viral clips around your story, novel, or screenplay. Then you go, “Okay, now 30,000 people are on my email list and I tell them about me and my perspective and my world. We're going to make this darn thing with AI for 20,000 bucks. You guys have got to pony up some money. Put in a dollar, five, 10, or you get the VIP $500 experience.” It's like crowdfunding, but much more sophisticated, because most crowdfunding was like begging friends and family to donate to your crazy dream. What I'm talking about is going to the audience directly, developing enough of the story, then going to the audience second, and then only when they validate the idea, to the extent that you're happy with. You could do a crazy idea that's going to have a small audience, and you don't have to have a blockbuster audience. You get to pick the audience size that you want, and then put the samples out there and see if you have a relevant audience size for this next project. Once the audience tells you, “Yes, we want this,” then you go make it. So you're ultimately reducing risk to almost zero. It takes time and you have to learn how to do this stuff, but it's thrilling to me because we just have the capacity to test the material and listen to the audience upfront. The last thing I'll say, and I've rambled a lot, I'm sorry. When I made a movie in 1994, a feature film right out of NYU, it took me three years to find out what the audience thought about that movie. I had to make the damn thing, and then I ran out of money, and that took me years to edit it, and I finally got it, blah, blah, blah. And again, I loved it. I loved every facet of it, and it was fine, but it was super inefficient. Today, I could take those same elements, create an AI trailer this weekend, put it in front of hundreds of thousands of people, and they could tell me right away, “This sucks,” or, “This is interesting,” or, “Holy smokes, this is amazing. I want this.” If it's not, “Holy smokes, this is amazing, I want it,” I can go ahead and re-edit the whole damn trailer, and just keep reiterating at almost no cost. Then once the demand is there, I can take that demand and that audience and go to Hollywood, and that's when they're going to want to work with me. Then it doesn't take a million conversations and finding the needle in the haystack, because Hollywood sees the numbers and they go, “Oh, you're the people we do want to do business with. You've proven demand. We want to do business with you.” Jo: Yes, it's so interesting. I can hear people listening and they're like, “Easier said than done, getting an email list of 40,000 people.” And in fact— It's exactly the same as building up a career as an independent author. This is as a filmmaker, as a visual person, and the industry is visual, so doing a visual trailer is the obvious thing. And as you say, the tools I use just to do this one, I use Midjourney, and I've used Seedance as the main video model. It does take a while, but it is pretty fast now, if you have a visual image of what you want in your head, which obviously you're a visual person as well. But is it… Brooks: Hold on. I want to push back on that a little bit, because I think it's really important. So yes, that's true, but underneath that, my friend, it's a relationship. It's the relationship, and the media is secondary. You have been prolific in connecting with your audience, and that's why I think a lot of people like you, because you share and they get to know you in that sort of cadence. I saw you in another podcast, you mentioned Seth Godin, who just said, “Hey, I want to be the type of person that has this relationship with my audience. I'm going to share some of my thoughts every day.” He happened to do it with words, with his background in marketing, but you could do the same thing with still images. You could do the same thing with a five-second movie clip once a week. It's the relationship you want with your fans. I'm not saying you snap your fingers and you have 50,000 people on your email list. What I'm saying is, what else are you doing? If we're artists and our impulse is to create and share, and if you do it in this way, if I can create and share and inspire trust in this relationship with a stranger because they like my genre thing and they like the way they felt when they experienced my media, words, images, movies, it doesn't matter. They just like the feeling, and they go, “Ooh, I want more of that feeling. How do I get more of that? Oh, this person has this email list or community.” If I can do it with one, then I can scale it out. So getting the first one, or the first 5 or 10 samples, that is a whole process. But then once you do that, scaling up is more of a mechanical thing. It's not even that hard, especially when you can do paid ads. So you can scale up very quickly if you have the sauce. If you don't have the sauce, it doesn't matter who you're related to, you've got to get the sauce right. Jo: Yes, and again, it's so parallel to the indie author community. I've just got to ask you, in the olden days, an author might write a screenplay, or a screenwriter write a screenplay, and then they would send it. They'd find an agent. They'd pitch an agent, and I guess then they'd hope that someone would turn that into a movie. So is that just dead now? Is it realistically that you need to get yourself out there, build the audience in the same way that it often is for authors? Brooks: So, no. I've got two screenplay deals going right now. So here's how it's going to work. Think about Broadway, or the theatre district in Britain. It's like West End or East End or whatever… Jo: The West End. Brooks: Sorry for my American ignorance. West End, okay. So every town on the planet has a stage, but there's only one Broadway, there's only one West End, right? And every town has its own festival, but there are a few significant tastemakers. There's Cannes, there's Sundance, there's Toronto. Hollywood is always going to be a tastemaker in our lifetime, for sure. What they don't have anymore, what they enjoyed for the first 100 years of the industry, is that they had a stranglehold on basically the equipment, the financing, and the audience, and that's all going away. Do you want to hear a fun story about the birth of cinema? Do you know why Hollywood started in Hollywood? Jo: No. Brooks: So Thomas Edison invented the camera, or the type of model camera that they were using in, I don't know, 1910 or something around there. They didn't want to pay