Podcast appearances and mentions of James Earl Jones

The 94WIP Morning Show continues to weigh the pros and cons of LeBron James potentially joining the 76ers and how his decision is stalling the NBA's schedule release. They also discuss Jalen Carter's training camp status and contract, followed by a nostalgic look at James Earl Jones' iconic film career and the era of pay phones. 02:16 - NBA Schedule and LeBron 05:16 - Jalen Carter Contract Talk 11:13 - Sixers LeBron Fit Debate 16:49 - Retro Tech and Memories

In hour 4, the 94WIP Morning Show Tom Kelly, Eliot Shorr-Parks, and Ashlyn Sullivan analyze the potential impact of LeBron James joining the Philadelphia 76ers and the resulting complications for the NBA schedule. They are joined by Brian Boucher to discuss the Philadelphia Flyers' season outlook and new schedule, while also weighing in on Jalen Carter's contract status and the legacy of James Earl Jones. 01:20 - Multi-Talented Celebrity Debate 05:13 - Jalen Carter Training Camp Status 10:19 - Jalen Carter vs Nolan Smith 13:36 - LeBron James Sixers Risk Debate 21:52 - Brian Boucher on Flyers Schedule 26:20 - Flyers Center and Goalie Discussion 34:29 - Bo Jackson and Arnold Schwarzenegger 38:46 - Lionel Messi and World Cup

Welcome to PTBN Pop's Movie Review of The Day! Every weekday we will be reviewing a movie whether it be currently in theaters, featured on streaming or just a film that we hold near and dear to us. On today's episode, with the recent passing of Sam Neill, Mirandia Berthold pays tribute to him by reviewing “The Hunt For Red October” from 1990 starring Sean Connery, Alec Baldwin, Scott Glenn, Sam Neill & James Earl Jones.

They're taking fictional characters and making them real, like with Moana. They're also taking real actors and making them into fictional AI versions, like James Earl Jones. It's a madhouse. A madhouse! At least we can remain secure in our knowledge that they will never stop making Evil Dead movies, ever.Episode discussion: https://completedisaster.live/2026/07/10/july-10th-2026/

On this week's Labor History Today: As the nation reflects on Independence Day, we turn from the "Great Men" of history to the voices of the people. We begin with Frederick Douglass's searing 1852 speech, What to the Slave Is the Fourth of July?, performed by James Earl Jones, then hear from the Labor and Working-Class History Association's People's 250 project, where workers, historians, and activists share stories that place working people at the center of the American story. Plus, on Labor History in 2:00: July 4 Freedom to Join a Union Questions, comments, or suggestions are welcome, and to find out how you can be a part of Labor History Today, email us at LaborHistoryToday@gmail.com Labor History Today is produced by the Labor Heritage Foundation and the Kalmanovitz Initiative for Labor and the Working Poor. Thanks to Democracy Now for the James Earl Jones clip.  #LaborRadioPod #History #WorkingClass #ClassStruggle @GeorgetownKILWP #LaborHistory @UMDMLA @ILLaborHistory @AFLCIO @StrikeHistory #LaborHistory @wrkclasshistory  

It's the 4th of July, which means it's time for baseball, mom, and apple pie. We bring back Mary's sister to talk about one of her favorite movies (that Mary somehow avoided), a story about a bunch of boys playing neighborhood baseball in the summer of 1962. It's all rose-tinted glasses and lemonade, an exercise in nostalgia, and it's a pretty good movie. Starring Tom Guiry, Mike Vitar, Patrick Renna, Chauncey Leopardi, Marty York, Brandon Adams, Grant Gelt, Shane Obedzinski, Victor DiMattia, Denis Leary, Karen Allen, and James Earl Jones. Written by David Mickey Evans and Robert Gunter. Directed by David Mickey Evans