his patent. They didn't want to pay the patent to make these movies, so they went all the way across the country, a bunch of outlaws, and they set up shop in California because he couldn't enforce his patent that they were basically stealing. And reason number two, LA enjoys amazing weather almost all year round. The weather here is either nice or really nice. You have mountains, you have beach, you have desert, you have all these different locales. So when it was really important to be on location, LA was the perfect place. Anyway, that is all going away. For many decades, more people could make movies. In the early '90s, Robert Rodriguez made a movie for 9,000 bucks. There was a book in the '80s that I bought that I loved, it was Feature Filmmaking at Used-Car Prices. This guy, Rick Schmidt, I think his name was. There were the independent filmmakers really in the '60s and the '70s. So the cost has been going down and down and down, and now it's less than ever. Once social media came along, now you have access to the audience, so why do you even need Hollywood? That being said, there are tons of people. There are 400,000 people already working in the movie and the TV industry here. And they're voracious. We have a voracious demand. Humans need stories. We need big stories, long stories. We need stories, and Hollywood is so good at giving them stories. And so they have a need for these things, and they're still spending a lot of money on those budgets. So yes, there's still a demand for turning books and optioning them and turning them into movies. Books are great. Any sort of existing IP is great because there are marketing efficiencies there. People already know that stuff, know the vibe of it, and so it's easier to market than something that's totally creative and new. When you're spending that much money, you want those marketing efficiencies. They're really important. So the point being, the power is shifting away from Hollywood. Hollywood will still be a tastemaker, but you and me can reach anybody on the planet now. Almost. Billions of people. If it's making a movie, right now you could make a movie that most people wouldn't realise is an AI movie. If it was a horror film, I know a handful of people that could make a feature-length horror film right now with AI and 99% of the audience couldn't tell, if it was professionally written. Jo: I think the point here though is, I'm an author, the people listening are authors, and we don't want to make movies. We want to license our IP to people who want to make movies. Brooks: Yes. Great. Okay, good. So then you could, if you wanted, build an audience. Hollywood loves when something's already proven, so that's that IP thing, right? So if you just have a great book, then it's all about the sales. You guys have Dragons' Den, we have Shark Tank here. And what's amazing about that show is these are people or entrepreneurs pitching an idea, and there's an amazing rhythm that happens. They say, “We've got this great idea. It's this sort of company.” And the sharks, or the dragons, will listen. And there's a huge turning point when they reveal sales. They're either really excited about the idea and then they go, “Well, how are the sales?” And the person goes, “Well, we don't have any sales yet.” And they go, “Uh,” and they're not interested. Or they might even be like, “Eh, it doesn't seem like a good idea.” And they're like, “Well, how are the sales?” And they're like, “Oh, well, we've sold through the roof.” And then all of a sudden they perk up. So it's all about the sales. So step one is writing something that you want. Step two is making sure other people in your target audience are also loving it as much as you do. Step three is proving in some way at scale that there's real demand for it. So you could do that with trailers, you could do that with clips, you can do that as an indie publisher. There's all sorts of things that you can do. Humans are much more persuaded by concrete data than they are by just vibes. So if you can bring Hollywood concrete data of any type, like viral videos, like audience, like obviously bestsellers. Awards mean something, but not quite as much as sales. Then you're going to get Hollywood's attention because that reduces risk for them. So even now, when Hollywood's definitely shrinking and contracting, there's still very significant money being spent because it's a huge demand. If you ever walk around a studio lot, those things are opulent places. It's stunning. Like, how are they paying for all this stuff? These lots are enormous. It's because humanity is voracious for stories, and movies are one premium type of storytelling. The demand for stories is steady if not going up. It's just that we have a wider variety of types of stories that we can do, whether we're an indie author. So anyway, did I answer the question? You get me too excited with these questions, Jo. It's a problem. Jo: Yes. I think there's a lot of opportunity and a lot of ways in, but the parallels with being an indie author I think are quite clear. One of the things I found interesting about your profile and what you do is that you help clients who are already accomplished but not quite breaking through, and that sounds like a lot of mid-list indie authors, probably a lot of mid-list screenwriters, mid-list filmmakers. This is a hard place to be because, on the one hand, we are grateful for what we have achieved and what we can do, and yet wanting more, wanting that big Hollywood deal or the Netflix deal, or wanting the massive bestseller or whatever. So if someone wants to get to that next level, what are some of the ways that they can perhaps try and get there? Brooks: It's a great question. Coaching is a really wonderful way to learn anything of this sort of complexity and challenge, especially if it's a hyper-competitive business. We need two things, I think, to write a great novel or screenplay or both. A, we need to feel profoundly safe in our space. If we can't really feel deeply authentic about the things that are embarrassing, or that we feel shame about, or just our shadows, or anything that we don't feel completely comfortable saying and sharing in public usually. We need to be able to touch those things, and be articulate about those things, and that's one part of it. Then we need a concrete path forward. Maybe you're thinking about some tragedy that you had in childhood, and how you dealt with it and how difficult that was. So you need to be able