My co-host Ken Suzan and I are welcoming you the episode 176 of the IP Fridays Podcast. Today's interview guest is returning guest Franklin Graves, who is a senior counsel at Linkedin and teaching IP law at Emerson College. With my co-host Ken Suzan he is discussing how the law for creators has dramatically changed in the past years. Franklin Graves is expressing his personal views and not the views of Linkedin or Microsoft. He is talking about the paper “Upload Complete” before he joined Linkedin. Bio: https://www.linkedin.com/in/franklingraves/ Paper: https://papers.ssrn.com/sol3/papers.cfm?abstract_id=5271442 Website: https://creatoreconomylaw.com/ But before we jump into this interview, I have news for you! Richard Meade, a judge on the UK High Court and one of the most prominent figures in European patent law, was appointed Lord Justice of Appeal at the British Court of Appeal on June 12, 2026. Meade played a key role in numerous landmark British patent decisions, particularly in the area of standard-essential patents (SEPs) and FRAND licenses. In Insulet Corp. v. EOFlow Co., No. 2025-1807, the U.S. Court of Appeals for the Federal Circuit completely overturned the original $452 million judgment (which had already been reduced by the District Court to $59.4 million) in favor of Insulet. In its decision of June 2, 2026, in the case of Fujifilm v. Kodak, the UPC Board of Appeal provided comprehensive clarifications regarding so-called “long-arm jurisdiction”—that is, the question of whether the UPC can also rule on national patent claims outside the UPC territory (such as in the United Kingdom). In 14 guiding principles, the judges established specific procedural rules for various categories of cases. There is no automatic UPC jurisdiction over national patent claims outside the UPC territory. The Munich Regional Court has issued an arrest warrant against the managing director of Polytech Health & Aesthetics GmbH because he is alleged to have continued to exploit the Brazilian company Silimed's patent for breast implants despite a preliminary injunction. A number of IT and automotive industry associations—which are among the most frequent users of Inter Partes Reviews (IPR) at the U.S. Patent and Trademark Office—have filed an amicus brief with the Supreme Court, urging the Court to grant Google's certiorari petition. An attorney for a Las Vegas performer has asked a California federal judge to temporarily prohibit Taylor Swift from using “The Life of a Showgirl” as a trademark while the trademark lawsuit is pending. Swift's attorney called the lawsuit baseless. And now let's hear Ken discuss creator law with Franklin! AI, Platform Law, and the Creator Economy: What Businesses Need to Know Now Franklin Graves has spent his entire career watching digital content move through systems that most people never see. He started in marketing at a major music label right out of law school, then represented individual creators on YouTube in a pro bono capacity, then moved to the platform side at Eventbrite, and today works as Senior Product Counsel at LinkedIn, where he focuses on AI, data, and the regulatory questions that come with both. His recently published law review article, Upload Complete: An Introduction to Creator Economy Law, is the first academic paper to address the creator economy as a distinct legal field. In a recent episode of the IP Fridays podcast, he spoke with host Kenneth Suzan about responsible AI development, platform regulation, and what it actually means to own your audience in a world where the rules keep changing overnight. From Content Creator to Platform Lawyer The through-line in Graves’ career is a genuine understanding of how content moves from an idea in someone’s head to an audience on a screen. That experience, he argues, is precisely what in-house counsel needs right now. Lawyers working on AI and product development cannot afford to sit at a distance from the technology they are advising on. They need to use the tools, experience them as a creator or end user would, and understand the nuances of how a product actually operates before it reaches the public. Understanding the product first is the precondition for everything else. That philosophy translates directly into how he approaches responsible AI implementation. The landscape of AI standards is crowded: NIST frameworks, the EU AI Act, sector-specific guidance, and a growing body of industry-adopted best practices. The challenge for in-house counsel is not knowing that these standards exist. It is making them actionable for the engineering and product teams they support. Abstract principles need to become concrete controls and workflows. Graves offers one practical shortcut: most companies already have open source software review processes that involve the right stakeholders, the right sign-off levels, and the right security checks. Layering the specifics of generative AI or large language models onto those existing processes is far more efficient than building something new from scratch. A Fragmented Regulatory World The geopolitical dimension of AI regulation is something Graves thinks about constantly in his role at LinkedIn. The EU AI Act, shifting US executive orders, and country-specific approaches to data privacy have created a regulatory environment that can change the rules of the game without warning. His analogy is instructive: creators have long understood what it means to build a community on a platform they do not own. An algorithm change, a policy update, or a government ban can wipe out years of audience-building overnight. Businesses deploying AI tools globally now face a structurally similar problem. The response, for creators and for platforms alike, is to build resilience rather than rely on stability that may not last. TikTok is the clearest recent example. When the platform faced the prospect of being shut down in the United States on national security grounds, it triggered a broader conversation about platform dependence that had been building for years. Creators who had invested their entire business in one platform suddenly confronted the possibility that their audience could simply disappear. The lesson is not that platforms are bad. It is that concentration of any kind, whether it is your audience, your data pipeline, or your regulatory compliance strategy, creates fragility. What Is a Creator, Legally Speaking? One of the central contributions of Graves’ law review article is definitional. The terminology matters more than it might seem. When courts and regulators talk about creators without a shared understanding of what that word means, the resulting legal analysis tends to miss the mark. Graves draws a distinction between users who post content, creators who post with the intent to build an audience and eventually monetize it, and influencers, a subset of creators who are actively running a small business through their content. The difference is intent. A parent posting family photos on Facebook is a user. Someone building a subscription community around their professional expertise is running a business, and the legal framework that applies to them should reflect that. That distinction matters practically when it comes to liability. As more creators build their own platforms, whether through custom membership sites, open source tools like Ghost, or federated social networks, they take on obligations that previously fell to large platforms: content moderation policies, privacy notices, terms of service, and compliance with data regulations across multiple jurisdictions. A creator in Tennessee running a membership platform with subscribers in Germany is operating a global business, whether they think of themselves that way or not. Protecting Children Online: A Question Without a Clean Answer The tension between age verification and privacy is one of the more difficult problems in platform law right now. Australia, several European countries, and a growing number of US states have introduced or passed minimum age requirements for social media accounts. The technical challenge is real: verifying age online requires collecting identifying information, and collecting identifying information creates privacy risk, particularly for the young people the laws are designed to protect. Who should bear the responsibility for that verification is also unresolved. Is it the platform? The app store? The mobile operating system? Graves does not pretend there is a clean answer, but he points to the mobile layer as an underexplored option. The Apple App Store and Google Play Store already have significant leverage over which apps reach users on their devices. Whether that leverage should extend to age verification is a question that deserves more attention than it currently receives. The Right of Publicity in the Age of AI Voice cloning, digital replicas, and AI-generated synthetic media have pushed the right of publicity into territory that traditional IP law was not designed to cover. Trademark law, copyright law, and existing publicity rights each capture part of the problem but none of them covers it completely. The result, as Graves describes it, is a period of experimentation: lawyers filing trademarks on vocal sounds and phrases, states updating their publicity statutes to explicitly mention artificial intelligence, and entertainment unions negotiating over who controls a performance and any AI-generated iterations of it. Tennessee’s Elvis Act is a concrete example of the legislative response: the state updated its right of publicity law to include voice and to reference AI directly. Similar efforts are underway elsewhere. The underlying challenge is calibrating protection so that it gives creators and performers meaningful control over their likeness and voice without foreclosing the development of generative AI systems that depend on broad rights to process and learn from content. Somewhere between those two interests, a workable legal framework needs to emerge. The brand deal context may be where the issue becomes most immediately practical. When a brand partners with an influencer and the campaign involves generative AI in any form, the contract needs to address control explicitly. Who has final approval over how the influencer’s likeness or voice is used in AI-generated deliverables? What happens to those assets after the campaign ends? These are not hypothetical questions. They are contract drafting problems that any brand counsel or creator attorney should be addressing today. What Comes Next Graves is cautious about predictions, but his sense of direction is clear. The regulatory environment will continue to fragment before it converges. The right of publicity will be updated, imperfectly, in more jurisdictions. Creators will continue to move toward owning more of their infrastructure. And the lawyers who do this work best will be the ones who understand the technology well enough to translate it into practical, defensible decisions for the people they advise. Full Transcript: Ken Suzan: Thank you, Rolf. Our returning guest today is Franklin Graves. Franklin is the founder and editor of Creator Economy Law, a website and newsletter that educates creator economy professionals on the intersection of law and policy with the world of creators, brands, and platforms. Franklin also published the first law review article focused on the creator economy, Upload Complete, an introduction to creator economy law. He regularly appears across news and media outlets as a commentator and contributor with a focus on educating creators and raising awareness of all legal aspects of the creator economy. Franklin is based in Nashville, Tennessee. Ken Suzan: Franklin was invited to participate as one of the creators and creator economy professionals in the first ever White House creator economy conference. Franklin works full time as a product counsel at LinkedIn Corporation. As a member of the product and data team, he focuses on emerging issues in AI and data. Franklin previously held roles on the technology law group at HCA Healthcare, the commercial legal team at Eventbrite, and the business and legal affairs team at Naxos Music Group. Welcome back Franklin to the IP Fridays podcast. Franklin Graves: Thank you so much for having me. It is exciting to be back and reflecting over the last decade since I last joined and also the paper that I wrote that dives into this in more detail. So I really appreciate it. And yes, full disclosure, I currently work for LinkedIn, which is a subsidiary of Microsoft. I’m here in my personal capacity to talk about this, the paper I wrote before joining LinkedIn and all of that. So thank you so much for having me back. Ken Suzan: Excellent. So Franklin, since your last appearance on IP Fridays in 2017, your career has evolved significantly. You are now senior product counsel at LinkedIn focusing on AI and data. How has working inside a major tech platform changed your perspective on the legal frameworks governing digital content compared to when you were viewing it purely from the creator side? Franklin Graves: I appreciate that question because when I wrote the article, I did not work for LinkedIn. And I had been coming from a history in my career where I, right out of law school, worked for a record label like we talked about almost 10 years ago. And I was on the content creation side. I’ve represented a major distributor of classical music digitally at the time. And that was my first exposure to understanding how content was taken from the initial inception stage from creators and routed through all the various digital platforms that were at the time still evolving and even arguably still today continue to evolve. The early days of YouTube Music launching and then Apple Music launching, and then going through all the phases of high-res audio and everything that came after that. So that was an interesting perspective to start my career with. And then I went to Eventbrite, which is a ticketing platform, but was also focused on elevating event creators. They kind of took on that moniker of “Hey, we are event creators that we support.” And that was arguably my first exposure to the platform side, the tech platform side of it, because Eventbrite is a platform. And so then I evolved from there in my personal capacity, in a pro bono capacity representing individual creators across the YouTube space. And that’s what we talked about a little bit back when I first came on the podcast. Franklin Graves: Over the last decade, it’s been a chance to grow my own understanding of the creator economy. The terminology “creator economy” came around. And then now on the other side of it, having written the article and all that, and now being fully in-house at LinkedIn, I truly am experiencing a social media platform. LinkedIn is of course arguably way more than just the platform itself. There are so many different avenues to it, but it is a chance for me to understand what it is like working for a company that is operating the platform that people are distributing content on. There’s a user journey to content and all of that. So it’s definitely enhanced and given me a different perspective from a major tech platform side. And part of my role at LinkedIn is really heavily focused on understanding regulation and how that from an AI and data perspective impacts the company. And so I’ve been really leveling up my game over the last year and a half that I’ve been here, understanding mostly EU regulations, but also US regulations that are still in their infancy when it comes to AI. But really when it comes to privacy and data, those are pretty well established across the board. It’s been kind of a combination of what I learned at Eventbrite, because I went to Eventbrite when GDPR was going into effect. And so that was an eyes-wide-open moment of getting in the weeds with negotiating data processing agreements, understanding data transfers and cross-border data transfers and the like. So it’s been kind of an evolution as the laws and regulations have evolved. So has my career, so has my own understanding, so have the platforms’ responses to those laws and regulations. And I’m sure that probably resonates with a lot of your listeners who have also been growing their practice and their understanding as the laws and regulations in this realm have been evolving too. Ken Suzan: Yes, indeed. Now let’s switch gears and talk about AI. You advise on AI and data daily. As platforms integrate generative AI tools into their tech stacks, what are the most critical best practices in-house counsel should be adopting right now to embed responsible AI principles into product development? Franklin Graves: So as an attorney, one of my key roles is to understand the technology. Even representing creators and working for creator platforms, that’s something I’m constantly trying to do: put myself in the shoes of being a creator. And I think I talked about this last time I was on, but I come from a background where I was working for a major label doing marketing, video editing, social media work. And I was creating content. I understood the whole life cycle from the inception point of an idea to execution and then to the final delivery and distribution of that content to an audience within a major music label. And so part of that is the same thing that I think attorneys, especially in-house, should be doing: using the tools that the product and engineering teams are either developing in-house or partnering with third parties to develop, or a combination of the two. Using them, understanding them, using them as a creator would, using them as an end user or a client or customer would. And making sure that if you understand the product and understand the nuances of how it operates, and being a part of the iterations of that internally before it fully ramps, that really gives you a chance to understand: okay, we have a lot of responsible AI principles and standards and protocols that are in existence right now, whether it’s NIST, whether it’s based on the EU AI Act or anything and everything in between. It’s understanding how to apply those and bring those into a product and an engineering environment in a way that is practical and actionable for the people that you’re supporting, the stakeholders you’re supporting. So I think one of the critical best practices is, number one, understand the product or features that you’re supporting. Franklin Graves: And then understand how you as an attorney can use your expertise and understanding of responsible AI practices, whether it’s a regulatory standard or an industry-adopted standard or a hybrid of the two, to leverage those and implement those, break those down and make them into actionable controls and processes and flows that work within your existing infrastructure. That’s a lot of high-level talk, but that’s the general idea. One concrete example we talk about frequently is with open source AI. If you’re working with a product team or an engineering team that is taking an off-the-shelf open source model and bringing that in-house, a lot of times companies have pre-existing open source processes that cover the use of open source software or code. Piggyback on that. That’s the easiest quick win for attorneys: leveraging your existing open source processes to just build on top of that the AI flavor and layering. It’s not very much that you have to do, but the underlying process of the key stakeholders that need to be involved in the review, whether it’s security, whether it’s executive sign-off if it gets to that point, even export control considerations should already be part of your existing open source software process. So layering in on those existing processes the specifics of generative AI or large language models that you’re trying to bring in is a great way to put this into practice. Ken Suzan: Now looking at the geopolitical landscape that we currently have, we have the EU AI Act setting strict standards and shifting US executive orders. How should platforms and brands prepare for this fragmented regulatory environment when deploying AI tools to a global user base? Franklin Graves: It’s a great question. It’s something that is still evolving, I think is fair to say. I would equate it, as I do in the paper that I wrote, to how creators and arguably brands don’t own the platforms that they’re building their communities on. That spawned this concept of de-platforming or going into building your own platform, a decentralized platform of sorts, and owning your community. That gives you that control and takes away the level of instability that can come for creators trying to build a business on a platform they don’t own, they don’t control when certain updates happen, when algorithms change, when tools and functionalities either become available or go away completely. So it’s very similar to what we’ve been experiencing in a regulatory environment where we have geopolitical complexities, for lack of a better term, that can overnight seemingly disrupt the way in which a platform or even a multinational brand is able to connect and reach an audience or continue to leverage the user base that they’ve built. I think TikTok is a great example of that, where it became a national security concern and suddenly it was facing an executive order that required it to be effectively disabled in the US or completely owned and operated by a US entity. All the mechanics and technicalities of whether it’s actually possible and still have a global platform with a global user base is a whole different discussion. But that’s an example of very similar considerations that are now not just a discussion point at the creator level or the individual brand level, but also in a much broader context at a platform level as well. Ken Suzan: Franklin, let’s now shift gears and talk about your article. In your recently published journal article, Upload Complete, which we will have linked in our show notes, you advocate for a shift in terminology from internet creator law, a term used during our first podcast almost a decade ago, to creator economy law. Why is this distinction important and how does it change the way legal practitioners should view the ecosystem of creators, brands, and platforms? Franklin Graves: Oh yes, this is part of the reason why I wanted to write the article: to lay this foundation of understanding. Because at the time I’d written the article, the term creator economy and creator had really not appeared but for maybe once in an actual court decision. And it was kind of focused on influencers and this concept, and it was just not getting it right. And so it was also, as you mentioned, when we first spoke I was even using the term internet creators. And I think that was something that was common at the time. The “internet” portion as a qualifier has since dropped off. And now for purposes of the creator economy, the term creators refers to individuals, it can be small businesses, which is what we’ve seen from a regulatory standpoint, how these small businesses are being impacted by regulations. But essentially creators in the article I pin in the context of intent. What is the intent behind the person or the small business that is posting content, trying to build a community and form a community in a virtual environment? And then that can even spill over into real physical world environments. And so the intent is kind of what I look at. Franklin Graves: And I have a chart in the article that has a diagram showcasing the overlap of what I refer to as “users generating content.” It’s a play on the concept of user-generated content, UGC. Users generating content is that large bucket of anyone posting on a platform of some kind. And within that large bucket, that large circle, are smaller subsets. You have creators, you have brands. Those are really the two buckets you can put people into. Otherwise it’s like your grandmother or your parents posting content on Facebook or Instagram, and those are everyday users of a platform. The distinction to get into that subcategory of being a creator more so has been analyzing the intent behind the posting. Are you posting content to build an audience, to build a community, to eventually have a chance to monetize the following that you’re bringing in or sell services or something like that? Brands are posting for that reason. Creators are maybe posting for that same reason. But even within the creator category, there’s a subcategory of influencers that are trying to sell something, that are trying to build more than just an awareness of who they are, their influence. They are trying to do brand deals, partnership deals, upsells and all that, and start an actual small business aside from just the content itself that they’re creating. So that’s kind of the distinctions that I make in the paper. And that’s why it’s important to understand and lay that foundation, that anyone can post content online, but the intent, the why behind their posting that content, really does ultimately matter, especially when you’re looking at it from a court case or from a regulatory standpoint. Ken Suzan: Now, Franklin, we’re seeing unprecedented geopolitical activity around platform ownership. For example, the US legislation targeting TikTok and Brazil’s recent temporary ban of X. How do these macro-level battles impact the day-to-day livelihood of creators? And how can they legally and operationally protect themselves? Franklin Graves: So the shift that we’re seeing, and I alluded to this earlier in our conversation, is this concept of Web 3. And that term may or may not be really popular anymore, but that’s essentially what we’re looking at: a shift into a federated, decentralized operation of a platform. So instead of one owner, one company, one entity owning and operating the platform, it’s decentralized. Anyone can start up a server, and it’s interoperable, meaning anyone can plug and play and connect to that larger network. And it creates this unified social network experience. Within each operating node of that network, there can be your own decisions around content moderation, your own decisions around the hosting providers you use, where you’re operating out of, the terms and conditions that apply to that. But the flip side is that instead of creators posting and sharing in a closed environment run and controlled by a singular entity, you’re now experiencing a peer-to-peer type operation where your experience can change based on which server, which node, which user you’re engaging with. You might have content that’s acceptable in one area but not acceptable in another, and maybe it just doesn’t even show up in that other area. Franklin Graves: But from a liability standpoint, as creators start to build their own networks and communities, even outside of a concept like the fediverse, it’s even down to creators building their own communities through online courses, subscription membership-based platforms that they run on their own website. There’s open source software out there, even something called Ghost, where you have memberships. And that is a creator or a small business in the creator economy that is now taking on the obligations that would typically fall upon a platform. They need to take into consideration terms and conditions, privacy policies, legal aspects, and regulatory considerations for running a platform, especially in a global world. So it’s a lot of liability that then shifts over to those small businesses and even brands sometimes that are doing the same thing. Whether it is something as simple or complex as content moderation or all the way up to monetizing an audience, this new world where creators can spin up and run a platform all dovetails back to the concept of creators not feeling like they have control in reaching the audience and the community that they’re building on an individual platform. And so this really became more mainstream conversation with TikTok and the issues around it potentially being shut down in the US. That was kind of the mindset shift and eyes opening for many creators, especially within the influencer subset, of realizing: we need to make sure that we have a way to reach the audience we’ve built if the individual platform that we’ve committed to over the last year or three years or so is no longer available. We need a way to continue that relationship outside of that one platform controlling it. Ken Suzan: Franklin, we have a few minutes left and a number of topics. So I’m going to switch gears and talk about a few issues. First, a major emerging topic in your paper is the evolution of protecting kids online. With state-level age-gating laws like the CAADCA and the recent FTC updates to COPPA, how should platforms navigate the significant tension between strict age verification mandates and the privacy and First Amendment rights of their users? Franklin Graves: Man, that is a whole discussion to unravel. It is a consideration that we’re seeing happen again, going back to the geopolitical nature of everything. Countries like Australia and certain countries in Europe and now even individual states in the US are trying to look at ways, and some of them have already put into place minimum age requirements before you can even sign up for an account with a social media platform. One of the things I’d just highlight quickly here is that one of the tensions is around how you verify someone’s age online and still maintain the ability to be at least pseudonymous. How do you still have a level of privacy, autonomy, and protection when it comes to having to provide something like a driver’s license or have parental consent tied and connected to an account managed by a parent in a situation where maybe it’s not appropriate or not beneficial to the child in that manner? But then maybe there are counterbalancing factors that outweigh that. All of that comes down to the technicalities of how it’s actually implemented and maintaining the sense of openness and freedom that we’ve had on the internet to date. And then the other element there is, since a lot of the internet that we think of today is more so through mobile applications, is it something that the mobile operating system providers and app store providers should be thinking about? So whether that’s the Google Play Store or the Apple App Store, where does that initial age verification need to fall? Is it at the platform level? Is it the app store or mobile device management level or something else? Yeah, there’s a lot to discuss there. And a lot of the issues we’re seeing with how the internet is changing in terms of being able to browse a website without disclosing personal information that might not have been required before is largely stemming from a focus on protecting children online. Ken Suzan: It sounds like, Franklin, we could have another episode covering lots of issues connected with that one topic alone. Franklin Graves: I would absolutely agree with that. There’s a lot going on there. And again, it’s different across the world. And so I know you all have a global listener base. And so there’s a lot of nuances to that whole discussion too, that are worth exploring. Ken Suzan: Last question for today’s episode is regarding the right of publicity. With the explosion of AI-generated synthetic media, digital replicas, and voice cloning, the right of publicity is taking center stage. What are the biggest legal risks for brands partnering with influencers right now? And how can creators protect their most valuable asset, their likeness? Franklin Graves: That’s a great question. I think we’re seeing kind of a throwing-spaghetti-against-the-wall-to-see-what-sticks approach right now by a lot of different parties, whether it’s trademark attorneys, whether it’s general entertainment attorneys or whoever. For example, we’ve seen Taylor Swift filing trademarks to protect certain sounds of her voice and phrasing that she uses. It’s a difficult area because in the realm of generative AI with deep fakes and virtual avatars, that is where it gets tricky, because traditional IP laws are just not able to fully cover that spectrum. It’s a piecemeal approach, but even then it doesn’t fully cover it. So for example, I’m based in Tennessee and a couple of years ago we had the Elvis Act that updated our right of publicity law to add voice and to explicitly reference artificial intelligence. And so that’s the kind of effort we’re probably going to continue to see: efforts to develop some framework around protecting what is essentially a privacy right, in a manner that doesn’t restrict generative AI systems from continuing to develop and operate the way they’re operating now, while layering in those protections so that in the US at least a First Amendment right doesn’t necessarily get squashed, and those traditional well-recognized efforts to not overregulate a technology in its early stages are respected. Franklin Graves: And so I think a lot of what we’re seeing is just a need to update laws. The SAG-AFTRA debate and the strikes that happened around maintaining control of your performance and any iterations of that, or building upon that by a media company that might come later, it’s all on the table right now and still being discussed, still being worked out. I think in the short run, a lot of times if it’s in a brand deal, the key question is: if you are using generative AI to enhance in some way the final deliverable for the campaign, who has control over that? Who has final say and sign-off on how that likeness or that digital replica or that person’s voice is represented? And even outside of the brand space, we’ve seen actors like James Earl Jones signing over certain aspects like their voice and allowing it to continue to be used in these manners powered by generative AI as Darth Vader. And I think I saw something that Boy George was even starting up an AI company that allows musicians, the original recording artist, to rerecord new versions of their masters so that they don’t miss out on that revenue. It’s powered by generative AI, by taking their voice now, which is significantly different than it was back in the 80s, and using generative AI to make it sound closer to the original, but all based on their current performance. So I think it’s still an evolving area. And what’s interesting too is on the platform side, we’re seeing the early stages of platforms like Google starting to acknowledge and rely on the license grant contained in their terms of service for YouTube, which grants them broad rights to use the content to run their platform. So all that to be said, it’s still early stages. I’m very interested to see where we go from here in the future, especially from a global perspective as well. Ken Suzan: Franklin, I could spend hours talking to you about this. You’re such a knowledgeable person on these topics. Maybe in a few years, will we connect again and talk further on AI and all the things that are yet to be developed? Franklin Graves: Thank you. Yeah, it doesn’t have to be another decade. Maybe we can cut it to half a decade, given the pace at which technology is going now. Ken Suzan: Sounds good, Franklin. Thanks again for being on the IP Fridays podcast.

In this news-focused episode of And Now For Something Completely Machinima, Phil Rice, Tracy Harwood and Damien Valentine dive into the latest developments in gaming, machinima, AI, and virtual production. The discussion ranges from the ethics of digitally resurrecting iconic figures like Stan Lee, through major announcements from Summer Game Fest, to upcoming machinima competitions and the evolving role of AI in creative practice. Along the way, the team debates the future of social media, the impact of government regulation on emerging creators, and whether AI is a creative tool, a creative shortcut, or something in between. 01:25 – Ricky Grove's absence explained and congratulations to Lisa Morton on her lifetime achievement award02:12 – AI ethics debate: Stan Lee's voice and likeness licensed through ElevenLabs after his death07:53 – James Earl Jones, Darth Vader, AI voice replication and creator responsibility10:59 – Summer Game Fest highlights begin11:20 – Dune: Awakening receives single-player and private server options; implications for machinima creators13:27 – Alien: Isolation 2 announced; discussion of atmosphere, sound design and world-building16:03 – Star Wars: Zero Company and the cinematic potential of turn-based strategy games18:08 – Surprise announcement: a remake of the original Halo19:09 – Machinima Mayhem 2026 launches: Crowbar Productions' annual machinima competition22:31 – Reallusion Character Creator Contest 2026 and opportunities for digital artists24:15 – Reallusion's roadmap, AI Creator Studio and emerging AI-enhanced creative workflows29:12 – NVIDIA ray-traced rendering integration, Omniverse, and future production pipelines35:25 – Tracy's reflections on TikTok machinima, short-form creativity and the risks of social media restrictions38:45 – Kane Parsons, The Backrooms, and the rise of young creators shaping mainstream media44:32 – New research on how AI affects cognition and creative skills47:00 – Does AI make creators better or worse? A debate on practice, learning and creative development50:36 – AI as a co-creative partner versus AI as a replacement for creativity53:20 – Artistic practice, creative tools and whether AI is comparable to instruments, cameras and software57:00 – Ethics, responsibility and the future of AI-assisted creative work58:30 – What machinima can teach the wider creative industries about authorship, originality and transformative works1:01:12 – Final thoughts and optimism for the future of machinima and digital creativity1:01:37 – One last reminder: the Halo remake is coming1:02:00 – Closing remarksEpisode Highlights The ethics of AI recreations and posthumous digital performances  Major Summer Game Fest announcements relevant to machinima creators  New opportunities through Machinima Mayhem 2026  Reallusion's AI-powered future and creator tools  The growing creative quality of TikTok-based machinima  The potential impact of social media restrictions on emerging creators  AI, artistic practice, and the importance of maintaining creative agency  Why the machinima community may be uniquely positioned to help define ethical AI-assisted creation Whether you're interested in virtual production, game-based filmmaking, creative technology, or the future of AI in media, this episode offers a thoughtful and lively discussion on where digital creativity is heading next.Credits -Speakers: Phil Rice, Damien Valentine, Tracy HarwoodProducer/Editor: Phil RiceMusic: Phil Rice & SunoAI