to be real precise in those observations about what it felt like, and how you tried to compensate for it, and that didn't work and it made it worse. Whatever your observations are about your life journey, you need to be really specific and really deeply felt. A good coaching relationship allows you to be in that space, to be really honest with yourself and authentic. g Aood coach will push you back and say, “You know what? That sounds interesting, but maybe not quite as true to you deeply.” So that's one piece of it. Then there's a concrete path forward. You need to have the emotional access to that truth, and then you need to know what to do with that truth in a step-by-step way. Because most people, the ones that you're talking about, they're accomplished in something else. What happens is when we first start writing, and maybe this happens with novelists, but for sure it happens to screenwriters, you just start typing words. But you haven't really thought through the theme, the concept, the structure, the character, all the deeper questions that really matter. The milestones, like a North Star: winning a major award, or getting a publisher. That's the direction that we're heading towards, and then you set it and forget it, but you want to keep checking it every week, every month or whatever. But you want it very specific. “I would like to sell a book, or sell a book to Hollywood, or write a screenplay, or get a producer attached to a screenplay.” Whatever the milestone is, make it really specific, really concrete, and then reverse engineer. This is what I do on the concrete path. I reverse engineer every step to get there, starting with a really tiny one we can do today, and I make sure they feel really safe, and then we just walk through. Then what happens is, if you do that, if you feel safe, if you're showing up authentically and you have a process that's repeatable, not just willy-nilly, it's got to be something that's proven to work. It wasn't an accident I wrote 45 scripts. I've got a whole system. But by the way, the first five scripts took me forever. The last movie that I made took me three years to write that script. I can write a better script with those same elements in three months now, because I know I have a concrete path. So if you want to do something new, whether it's playing the piano or getting six-pack abs or writing a screenplay, work with somebody who's got a system that's already proven, and make sure you relate to them, and then just follow the system. Then when the doubts come up, and they will, that's where the feeling safe is really important. Because, oh, I want the six-pack abs, but I don't feel like going to the gym. I want the extra donut. If I'm working with a really good trainer, they go, “Dude, do you want the six-pack abs or not?” And then you go back and forth, and I go, “Okay, now I can make peace with myself and say I can take one tiny bite of the donut and then still do my workout,” and then I'm moving towards that North Star. Does that make sense? Jo: Yes. I think, like many independents, I resist anything that is systematised. I'm a discovery writer, and I follow the muse, and all of that kind of thing. I think I would say something in a similar vein, which is sustainable creativity for the long term, because your 45 scripts are also years of work, and my books are years of work, and we get better at what we do. So my system, I do have a system really, because— My system is that I do the work, and I write my stories, and I get them out there, and I do the marketing. So even if it's not as systematised as such, it's still a process that I have repeated over and over again. Brooks: That's fascinating to me. Would you consider yourself a pantser? You're like, “I've got an idea,” and you just start writing? Jo: I don't use the word pantser. I guess I call it discovery writing, which is… Brooks: That's a better term. Jo: Yes. What I'm writing for this prize, for example, I know the characters, I know now what's happening. When I had the idea, it was very much a vision and a theme, and the competition has a theme: a positive future with AI and technology. But the things that came around that, I then started playing with ideas around the treatment. I haven't written the screenplay yet. I don't do a plot, or I don't follow Save the Cat or any of that kind of thing. When I write a novel, I just explore and I never write in order. Then at some point I stop and then I have to think about the structure and putting it all together, so the edits are quite big. But my fun is in that discovery, really. Brooks: Oh, that's awesome. Okay, so let me ask, that's really fascinating. And by the way, that doesn't, to me, negate the system that I use. The one that I use is ultimately… the thing is, these questions, the audience is wanting your unique answers to. You don't necessarily need to do it in a certain order. I think that's actually really cool that you write out of order and you have a few elements in mind. All that stuff sounds awesome. The only thing that then makes me curious is, how's your pace? Are you actually completing novels at a pace that feels good, or do you feel like you go too fast, too slow? Jo: I do one or two a year at the moment. Well, two a year, really. But I would say I'm not as successful as I'd like to be, so I'm not saying that my system is the best. I'm saying I want to be better. It's just that my fun is this sort of creative chaos, which I then try and control later. One of the things I really like about screenplays and treatments and doing this kind of thing for film is that it is much more structured, I think, than a 70,000-word novel. You can go in all kinds of directions, whereas with screenwriting you do have to be more disciplined really. Brooks: Yes, so this is going to be fun probably, to hear my view for your audience, and the differences as I see them. For starters, you're talking about what, 10, 20, 30 hours reading a novel sometimes, or maybe less, whereas a movie's a 90-minute experience, right? So that's different. Or if it's a TV series, you might see an hour and then an hour. So that's a very different experience. What happens is when it's condensed like that, you're loading up layers. So every scene is stacked with exposition beneath the drama, and done in a certain way. So specifically, movies are only what you can see and only what you hear. Whereas novels, if you can think it, you can write it, it can be in there. So you don't need