An EXCESSIVE amount of talent, an EXCESSIVE amount of twists, and an EXCESSIVE amount of roundhouse kicks fill the screen in 1992's Excessive Force! Thomas Ian Griffith writes, produces, and stars in this crime thriller alongside James Earl Jones, Tony Todd, and Lance Henriksen that entangles everyone in a war between the mob and crooked cops. The action gets brutal and intense with an EXCESSIVE amount of shootouts and mob hits, but you'll get the occasional chance to catch your breath before you're thrown back into the action! Don't just watch Action, B-Action!!!

Sup Cousin! It's Juneteenth. Let's gather some inspiration from those who walked before us. Show Notes: Frederick Douglas “What is the 4th of July to a slave” read by James Earl Jones. https://www.youtube.com/watch?v=iZDcB1NhMfoFredrick Douglas “A slave becomes a man” https://youtu.be/U-RmmTYxiGc?si=BlkPDACiLDkJqOQ5Malcolm X “The Ballot or the Bullet” https://www.youtube.com/watch?v=0ymPLDO0pOAWho was Malcom X https://youtu.be/ZaVIucxNeTY?si=y9y9eI1Sw5evmoVt The Lost tapes: Malcolm X https://youtu.be/k7MP_h3eQ1o?si=wqrydi9C8EmcaOBi

We have to imagine that the life of an NPR White House Correspondent does not consistently feel relaxed, homey, sentimental, and warm. But you know what does? Field of Dreams, the 1989 Kevin Costner movie about an Iowa farmer with a field overrun by baseball ghosts. Danielle Kurtzleben, a White House Correspondent for NPR, is from Titonka, Iowa (population 491) and has probably seen the movie eleventy squillion times. She can quote large portions of the dialogue and proved it in our interview by reciting James Earl Jones' “They will come” monologue in her most sonorous NPR voice. You'll be asleep soon. By the way, do baseball ghosts sleep? Are there bunk beds out in the corn fields? Am I overthinking this? Subscribe to Danielle Kurtzleben's Substack, Very Professional Journalizing, by going to daniellekurtzleben.substack.com. Hey Sleepy Heads, is there anyone whose voice you'd like to drift off to, or do you have suggestions on things we could do to aid your slumber? Email us at: sleepwithcelebs@maximumfun.org. Follow the Show on: Instagram @sleepwcelebs Bluesky @sleepwithcelebs TikTok @SleepWithCelebs John is on Bluesky @JohnMoe John's acclaimed, best-selling memoir, The Hilarious World of Depression, is now available in paperback. _________________________________________________________________________ Join | Maximum Fun If you like one or more shows on MaxFun, and you value independent artists being able to do their thing, you're the perfect person to become a MaxFun monthly member. Go to www.maximumfun.org/joinsleeping for our one-stop portal to becoming a member and supporter of Sleeping with Celebrities. Help support this show and unlock bonus content! Become a member at https://maximumfun.org/joinsleeping

You know, Shayne sprang this topic on Jay faster than Darth Vader force‑choking an admiral. One minute we're talking Star Wars prequels; the next we're knee‑deep in villains who could ruin your day, your planet, or your sleep schedule. Turns out we've got more favorite villains than we have working brain cells between us. And honestly, that tracks.In this round, we talk about:Darth Vader, the galaxy's top heavy breatherThe Joker and his purple‑suited chaosHannibal Lecter and his questionable dinner menuNorman Bates and the world's worst motelKillmonger, Dr. Evil, and other iconic baddiesRound 316 [Redux of round 34 from July 23, 2020!]~~~~~~~Support the show and unlock bonus shenanigans. The next 17 Patrons who join at the $10 Level get access to the secret Beer Thursday Facebook group. Join us at Beer Thursday Patreon.~~~~~~~ If you like villains, wait until you see the sinister glow of my whiskey glass. Follow Jay's drink and cigar photography at @BeerThursdayShow on Instagram! ~~~~~~~Subscribe to Beer Thursday and leave us a 5‑star review so we can continue our heroic quest to defeat the algorithm.~~~~~~~Here's what our house elf, Artie (not Archie), says about this round:Who's the greatest villain ever? Darth Vader. The Joker. Hannibal Lecter. Killmonger. Dr. Evil. Freddie Krueger. The Beer Thursday guys cracked open some whiskey and went full villain bracket.Shayne's picks: Darth Vader tops the list — cool suit, James Earl Jones voice, terrifying hallway scene in Rogue One. The Joker comes in close second — sometimes sinister, sometimes funny, always in purple.Jay's picks: Hannibal Lecter — so smart and charming you almost like him... until you remember the whole eating-people thing. Norman Bates — the original "something is very off about this guy" villain. And Dr. Evil — because sometimes evil just needs a Mini Me and a cat.The real debate: Are the best villains the ones who think they're the hero? Jay says yes. Killmonger had reasons. Darth Vader was pushed to it. Even the Joker had a rough go.They also briefly wondered if Elon Musk is secretly a supervillain and watched a Netflix movie about AI wiping out humanity (casual Tuesday stuff).Spoiler: they ran out of time before they ran out of villains. A sequel round is coming. OR, is not coming. We never know~~~~~~~Disclosure: I don't really have a house elf. Artie is AI. Get it? Artie‑ficial Intelligence!~~~~~~~Chapters00:00 Cold Open Banter 00:58 Prequels Spark Villains 02:02 Vader And Joker Picks 03:40 Rogue One And Solo 04:50 Jay Picks Hannibal 06:48 Sympathetic Villains Talk 09:34 Toast And Drinks 10:49 Lex Luthor, Elon Musk, and AI 12:21 Singularity Movie Detour 16:24 Time Is The Villain 17:44 Dr Evil And Shrek 19:04 Killmonger Spotlight 20:55 Horror Villains Rundown

James Earl Jones- John by RealCUF

James Earl Jones-Mark by RealCUF

James Earl Jones-Luke by RealCUF

This audio was taken from Macmedia off of YouTube

Episode 80: Part Two. This week we finalize our tale of the Robert E. Howard and John Milius epic, in Conan the Barbarian from 1982, starring Arnold Schwarzenegger.           Conan the Barbarian Trailer.Make sure to join us again on the trail when we cover 1962's, The Tale of Zatoichi.Wanna support our other projects @KineticOnslotCircle of Jerks PodcastSwords in Stereo PodcastA Cut Above: Horror ReviewProps due to The Bird Beats for our theme!Become a supporter of this podcast: https://www.spreaker.com/podcast/the-cinemigos--6354096/support.

The Prime Cut boys kick off May's Month of Martial Arts Mania with the first installment, the uplifting and intense 1989 film "Best of the Best," starring Eric Roberts, James Earl Jones, Philip Rhee, and Chris Penn.E-mail Prime Cut Podcast at theprimecutpodcast@gmail.comPrime Cut is on TikTok @PrimeCutPodcastFollow and Subscribe to the Prime Cut Podcast on YouTube at - https://www.youtube.com/@ThePrimeCutPodcastFollow us on Instagram at https://www.instagram.com/prime_cut_podcast/

Send us Fan MailOn one side, The Pirates! Band of Misfits — a chaotic, cheese-obsessed adventure packed with British humour, ridiculous inventions, and a crew that couldn't organise a raid if their lives depended on it.

We welcome back television and film writer, Andrew Sanford, for an in-depth discussion of the 1975 film, The UFO Incident, based on the real-life abduction case of Betty and Barney Hill. Regarded as one of the most compelling encounters on record, the case helped shape the modern narrative of alien abduction. The film stars James Earl Jones as Barney Hill and Estelle Parsons as Betty Hill, portraying an ordinary couple whose lives are forever changed after a mysterious UFO sighting in rural New Hampshire. Join us as we break down The UFO Incident, explore how accurately it depicts the Hill case, and examine its lasting impact on UFO history, alien abduction research, and pop culture. Follow Andrew Sanford on BlueSky: https://bsky.app/profile/andrewsanford.bsky.social Use promo code: SOMEWHERE15 for 15% OFF Anomalous Cards: https://www.letsgetanomalous.com/ Send us a Voicemail with questions, comments, or topic suggestions: https://www.speakpipe.com/SomewhereSkiesPod Patreon: http://www.patreon.com/somewhereskies ByMeACoffee: http://www.buymeacoffee.com/UFxzyzHOaQ Substack: https://ryansprague.substack.com/ All Socials and Books: https://linktr.ee/somewhereskiespod Follow Suzanne on X: https://x.com/csuzannelanders Email: ryan.sprague51@gmail.com Opening Theme Song by Septembryo Closing Song by Per Kiilstofte Copyright © 2026 Ryan Sprague. All rights reserved. #AlienAbduction #Aliens #BettyandBarneyHill #UFOAbduction #UFOs #UAP #MovieReview #FilmReview #Cinema #Movies #SciFi #JamesEarlJones Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 80: This is the most epic journey the boys have taken yet. A tale so epic it needed to be chopped into two parts, as we cover John Milius's 1982 fantasy film Conan the Barbarian, starring Arnold Schwarzenegger.Conan the Barbarian Trailer.Make sure to join us next week for part two of 1982's Conan the Barbarian.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-cinemigos--6354096/support.

It's four years later...what does she remember? Spring Into Sequels month reaches it's conclusion with 1977's EXCORCIST II: THE HERETIC. As Regan attempts to live a normal life after her childhood ordeal, a psychiatrist and a priest use a controversial technique to probe her memories and monitor her mental health. What begins as therapy spirals into a far-reaching exploration of faith, shared visions, and an ancient force that spans continents. Also this week: The Pizza Hut Pazuzu is back, Ben and Lance action Figures, and bus drivers eating hoagies? All this--and a whole lot more--on this week's episode of NEON BRAINIACS!! "I was possessed by a demon. It's okay. He's gone!" ----- Check out our Patreon for tons of bonus content, exclusive goodies, and access to our Discord server! ----- Excorcist II: The Heretic (1977) Directed by John Boorman Written by William Goodhart Starring Linda Blair, Richard Burton, Louise Fletcher, Max von Sydow, Kitty Winn, James Earl Jones, and Ned Beatty ----- 00:00 - Intro & Opening Banter 32:30 - "The Shpiel" 58:36 - Film Breakdown 01:58:58 - Brain Bucket & Outro

On episode 151 of the Director Watch Podcast, co-hosts Ryan McQuade and Jay Ledbetter discuss the last film in their Charles Burnett series, The Annihilation of Fish (1999). Welcome back to Director Watch! On this AwardsWatch podcast, the boys attempt to break down, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. After making a wild turn with The Glass Shield in 1994, Burnett went back to his roots, making a smaller indie drama about two people who are polar opposites that fall in love. The Annihilation of Fish is another gem from the director, exploring love at an older age, the effects of mental health on the lonely, and how hard it must feel to grow old alone; a thought too painful to even think about. Ryan and Jay break down their thoughts on the film, the performances of Lynn Redgrave and James Earl Jones, how The Annihilation of Fish fits within the themes of the series so far, give their rankings for the series, as well as tease what their next film series is going to be. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. You can also listen on the AW YouTube page. This podcast runs 1h28m. The guys will be back next week to begin their series on the films of Christopher Nolan with a review of his film, Following. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and "B-3" from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Harvard, Tishman Speyer, and a hotel called Atlas walk into a seven-acre plot in Allston. What they're building would make Kevin Costner and James Earl Jones quite happy

Lance Henriksen, James Earl Jones, Tony Todd, Burt Young and Connecticut's most famous movie star Thomas Ian Griffith. Need we say more...oh 90s action that bomb at box office. Pop that VHS in Mr. Terry Silver!   Excessive Force | 1983 Chicago policeman Terry McCain (Thomas Ian Griffith) is determined to put away mobster Sal DiMarco (Burt Young), who always gets acquitted on technicalities. While monitoring a drug sale, a shootout ensues, and one of Terry's fellow officers gets away with $3 million of Sal's money. Suspecting Terry took the cash, the mobster sends his men to kill Terry's brother, Dylan (Tom Hodges), and partner, Frankie Hawkins (Tony Todd). Furious, Terry sets out to take his revenge by any means necessary. https://www.imdb.com/title/tt0104215/   Want More or Less? Click Here: Simplistic.Reviews/links Site: www.Simplistic.Reviews Podcasts: https://simplistic.media/podcasts Spotify: https://goo.gl/pcBg5V Twitter: https://twitter.com/simpletweeters Facebook: http://facebook.com/SimplisticReviews Instagram: https://www.instagram.com/simplygramming Apple: https://goo.gl/orhsR4   #ExcessiveForce #MovieCommentary #WatchAlong #90sAction #BadMovies #ThomasIanGriffith #CinemaCourt #RantCorner #commentary #podcast

Katie Wright returns to cover the episode we've all been waiting for: the rise and fall of Dibala! Yes, the late great James Earl Jones steals the show as the dictator of... let's say "Shmuganda"... causing Chase to have to make some tough decisions.Meanwhile we have some delightful miming from House and Foreman is the worst boyfriend ever. There are also some updates from my trip to Japan and important information if you have too much curvature down there. Listen now! It's important!

Marc Hochman joins Stugotz today, and how about the Miami Marlins? They’re 5-1 heading into a series with the Yankees that might determine who’s who this season. Taylor just watched My Cousin Vinny for the first time this past week, and Hoch says it’s a top 10 movie of all time. Hoch also breaks out his limited fake James Earl Jones. Hoch and Taylor have an idea to save the NBA: bank the tank. And finally, we have a Keep 3, Cut 5 of outfielders from the ’80s that make you smile.See omnystudio.com/listener for privacy information.