to have a plot, but if you want to sell your book to Hollywood, it helps. So I was very resistant about structure. I went to NYU film school, where we really just made short films. It was funny, I had friends that were in the dramatic writing department, and I was like, “You guys are wasting your money. You're just learning to write scripts. We learn to write the scripts and make the movies.” What I hadn't realised is it's a different skill set to hold somebody's attention across an hour-long play, or a 90-minute movie, than it is to make a movie that holds their attention for two minutes or five minutes. I found out years later when I made a feature that was like a lot of shorts patched together, and people were not… They liked it, but they didn't love it. I was like, “Well, what's going on?” And so then I learned to really love Save the Cat in particular. It completely changed me. What happened was, I got a big old slice of humble pie. I had made my second feature, and I put everything I had into it, and it had loose structural beginning, middle, end, blah, blah, blah. But I was still, “Eh, Hollywood BS. What do they know? It's all fake.” So I was very anti-Hollywood structure. Then I was like, now I've got two independent films out there, people saw them, liked them, whatever, but it wasn't getting me consistent work. It wasn't really advancing my career in the way that I wanted. And I was like, “Well, maybe there is something to the Save the Cat.” So I went to the Save the Cat workshop with Blake when he was still alive, and he was delightful, a really awesome guy. He's got this kind of cutesy style, for people that don't know. For context, Blake Snyder was a working Hollywood screenwriter, and he had this system called Save the Cat, which actually has some really interesting ideas. He's got this very light, breezy sort of style. A lot of people don't like him and some people really love him, and everything in between. But I took his weekend seminar, and it completely changed me, because at that point, like I said, I took three years to write a script. Then once he had a process and he had a way of thinking about craft that was just much more screenwriter-friendly, I was like, “Oh my God.” It was so much easier, because I was just focused on the right thing at the right time. So it just sped everything up. After that, I was banging out two to three scripts a year, and better and better quality. So for me, because I went from winging it and wrote five scripts in 13 years, and then wrote two to three scripts every year, I became a huge proponent of system and process. Then my own system really came from that, but it's modular. I have a nine-step system, but you don't necessarily have to go in that order, other than the last three steps, but I won't get into the details. Sometimes you kind of jump from two to three and then back to two and then back and forth. So I love that you get the feel for those elements, and then you just felt your way through. But writing screenplay pages doesn't make sense until you really understand concept, you get a deep sense of beginning, middle, end, character arcs, and these other threads. There are just way better tools for those jobs than screenplay format, because it's a really weird format. It's got these weird slug lines at the top that are all in caps, because a screenplay is a blueprint for somebody else to make the movie. It's not an end-user document like a novel. I don't let my clients even go to that format because it just gets them focused on the wrong things. What they really need to know is, what is your perspective about this theme? What happened in your life that you're fascinated with, that you'd even want to write about this? And tell me what your real life lessons are. So we go into… again, I go back to relationship. What's your relationship to the universe? And what's your relationship to your best friends, or where you got your heart broken, or whatever you want to write about. And then we get that clarity, and then I show you how to express it in terms of developing a screenplay. It's really long-form storytelling, and then the structure just makes it build on itself. But with the structure, because you're talking about so much money and people involved to make it, at least traditionally, what ended up happening was narrative structure that was not so much rigid. Because here's the thing, you can look at 50, 100 years of European cinema and you can look at Hollywood cinema, and Hollywood laps them. When I taught at UCLA Extension, I had lots of foreign students. Let's say there'd be two or three students… if there were 12 people in the class, two or three people would be from America, and everybody else would be from other countries. I would go around, I'd be like, “What movies and TV shows have you been watching?” Almost in every single country, they watch half from their own country, half from Hollywood. So Hollywood storytelling works, that's just the data, and they're dominant. The reason it works is what Aristotle was saying thousands of years ago.. There's a way of thinking about beginning, middle, end that just deeply speaks to the psyche, and you can ignore it if you want. I think Godard said, “You need beginning, middle, and end, but not necessarily in that order,” right? Which is great. Just the way we experience life, there's a beginning, a middle, an end to this podcast interview. There's a beginning, middle, end to the day, a beginning, middle, end to me eating lunch. So if you don't lean into the beginning, middle, end psychological aspect of your story, you're going to bore your reader. But to your point, you don't necessarily have to sort that out in the beginning. It's more efficient probably if you do, but you don't have to. Go into it wherever the muse tells you to go, and then at some point, like you do, then you go, “Okay, now I go back and I edit.” If you're saying there's another level, you have another gear in you, then yes, I'd be curious to slowly go through how you're making those decisions. Because what's happening probably is there are ways you're holding back a little bit. There's maybe something you're afraid of being vulnerable about. That's usually where me or other writers are holding themselves back, and we can take a look at that. There are different ways I show writers to do it. Then you can go, “Oh, I was doing it here, and now I can do it there.” And it could be with process, or just a certain creative choice. With story, it's clear and compelling. Those are the simple things. So, is this clear enough? Is it compelling enough? And there are almost always ways to up-level on any facet, whether it's one sentence, or a sentence that describes the whole concept of the book, or a chapter. Each one of those can be looked at with that lens and we can just say, “Hey, this is 70%, 80%,” whatever, and then we say, “Well, how do we get a little bit more?” And then when you do that enough, it piles up. Then especially if you bring in an audience and people are flipping out for your work, they'll tell you. Jo: Yes, I love a challenge, so thank you for everything you've shared today. So where can people find you and everything you do online? Brooks: Well, one way you can find me—if anything I said seemed helpful for you, if you have questions about Hollywood or you have a screenplay in your heart—you can just email me, brooks@brookselms.com. You could look me up on LinkedIn. I'm at Brooks Elms. I also have a Skool community called Screenwriter Marketing, but it's really for any sort of storyteller, and it talks about my favourite way to engage an audience and get through it. So anybody can jump into that if you like my vibe. If you really think anything I've said, or the way I said it, seems like it could be helpful for you, just reach out. Let me know what you're up to, and maybe there's a way I can help you. Jo: Fantastic. Well, thanks so much for your time, Brooks. That was great. Brooks: You're welcome. It was a total pleasure. It was lots of fun, and I really appreciate you.The post How To Prove The Demand For Your Stories And Get The Attention Of Hollywood With Brooks Elms first appeared on The Creative Penn.

What happens when an entrepreneur builds a business not out of a tech epiphany, but simply to survive? In this episode of An Educated Guest, host Todd Zipper sits down with Tal Frankfurt, Founder and CEO of Cloud for Good, to trace the company's remarkable evolution from a one-bedroom apartment to a premier Salesforce implementation partner spanning three continents. Tal shares his candid journey from managing giant, un-scalable spreadsheets for a small youth nonprofit to building an organization that now powers the data infrastructure for 75% of R1 higher education institutions and massive humanitarian networks like Feeding America.The heart of the conversation dives into how Cloud for Good is actively solving the tech industry's "experience gap" through its pioneering Talent for Good apprenticeship program. Strikingly more selective than elite universities, the program completely upends the classic tuition-heavy coding bootcamp model by paying career-changing individuals from day one to learn, get certified, and deploy directly into high-impact client systems. Tal discusses the incredible social impact of this pipeline—which brings massive demographic diversity into tech—without ever compromising on the rigorous quality demands of the modern enterprise workforce.Beyond workforce development, Todd and Tal unpack what it truly takes to scale a healthy company culture in a fully remote environment. From the dangers of "mistake hoarding" to the strategic shift toward becoming an IP-backed services company in the age of AI commodity, this episode is a masterclass in operational intentionality. Whether you are an educational leader navigating digital transformation, an entrepreneur scaling a remote team, or a professional looking to understand how AI will genuinely multiply human capability rather than replace it, this conversation offers invaluable, real-world blueprints.

”Expertise whisperer” Wes Wheless joined me on Ditching Hourly to talk about turning corporate expertise into a solo consulting business. We talked about his new book, The Expert's Privilege, how corporate professionals can recognize transferable expertise, why visual IP helps consultants explain their work, and what to do before making the leap from employee to independent consultant.Chapters01:35 - From Corporate to Consulting03:48 - Pivoting Toward Solo Consultants06:16 - Daily Email, Authority, and Visual IP11:46 - The Expert's Privilege18:36 - Why Corporate Experts Undervalue Their Skills23:23 - Excavating Your Expertise27:18 - Finding Your Zone of Genius32:44 - From Self-Examination to Market Validation35:30 - What to Do Before You Leave Corporate40:22 - A Book Is FOR Someone44:23 - Writing the Book With Support52:06 - Launch Strategy and Early ResultsAbout WesWes Wheless is an "expertise whisperer," founder of Develop My IP, and creator of The Lightbulb, a daily email for corporates-turned-consultants.After two consecutive tech layoffs, Wes traded a 20-year corporate career spanning consulting, enterprise, and startups for a solo practice helping experts turn their knowledge into IP, frameworks, and "intellectual headshots."Wes holds business degrees from The Wharton School and Kellogg School of Management and lives in Seattle, Washington. The Expert's Privilege is his first book.LinksResources & Services: weswheless.comThe Expert's Privilege: wesbook.comBuy on Amazon: buywesbook.comThe Lightbulb email: lightbulbemail.comFen Druadin, Book Midwife: fendruadin.com (00:00) - Introduction (01:35) - From Corporate to Consulting (03:48) - Pivoting Toward Solo Consultants (06:16) - Daily Email, Authority, and Visual IP (11:46) - The Expert's Privilege (18:36) - Why Corporate Experts Undervalue Their Skills (23:23) - Excavating Your Expertise (27:18) - Finding Your Zone of Genius (32:44) - From Self-Examination to Market Validation (35:30) - What to Do Before You Leave Corporate (40:22) - A Book Is for Someone (44:23) - Writing the Book With Support (52:06) - Launch Strategy and Early Results (55:31) - Where to Find Wes ----Do you have questions about how to improve your business? Things like:Value pricing your work instead of billing for your time?Positioning yourself as the go-to person in your space?Productizing your services so you never have to have another awkward sales call or spend hours writing another custom proposal?Book a one-on-one coaching call with me and get answers to these questions and others in the time it takes to get ready for work in the morning.Best of all, you're covered by my 100% satisfaction guarantee. If at the end of the call, you don't feel like it was worth it, just say the word, and I'll refund your purchase in full.To book your one-on-one coaching call, go to: https://jonathanstark.com/callI hope to see you there!