The Hollywood writer's unions, the WGA, is talking to the studios about their contract while IGNORING their own staff, which is now on strike. And SAG-AFTRA issued a statement about AI Val Kilmer, saying it's cool because the family gave their blessing. But they were idiots when it came to James Earl Jones' family selling his voice. So what's up here?Watch the podcast episodes on YouTube and all major podcast hosts including Spotify.CLOWNFISH TV is an independent, opinionated news and commentary podcast that covers Entertainment and Tech from a consumer's point of view. We talk about Gaming, Comics, Anime, TV, Movies, Animation and more. Hosted by Kneon and Geeky Sparkles.Get more news, views and reviews on Clownfish TV News - https://more.clownfishtv.com/On YouTube - https://www.youtube.com/c/ClownfishTVOn Spotify - https://open.spotify.com/show/4Tu83D1NcCmh7K1zHIedvgOn Apple Podcasts - https://podcasts.apple.com/us/podcast/clownfish-tv-audio-edition/id1726838629

Today we dive into the incredible 40-year journey of Dylan Walsh, a true veteran who embodies persistence in Hollywood. Dylan has worked with some of the industry's biggest legends and has the stories to prove it. He shares how a chance encounter with a then-unknown Julia Roberts helped launch his career. You'll hear jaw-dropping behind-the-scenes stories from film history, including his experience at the legendary table read for A Few Good Men with Jack Nicholson and Tom Cruise. He also shares the acting masterclass he received while playing opposite Paul Newman and James Earl Jones. Finally, we dive into his career-defining role as "Sean McNamara" on the hit series Nip/Tuck and of course that iconic moment in episode 5 of the global sensation Heated Rivalry. These are the unforgettable stories that landed Dylan Walsh right here. Credits: Heated Rivalry Nip/Tuck Blue Bloods Superman & Lois SEAL Team Life Sentence Nip/Tuck Longmire Revenge Castle NCIS: New Orleans Secretariat Congo Gabriel's Fire Guest Links: IMDB: Dylan Walsh, Actor, Writer THAT ONE AUDITION'S LINKS: For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me: @alyshiaochse & @thatoneaudition THE BRIDGE FOR ACTORS: Become a WORKING ACTOR - 50% THE PRACTICE TRACK: Membership to Practice Weekly CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com APPLE PODCASTS: Subscribe to That One Audition on Apple Podcasts SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher EPISODE CREDITS: Host/Producer: Alyshia Ochse Writer: Maddie McCormick WEBSITE & GRAPHICS: Chase Jennings SOCIAL: Alara Cerikcioglu

In this week's episode, I look back at the movies and streaming shows I watched over winter 2025/2026 Instead of Coupon of the Week, you can get SILENT ORDER: OMNIBUS ONE for free at my Payhip store at this link until March 31st: https://payhip.com/b/lhCyU TRANSCRIPT 00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 294 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March the 13th, 2026 and today we are looking at my movie and streaming TV show reviews for Winter 2025 and 2026. We'll also have Coupon of the Week and an update on my current writing, publishing, and audiobook projects. Before we get into all that, let's start off with Coupon of the Week. Actually, we are not going to have Coupon of the Week this week because originally I scheduled a Coupon of the Week for Silent Order: Omnibus One to get you 25% off it. However, I was able to get a BookBub Featured Deal to give away Silent Order: Omnibus One for free on the 17th. So instead, the episode description will just have a link to where you can get Silent Order Omnibus One for free at my Payhip store. Next week, regular Coupon of the Week will return. Now for an update on my current writing, publishing and audiobook projects. As of this recording, I am about 51,000 words into Blade of Wraiths. I had hoped to be a little further at the end of this week, but there was quite a bit of real life stuff to do this week that took up a lot of time. I didn't make quite as much progress as I had hoped, but I did make some progress, so that's good. I'm still hoping to have the book out in April if all goes well, but we will see. I'm also 5,000 words into Dragon-Mage, which will be the sixth book in the Rivah Half-Elven Thief series (six of nine planned). That hopefully will be out in May if all goes well. In audiobook news, the main recording on Blade of Storms (as excellently narrated by Brad Wills) is finished. Just have some proofing to do yet and then get through processing. Then hopefully the audiobook should be available on all platforms by next month. Recording is also underway for Wizard-Assassin, the fifth book in the Rivah Half-Elven Thief series. So that is where I'm at with my current writing, publishing, and audiobook projects. 00:02:00 Main Topic: Movie/TV Show Review Roundup Now let's move on to our main topic this week, my movie roundup. Spring is near, so it's time for my Winter 2025/ 2026 Movie Review Roundup. I admit this is a bit shorter than my usual movie roundups because for a couple of months I didn't see anything I really felt like writing about. Not in a bad way or depressed sort of way, but I just didn't see anything I felt interested enough to write about, whether good or bad. The new year brought new movies to watch and now we have enough for a Movie Review Roundup. As always, the movies and shows are in order from my least favorite to my most favorite. The reviews are based on nothing objective, but only my own thoughts and opinions. First up is Operation Fortune, which came out in 2023. This is a Guy Richie action comedy with Jason Statham in the lead, which probably describes all you need to know about it. Like if you say the phrase "Guy Richie Action Comedy with Jason Statham in the Lead", this would be the movie that popped into your head. Statham plays Orson Fortune, an elite special forces operative. When a mysterious device is stolen by terrorists, the UK government sends Fortune to retrieve it. Fortune teams up with a group of specialists and then sets out to punch bad guys and save the day. Some good action sequences, some funny bits, and Hugh Grant was hilarious as the evil arms broker billionaire, but definitely a paint by number action movie. Enjoyable to watch, but nothing deep. Overall Grade: C Next up is Legend, which came out in 1985. This is a very weird movie told as sort of an '80s style dark fairy tale. The premise is that the Lord of Darkness wants to destroy all light (as lords of darkness are wont to do). But to do that, he needs to kill a pair of unicorns. He sends his goblin minions to do the deed. Meanwhile, Princess Lili is in love with Jack, a forest child who lives in harmony with various elves and dwarves and other natural creatures. When the goblins kill one of the unicorns and take the other back to Darkness's subterranean fortress, Jack and Lili have to team up to rescue the last unicorn and defeat Darkness. The creature work and all the puppets and suchlike look amazing. Poor Tim Curry delivered an excellent performance under that mountain of prosthetics he had to wear as Darkness. That said, I don't think Tom Cruise had quite learned how to act yet, and I'm afraid he kind of stood around with a blank expression most of the time. So I'd say Legend is an interesting fantasy classic, but definitely very niche. Overall Grade: B- Next up is Anaconda, which came out in 2025. This is a very meta, bonkers, and yet nonetheless entertaining comedy movie. It kind of went off the rails while shouting "WHEEEEEE" the entire time. College friends Doug, Griff, Claire, and Kenny are entering middle age and are all dissatisfied with how their lives have turned out. Doug wanted to be a director, but instead makes wedding videos. Griff is a struggling actor. Claire is a divorced lawyer and Kenny is a "Buffalo drunk (he only drinks beer and wine and just some, but not all of the hard liquors). When Griff acquires the rights to make the next movie in the Anaconda series, the four friends jump at the chance to make it as an indie film. Scraping together their savings, they set off for the Amazon to film their snake movie. However, they find themselves caught in the middle of a fight between illegal gold miners and the Brazilian government and there is an actual giant anaconda that is hunting both the gold miners and idealistic American filmmakers. This was very meta since the characters were making a movie in the Anaconda series…in a movie in the Anaconda series. Despite that, it was very funny and I enjoyed it, though it might be a bit too tongue in cheek for some viewers. Comedy, alas, is ever subjective. Overall Grade: B- Next up is Fackham Hall, which came out in 2025. Sometimes a movie is funny but dumb. Sometimes a movie is dumb but still funny, and sometimes a movie is just plain dumb. However, I'm pleased to report that Fackham Hall is the best of the three: funny, but dumb. It's a goofy but affectionate parody of Downton Abbey and the kind of movie that isn't afraid to make jokes simply for the sake of jokes. Interestingly, halfway through the movie takes the right hand turn and becomes a parody of an Agatha Christie novel. It was pretty funny in the vein of the Naked Gun or Airplane movies, though a few of the jokes might be too raunchy for some viewers. Overall Grade: B- Next up is Wrecking Crew, which came out in 2026. I would say this was one part buddy cop comedy, one part noir mystery, and one part John Wick style violence. When private investigator Walter Hale is killed by a hit and run in Hawaii, both his sons (by different mothers) conclude that it was murder. Straight laced James (played by Dave Bautista) is a Navy SEAL with a stable family life, while Maverick cop Johnny (played by Jason Momoa) is frequently drunk and on the outs and on the outs with his girlfriend. Nevertheless, both half-brothers independently realize that shady corporate interests killed their father and set out to find his killers. They must also deal with their complicated feelings with their father and overcome their deep seated resentment of each other. This was a pretty fun action movie, though the violence level is definitely John Wick level and might put off some viewers. Honestly, it made me wonder if there's a "Hawaiian Noir" mystery genre, the way that "Nordic Noir" novels were popular for a while. Overall Grade: B Next up is The Running Man, which came out in 2025. This is both very dark and very funny, and I think it was actually better than the original movie from the 1980s. It explores the same concept. Future America is a dystopia ruled by the Network megacorp and Glen Powell's character needs to get medicine for his daughter, but he can't afford it, so he tries out for the Network's cruel reality shows and lands a spot on the biggest one of all, The Running Man, where contestants have to stay alive and hidden for 30 days while they're hunted by mercenaries and the general public gets rewarded for informing on them. This definitely had strong Idiocracy vibes as well and the satire of contemporary American culture was very cutting and probably quite accurate. I do think this movie deserved better than to flop at the box office like it did, but perhaps it will have a long life on streaming. Overall Grade: B Next up is A Few Good Men, which came out in 1992. This is a high quality legal thriller carried by Tom Cruise's and Jack Nicholson's performances. Today, Tom Cruise is largely famous for extreme stunts like driving a motorcycle cycle off a cliff (it did make for a good movie) and various personal eccentricities, but both he and Nicholson really can act and their scenes together are great. Sometime between this and Legend (which we talked about earlier), Cruise really figured out how to act on screen. Anyway, when a Marine is killed during a hazing ritual, Lieutenant Kaffee (played by Tom Cruise), is called in to investigate, aided by Lieutenant Commander Galloway (played by Demi Moore). Colonel Jessup (who was played by Nicholson), the commander of the Marines in question, wants to cover up what really happened, and Kaffee and Galloway set out to prove that the Marines charged with murder were in fact following orders when the hazing ritual went wrong. Of course, the movie hinges around Kaffee's and Jessup's final confrontation in the courtroom. I have a theory that all genres are in fact variants of fantasy. Like romance is the fantasy of true love, thrillers are the fantasy of violence and so forth. This movie would be the fantasy of the legal thriller, where the bad guy cracks on the stand. In real life, of course, when generals screw up, the privates, the NCOs, and the junior officers get thrown under the bus while the generals go on to cushy gigs at the Rand Corporation or Lockheed Martin. The strength of the performances makes the fantasy and therefore the movie work. Overall Grade: A Next up is The Paper, which came out in 2025. I ended up with a month of the Peacock streaming service, so I decided to give The Paper a try. It is a spinoff of the classic The Office [US] sitcom from the 2000 to 2010s. The premise is that failing paper company Dunder Mifflin from The Office has been purchased by a large conglomerate called Enervate. Enervate 's core business is toilet paper and other paper bathroom products, but they also own the Toledo Truth Teller (we'll refer to that as TTT) newspaper, and they use paper pulp that isn't good enough for toilet paper to print the paper. TTT is a regrettably normal local American newspaper in that it's mostly AP Wire articles and ads, with one reporter who covers local sporting events. Things start to change when Ned Sampson takes over as the new editor of TTT. Ned was formally Enervate's best toilet paper salesman, but he has a romantic view of journalism and wants to be a reporter. As a favor to him, the CEO lets him take over TTT. There he meets Mare Pritti, an Army vet in charge of the paper's layout who also wants to be a real journalist, and the two of them hit it off despite their immediate attraction. Ned has to navigate his coworkers (who range from useless to insane and useless to even more insane), corporate politics, rival bloggers, and his growing attraction to Mare. It was a pretty funny first season and I enjoyed it. There's allegedly going to be a second season, so if that happens, I will definitely watch. Overall Grade: A Next up is Conan the Barbarian, which came out in 1982. I actually saw this before like 15 years ago, but I saw it again at the end of February, so it's time to write about it. This is a very specific movie that deserves its status as a cult classic, and I do think it is better than Legend. It wasn't particularly faithful to any of the Conan stories, but it somehow did a good job of capturing the essence of the character. This was one of Arnold Schwarzenegger's first movies. It might have even been his first one, though I'm not sure. He didn't quite have the whole acting thing down yet, so he played Conan as strong, stoic, and mostly silent, which worked quite well for the character. James Earl Jones was excellent as Thulsa Doom, the evil wizard and cult leader who is Conan's nemesis. I guess in the 1980s, if you wanted your fantasy or science fiction film to be successful, you needed your villain to be an armored figure either played by or voiced by James Earl Jones. The Riddle of Steel scene where Conan throws all Doom's atrocities into his face and Doom goes, "ah" in the sense that, "yeah, I get why you want to kill me," was great. The fight scenes and stunts are all the more impressive in hindsight because obviously they're all practical effects and efforts since CGI didn't exist yet, especially given the large number of horses in the movie, since no horses are notoriously very difficult to work with in film. I once heard an experienced rider say managing a horse is like managing a two year old, albeit a two year old that weighs a thousand pounds and is much stronger than you are. The soundtrack by Basil Poledouris is a classic and deservedly so. Like, modern day oligarchs come across less as dark lords and more like malevolent dorks because they travel by private jets and electric car and yachts and so forth. By contrast, Thulsa Doom thunders across the countryside with his Riders of Doom, accompanied by Basil Poledouris's score with trumpets, drums, and choral parts. If you really want to be an intimidating bad guy, your entourage needs to be armored cavalry riders and you need a Basil Poledouris light motif. Conan the character sometimes gets stereotyped or dismissed as a masculine power fantasy (erroneously in my opinion), but the female characters in the movie are pretty good. Conan's mother faces off against the Riders of Doom by herself and Thulsa Doom himself has to use his mental magic to kill her. Prince's Yasmina is kind of the McGuffin of the movie, but she has a character arc as well where she turns against Doom and helps Conan to fight him. Compared to many '70s and '80s film heroines, Valeria was very good. For example, Lois Lane in the 1978 and 1980 Superman movies screams a lot and basically causes Superman to make a lot of bad decisions while being dead weight. By contrast, Valeria kills a bunch of bad guys with her sword, fists fights some evil spirits to save Conan, and then literally comes back from the dead as a Valkyrie to help Conan in the final battle with Thulsa Doom's goons. So this is definitely worth watching as a cult classic of the fantasy genre, though it does have a lot of nudity even by the standards of '80s movies. Overall Grade: A Now for my favorite thing I saw in Winter 2025/ 2026, which was Wonder Man, which came out in 2026. I was surprised by how much I liked this. The main character is Simon Williams, who is a struggling actor in LA. He's a good actor, but he's also an enormous theater nerd with an encyclopedic knowledge of both film and theater, which means he tends to overthink his performances, to the exasperation of the director and crew, which gets him fired a lot. One day he meets Trevor Slattery, the highly eccentric British actor who unknowingly was recruited to play the fake Mandarin back in Iron Man 3. Trevor has since kicked drugs and alcohol and returned to his one true love, acting. He ends up taking Simon under his wing and together they set out to get auditions for Wonder Man, a remake of Simon's favorite superhero movie from when he was a kid. However, both Simon and Trevor have secrets. Simon is concealing actual superpowers since superpowered individuals are not allowed in major film and television productions for safety and legal reasons due to a hilarious side story involving Josh Gad. Trevor was actually recruited under the threat of returning to prison by the Department of Damage Control to spy on Simon since they suspect he has superpowers but can't prove it and they want to find enough evidence to arrest him. The tension of all these plot threads keeps ratcheting up until the final episode. Anyway, this was an excellent self-contained "ground level" Marvel story without a lot of callbacks or cameos or getting lost in the increasingly complex MCU continuity. The friendship between Simon and Trevor, two extremely eccentric actors, was both touching and hilarious. Overall Grade: A+ So those are the movies and streaming shows I watched in Winter 2025 and 2026. So that's it for this week. Thank you for watching The Pulp Writer Show. I hope you found the show enjoyable and interesting. A reminder that you can listen to all the back episodes with transcripts at https://thepulpwritershow.com. Stay safe, stay healthy, and see you all next week.