What should be the role for Javier? In last night's relief appearance for the 'Stros: 5 IP, 3 H, 0 ER, 7 K, 0 BB. DECISONS to make for Espada & GM Dana Brown, Astros fans!!

On this week's episode, Adam and Chris discuss the current outlook of Microsoft, and arguably most of the AAA gaming industry, of relying on legacy IP for nearly all of their projects. They talk about why this can only work in very specific ways, but instead will risk consumer burnout on a lot of their franchises, and why sprinkling in new IP and reviving long shelved old IP can break up the monotony. Join Kaylan, Adam and Chris as they delve into the big news stories in the gaming industry, as well as gush and rant about the past, present and future in video games!https://linktr.ee/pixelplaypodcastJoin us in our Discord! - https://discord.gg/j2bN8YCmXKWant to send us a mail to be read on future podcasts? Message us at askpixelplay@gmail.com!Follow us on Twitter! - http://twitter.com/pixelplaycastFollow us on Instagram! - http://instagram.com/pixelplaycast Our Intro Music ///Epic Song by BoxCat Games https://freemusicarchive.org/music/Bo...​Creative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: https://bit.ly/_epic-song​Music promoted by Audio Library https://youtu.be/yjh43qblURI​#xbox #halo #fallout

Jeff Blair and Kevin Barker break down the Blue Jays' 5-2 win vs. the Nationals to win the series in Washington! They take your calls and texts, and discuss the offence blooping their way to a 12-hit, five-run day - is there anything there to build on going forward? They get into good days from Kazuma Okamoto and George Springer, Trey Yesavage striking out four over 6.2 IP while allowing just one run, and Louis Varland locking down the game for a six-out save. Plus, they discuss more trade deadline scenario with less than a week to go.   The views and opinions expressed in this podcast are those of the hosts and guests and do not necessarily reflect the position of Rogers Sports & Media or any affiliates. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Why does one patent show up online for the whole world to see while another seems to stay completely invisible for years? In this episode, we unpack the surprisingly strategic reasons behind patent publication and secrecy, including the default 18-month rule, the little-known nonpublication option, and how a single checkbox at filing can change your entire IP strategy. If you've ever wondered whether publishing helps or hurts your invention, or how secrecy can quietly lock you into a U.S.-only path, this is one of those topics that can save you from an expensive "I wish I'd known that sooner" moment.   Connect with Adam Diament E-mail: adiament@nolanheimann.com   Website: https://www.nolanheimann.com/legal-team/adam-diament   Phone/Text: (424)281-0162   YouTube: https://www.youtube.com/channel/UC5cTADZzJfPoyQMjnW-rtRw Instagram: https://www.instagram.com/trademarkpatentlaw/   LinkedIn: https://www.linkedin.com/in/adam-diament-j-d-ph-d-180a005/   Amazon Book Page: https://www.amazon.com/stores/author/B005SV2RZC/allbooks?ingress=0&visitId=831aff71-513b-4158-ad73-386ede491e93

What could museums learn right now — from their competitors?What's happening out there that museums should know about? How can museums compete with a sports venue that has 18,000 seats, each with its own interactive controller? What do IP, KPI, and F&B mean? What if museums went out and learned from theme parks, advertising, corporate centers … and even casinos? Renée Hampton (Strategic Partnerships Manager, Electrosonic) discusses “What Museums Can Learn from Casinos, Theme Parks, Sports, and More” with MtM host Jonathan Alger (Managing Partner, C&G Partners | The Exhibition and Experience Design Studio).Along the way: eye tracking, Donkey Kong, and Cirque du Soleil.Talking Points:1. What sports experiences … can teach museums2. What theme parks … can teach museums3. What advertising activations … can teach museums4. What corporate briefing centers … can teach museums5. What casinos … can teach museumsHow to Listen:Listen on Apple Podcasts:https://podcasts.apple.com/us/podcast/making-the-museum/id1674901311 Listen on Spotify:https://open.spotify.com/show/6oP4QJR7yxv7Rs7VqIpI1G Listen at Making the Museum, the Website:https://www.makingthemuseum.com/podcast Links to Every Podcast Service, via Transistor:https://makingthemuseum.transistor.fm/ Guest Bio:Renée Hampton is passionate about bringing creativity and multidisciplinary partnerships into the way organizations design and build experiential attractions across industries. As Strategic Partnerships Manager at Electrosonic, she collaborates with architects, interior designers, exhibit designers, fabricators, media producers, and technology partners to develop innovative technology solutions for institutions, owners, and operators. With a background spanning film production, real-time interactive media production, and experiential events, Renée combines creative and technical expertise with partnership strategy, project management, and business development. She is dedicated to building strong relationships that help create immersive environments connecting people with spaces, stories, and technology through the power of design.About Making the Museum:Making the Museum is a newsletter and podcast on exhibitions, written and hosted by Jonathan Alger. MtM is a project of C&G Partners | The Exhibition and Experience Design Studio.Learn more about the creative work of C&G Partners:https://www.cgpartnersllc.com/ Links for This Episode:Renée via LinkedIn: https://www.linkedin.com/in/renee-hampton/ Renée via Email:renee.hampton@electrosonic.com or renee.e.hampton@gmail.com Electrosonic:https://www.electrosonic.com/ Links for Making the Museum, the Podcast:Contact Making the Museum:https://www.makingthemuseum.com/contact Host Jonathan Alger, Managing Partner of C&G Partners, on LinkedIn: https://www.linkedin.com/in/jonathanalger Email Jonathan Alger:alger@cgpartnersllc.com C&G Partners | The Exhibition and Experience Design Studio:https://www.cgpartnersllc.com/ Making the Museum, the Newsletter:Like the show? You might enjoy the newsletter. Making the Museum is also a free weekly email about exhibitions for museum leaders and teams. (And newsletter subscribers are the first to hear about new episodes of this podcast.)Join hundreds of your peers with a one-minute read, three times a week. Invest in your career with a diverse, regular feed of planning and design insights, practical tips, and tested strategies — including thought-provoking approaches to technology, experience design, audience, budgeting, content, and project management.Subscribe to the newsletter:https://www.makingthemuseum.com/ 

【mini Insider】时光荏苒，姐姐当家来到第二季了，《妻子的浪漫旅行》→《姐姐当家》→《再见爱人》几乎要成了内娱女性必须经历的三板斧了。本季中，烧光两亿的邹市明与冉莹颖夫妇，成为了大家关注的焦点。从奥运冠军转型职业拳手，到怒换经纪公司、押注重资产的豪华拳击基地，他们的每一步都精准踩在了时代与个人野心的错拍上。这也引发了我们对于婚姻中责任划分的探讨，这可能远比一句「红颜祸水」要复杂得多。当然，无论是备孕中的小鹿还是正在猛猛学AI的杜华，她们的故事也同样精彩。所以接下来你将听到：09:37 起初难以共情：咱既不懂两亿能怎么来，也不懂咋能这么快没15:39 从炒掉经济公司说起：专业的事情还得交给专业的人去做22:34 邹市明的一号运动中心真的很「重」，好似开了个东北洗浴中心29:32 运动员IP真没那么有号召力，难道有了刘翔就有很多人天天跨栏吗35:01 当客厅和会议室失去物理边界，夫妻店很难拆出来责任划分36:23 不是什么老实人找错妻子，他不找冉莹颖，也会找王莹颖刘莹颖47:14 人家亏两亿依旧有机会翻身，我们普通人亏了钱能上综艺吗51:35 不想了解备孕科普，更想了解如何做出备孕决定“每一次准备播客的过程，都带我们走到了某一个小小议题的门口，而每个嘉宾都是一把钥匙，ta 领着我们看到了全新的、更大的世界，ta 让我对世界多了一些了解，即便每次都有一点点，它都成为了我们生命里的一个小小刻度，也希望它也能帮助到你~”

In this episode of IP+ with Knobbe Martens, Jeremiah Helm, Co-Chair of Knobbe Martens' Appellate Litigation practice, and Carol Pitzel Cruz, Co-Chair of the firm's Hatch-Waxman Litigation practice, discuss one of the most consequential IP cases so far this year: the recent SCOTUS ruling in Hikma v. Amarin. In their discussion, Jeremiah and Carol break down the main issues at play in the ANDA litigation case, including generic drug manufacturers' use of skinny labels, the nuances of induced infringement, and why the decision may reverberate beyond the pharmaceutical industry. A full transcript of the episode can be found here.