Rich and callers discuss Dolphins QB Tua Tagovailoa and the NBA's tanking problem. Actor Blair Underwood joins Rich in-studio to promote his ‘Youngblood' reboot that starred Rob Lowe in the original 1980s hockey movie, his forth coming ‘A Soldier's Wife' biography about his mother, reveals how joining the cast of ‘L.A. Law' changed his life, and talks James Earl Jones, Sidney Poitier, ‘Sex & the City' and more (being a lion tamer???) in a round of ‘Celebrity True or False.' ‘No-Contest Wrestling' co-host O'Shea Jackson Jr, Rich, and Suzy Shuster discuss whether there truly is a rift between Lakers star Luka Doncic and Head Coach J.J. Redick. Learn more about your ad choices. Visit podcastchoices.com/adchoices

LARRY COHEN WAS A MADMAN and Madeleine Koestner is here to talk about one of his most unhinged films, 1990's The Ambulance. Eric Roberts! James Earl Jones! An ambulance that hands out in a nightclub! You've never seen anything like this one. We also complain about Geese. The band, not the animal - although too be honest I'm not a fan of either.

Hello and welcome to Handgun Radio! I'm your host Ryan Michad, Weerd Beard & Co from the wild woods of Central Maine and this is your home for all the news, information and discussion in the handgunning world!   This week, we talk the guns of James Earl Jones!   Please check out the Patriot […]