This is a free preview of a paid episode (38 min), exclusively available on our subscriber-only premium feed. Become a premium subscriber to tune into the full episode: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://cubicletoceo.co/podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Questions about our premium podcast subscription? Send us a DM ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@cubicletoceo Lyrik Fryer once got a licensing check so large her bank had to split it into three payments — proof your IP can be packaged up as a lucrative asset other businesses will pay to use. Lyrik is the co-founder and CEO of WorkPlay Branding, whose flagship $497/month content system sold directly to clients is also licensed out to agencies and authors. Through this, she has figured out how to sell her IP at full price while also turning it into a branding and major distribution play. In our full-length interview available exclusively to our premium subscribers (click here to join for only $17/month), Lyrik breaks down her most unexpected licensing deal yet: how author Selena Soo bundled a WorkPlay shoot into her book launch, turning her self-published book into a USA Today bestseller and generating $166K in total revenue. Licensing isn't just an extra revenue stream, it's a distribution army you don't have to spend advertising dollars on. Connect with Lyrik: https://workplaybranding.com/ IG: @workplaybranding IG: @lyrik.fryer If you enjoyed today's episode, please: Post a screenshot & key takeaway on your IG story and tag us ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@cubicletoceo⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ so we can repost you. ⁠⁠⁠Subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠our premium feed⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for case-study style interviews every Monday.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Fantasy Baseball Live – July 26, 2026 @ 3 pm.Segment 1 and 2 – Review the weekend gamesAdditional Questions/Topics1.Hunter Greene had a bad start on Saturday, and his velocity was a bit down as well. 5.1 IP, 6 ER, 3K/2BB – now with a 7.06 ERA. Not what we wanted!2.Dylan Cease with another gem. A lot has been made about Cam Schlitter winning the CY Young, but Dylan Cease is right there. His wins are bit down because the Blue Jays can't score runs, but your thoughts on his season. 3.Juan Soto hits the IL with a grade 2 calf strain. He might be out for a while. Thoughts on who gets his at-bats?4.Bobby Witt Jr. is also out – any thoughts on who might be a waiver wire pickup for him?5.There was a report out from Ken Rosenthal that American League teams are still not ready to make deals as many know there teams aren't very good, but they say they are still in it.a.I think that's true – is this good for baseball or not?6.Jose Ramirez and Nick Kurtz are both back. Yay!Segment 3 – Waiver WireSegment 4 – Closer ReportClose

(0:00) Bestie intros! (0:18) The fight to save open source AI: Kimi K3 panic, Anthropic/OpenAI regulatory capture (27:38) Anthropic/OpenAI historic growth rates, China's long game (48:29) Anthropic's $1.5B piracy settlement and the great IP theft hypocrisy (1:07:12) Google and Tesla stocks tank on surging AI capex (1:17:19) Socialism Corner: "Evictions = Violence" and the threat to private property rights Apply for All-In Summit 2026: https://allin.com/events Follow the besties: https://x.com/chamath https://x.com/Jason https://x.com/DavidSacks https://x.com/friedberg Follow on X: https://x.com/theallinpod Follow on Instagram: https://www.instagram.com/theallinpod Follow on TikTok: https://www.tiktok.com/@allin Follow on LinkedIn: https://www.linkedin.com/company/allinpod Intro Music Credit: https://rb.gy/tppkzl https://x.com/yung_spielburg Intro Video Credit: https://x.com/TheZachEffect Referenced in the show: https://artificialanalysis.ai/models/kimi-k3?intelligence=artificial-analysis-intelligence-index#intelligence-comparisons https://www.axios.com/2026/07/20/ai-us-china-open-source-kimi https://www.wired.com/story/the-white-house-is-trying-to-figure-out-what-to-do-about-chinese-ai https://x.com/mkratsios47/status/2079933645888880708 https://polymarket.com/event/us-government-bans-an-open-source-ai-model-in-2026-20260703221501747 https://fortune.com/2025/01/29/deepseek-openais-what-is-distillation-david-sacks https://stratechery.com/2026/whos-afraid-of-chinese-models https://x.com/CommerceGov/status/2080341953086886387 https://x.com/tickerplus/status/2080123562560504240 https://blog.tickertrends.io/p/anthropic-vs-openai-arr-tracking https://x.com/sama/status/2077817060068057493 https://www.reuters.com/world/us-judge-approves-anthropics-15-billion-settlement-copyright-lawsuit-2026-07-20 https://www.anthropic.com/news/detecting-and-preventing-distillation-attacks https://techstartups.com/2026/07/22/nearly-200-silicon-valley-startups-urge-trump-not-to-ban-chinese-ai-models-warn-it-could-kill-innovation https://x.com/typesfast/status/2080339052398891244 https://www.thefp.com/p/why-new-york-city-has-50000-ghost

For decades, Disney was the undisputed champion of theme parks. But Universal Studios had its big breakthrough when the Wizarding World of Harry Potter opened in 2010. And it's been gaining ground on Disney ever since. Today, journalist Drew Taylor takes David on a ride through this heated theme park rivalry. Drew covers film, animation and theme parks for The Wrap. They'll dive into Universal's new Epic Universe expansion in Orlando, the inner workings of park hopping and lightning lanes, and why the key to this battle is all about who controls the IP.Check out Drew's podcast: Fine Tooning with Drew TaylorAudible subscribers can listen to all episodes of Business Wars ad-free right now. Join Audible today by downloading the Audible app.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.