Hello and welcome to Handgun Radio! I'm your host Ryan Michad, Weerd Beard & Co from the wild woods of Central Maine and this is your home for all the news, information and discussion in the handgunning world!   This week, we talk the guns of James Earl Jones!   Please check out the Patriot Patch Company for their awesome patches and other high quality  items! Visit www.patriotpatch.co for more information! Cool artist “proof” rendition come along with the latest patch of the month patches!    We are proudly sponsored by VZ Grips! Please go check out all their fantastic products at their website! VZ Grips!  -KFrame Magna Grips   Thank you to all our patreons! Visit us at https://www.patreon.com/handgunradio    Week In Review:    Ryan: - HIRE SOMEONE TO CLEAN YOUR DRYER   Weerd:   Oddball:   Xander: Fixing machines, breaking machines, finally got a holster, grocery store sushi, finally warming up   Drink Segment: Canton Distillery Coopertown Football Bourbon   Main Topic: James Earl Jones Gun Collection & Auctions!   -Belgian Pinfire Revolver -Case Reeder Custom Commander 1911 -Colt 1902 .38 Rimless -Colt 1911 .38 AMU Competition -Colt Combat Elite 1911 in .460 Rowland -Dansk Schuboe 11mm “Wooden Bullet” -.38 Casull 1911 -Guncrafter Industry .50 GI -CLARK CUSTOM 50TH ANNIVERSARY MILLENNIUM MELTDOWN .45ACP -COLT 1911 COMBAT ELITE MKIV SERIES 80 .460 ROWLAND -COLT CAMP PERRY SINGLE SHOT .22LR TARGET -L.A.R. MANUFACTURING GRIZZLY MARK I .45 WIN MAG -L.A.R. MANUFACTURING GRIZZLY .50 ACTION EXPRESS MARK V -NIGHTHAWK CUSTOM TALON .357 SIG -REFORM PISTOLE BREVETE FOUR BARREL .25 ACP PISTOL -LILIPUT MODEL 1926 .25ACP -A target Webley?   https://checkpointcharlies.com/product/reform-pistole-brevete-four-barrel-25-acp-pistol-james-earl-jones-collection-rare-5-10909-pf/ https://checkpointcharlies.com/product/sharps-1859-22-short-4-barrel-pepperbox-pistol-james-earl-jones-collection-antique-5-10918-pf/   Wrap Up: Don't forget to shop Brownells using our affiliate link! Head to firearmsradio.net and click the affiliate link in the upper right hand corner! Be sure to go like Handgun Radio on facebook and share it with your friends! Leave us a review on iTunes! Check out VZ Grips!  Listen to all the great shows on the Firearms Radio Network! Check out the Patriot Patch Company!! www.patriotpatch.co   Weerd where can people find you? Assorted Calibers Podcast,  Weer'd World   Oddball gunscarstech.com Assorted Calibers Podcast ACP and HGR Facebook Play screechingtires.wav   David Blue Collar Prepping Brena Bock Author Page David Bock Author Page Team And More Claus of War: Santa's Battle Chronicles Xander: Assorted Calibers Podcast Here so Ryan doesn't do a bad impression of me   Until next week, have fun & safe shooting!  

For the second time in as many weeks, we find ourselves learning once more about young Jack Ryan. In the second reboot of the series, Chris Pine now helms the mantle of the analyst extraordinaire. We finally see the legendary helicopter crash that is pivotal to his backstory before we see him move to Wall Street to begin his work with the CIA. Trading in James Earl Jones and Morgan Freeman for Kevin Costner, we get another image of Ryan in another decade where franchise filmmaking has shifted significantly—we of course talk about the politics, the post-war on terror philosophies, the Hollywood Chrises, and much more! Join us now as we wrap up our You Don't Know Jack... Ryan marathon. 

It's been a busy week on Bravo, and Dylan is back for another Friday episode recapping all the action. We kick things off with the new about The Valley's upcoming third season, and how we're feeling about Tom Schwartz and Lala Kent joining the cast. Then, the biggest story of the week is Kyle and Amanda's cursed visit to Apology Dune on Summer House, and it seems like their marriage has truly reached its end point. After that, Dylan turns his focus to part one of the Real Housewives of Potomac reunion, featuring Wendy's post-arrest footage, and a hilarious James Earl Jones moment. Later in the episode, Dylan gets into Erika and Kyle's Amanda rehab project on RHOBH, and the Southern Charm cast's trip to Mexico. We finish things off with a recap of this week's Traitors episode, and some predictions for next week's finale. Learn more about your ad choices. Visit megaphone.fm/adchoices

A bitter sweet goodbye!We are so grateful to all our listeners over the last 5.5 years and 267 episodes! Life has taken us in a different direction but we cherish the memories and relationships made through the pod. Lotsa Love!Hot Topics: Nancy Guthrie update. Colbert goes toe to toe with CBS over FCC rules. Olympic curling scandal. Pedro Pascal may have a new boyfriend. Brandy has finally figured out what caused her facial parasite. Greg's Recs: Traitors. The Scream Murders. The Housemaid.Demetria's Recs: The Burbs. ANTM Doc. Tell Me Lies Finale.

In this week's episode, we dissect Claudine, a film released on April 22, 1974, starring James Earl Jones and Diahann Carroll. Join us as we discuss McCarthyism, cornflakes, pineapple juice, coast-to-coast murders, dish soap, resentment, the Welfare Man, “social work”, Frederick Douglass, dirty pants, and more!Notable Mentions + References in This Episode:James Earl Jones InterviewKeep Away from Me, Mr. Welfare Man: Claudine, Welfare, and Black Independent FilmThird World CinemaA History of Social Welfare in the U.S.Welfare Over Fathers (1967)Welfare and the Politics of Poverty (NY Times)How the “Child Welfare” System Destroys Black Families with Prof. Dorothy RobertsConnect with us:Instagram: @in_hindsight_podTwitter: @in_hindsightpod Thanks for listening!

Mitch Urban started off as a top forty radio D.J. and news broadcaster, and was a touring rock singer, opening for everyone from Quiet Riot to K.C. and the Sunshine Band.  His work as a voice actor includes Voicing three of the dogs in the Christmas classic feature film "Nine Dog Christmas" narrated by James Earl Jones.  Mitch has narrated shows for the History channel, voiced dozens of video game characters including the iconic "GhostRider" for Marvel Heroes, the voice of Steven Tyler's Skittles painting in the award-winning Super Bowl ad, and was the voice of JEEP for nearly ten years voicing literally thousands of radio and television commercials. Behind the camera, Mitch wrote and directed the award-winning cult horror film "Braineater".

How did a bunch of kids from the 60s become a team of legends? Nostalgia Critic takes a look at a nostalgic sports movie, The Sandlot. Join our YouTube Members - https://www.youtube.com/channel/UCiH828EtgQjTyNIMH6YiOSw/join Last weeks Nostalgia Critic - https://youtu.be/CEf_v8MJL5k Check out our store - https://channelawesome.myshopify.com/ Support this month's charity - https://solvecfs.org/ The Sandlot is a 1993 American coming-of-age sports comedy film written by David Mickey Evans and Robert Gunter. Evans also directed the film and served as a narrator. It tells the story of a group of young baseball players during the summer of 1962. It stars Tom Guiry, Mike Vitar, Karen Allen, Denis Leary, and James Earl Jones. The film is set in the San Fernando Valley in Los Angeles, California and the filming locations were in Midvale, Salt Lake City, and Ogden, Utah. Learn more about your ad choices. Visit megaphone.fm/adchoices

Double Hit - Managing the time continuum is risky business.Chris Morton's stories have been described as being in the genres of slacker lit, sci-fi lit, sci-fi psyche, magical realism, and avant-garde. He is the author of three novels, six novellas, and over thirty short stories. An English teacher for twenty years, Morton is also the author of the teaching guide: 'TEFL Flashcard Games for Young Learners.'Our wonderful Untold Tales Author Shamaan Casey was raised in Converse, TX. Growing up, he always watched a lot of animation, which gave him a deep appreciation for voice acting, which only grew as the years went on. Even from a young age, he had a voice that commanded the attention of others. Though not an attention seeker, he always noticed how heads would turn when he spoke, and he was often compared to James Earl Jones and Morgan Freeman, even in middle school. When he chose to pursue a career in culinary arts and work as a food salesman, everyday people would tell him that I should be in radio. With years of public speaking experience thanks to his religious ministry, he finally yielded to all of the advice he had received over the years and finally embraced getting into the world of voice-over by making audiobooks. Now, he combines my vocal talents with his love of reading to help bring stories to life. When he's not reading, he's cooking, baking, or gaming. Whatever he's doing, he's got a story to tell.

This week we watched the 1982 sword and sorcery film Conan the Barbarian. Directed by John Milius from a screenplay he co-wrote with Oliver Stone the epic film stars Arnold Schwarzenegger and James Earl Jones, and tells the story of a barbarian warrior named Conan who seeks to avenge his parents’ deaths at the hands of Thulsa Doom, the leader of a snake cult. Come join us!! Website : https://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod

In honor of Martin Luther King Jr. Day, we take a deep look at Our Friend, Martin (1999), the powerful animated film that introduces young audiences to the life, leadership, and moral courage of Dr. Martin Luther King Jr. The film follows two middle school friends who are magically transported through time, meeting Dr. King at pivotal moments in his life. By blending animation with real historical events such as the Montgomery Bus Boycott and the March on Washington, Our Friend, Martin makes civil rights history accessible, personal, and deeply human. We discuss why this film still matters today, how it communicates the principles of nonviolence, equality, and compassion, and why its message extends far beyond the classroom. Featuring an extraordinary voice cast including Ed Asner, Angela Bassett, LeVar Burton, Whoopi Goldberg, Danny Glover, Samuel L. Jackson, James Earl Jones, Oprah Winfrey, and Dexter King as the voice of his father, the film stands as a rare and thoughtful piece of historical storytelling. This episode explores the lasting lessons of Dr. King's legacy and reminds us that progress is not just something we study from the past, but something we carry forward through our own actions every day. Enjoy and Support our Indie Podcast at www.mostlysuperheroes.com 

Send us a textIf you stopped showing up to work tomorrow, what would actually happen? Would revenue dip, or would your work simply be quietly reassigned? In this episode, I ask the uncomfortable questions that every senior professional needs to sit with. We explore why the job market doesn't necessarily reward the most qualified person, but rather the person who solves the most urgent, painful, and expensive problems. I discuss the 'Candy, Vitamin, and Painkiller' framework and why so many overlooked achievers get stuck in the 'Vitamin' box—seen as helpful and reliable, but not essential. You will learn how to shift your positioning to become a 'Painkiller' and why this is critical for your career acceleration. I also share four powerful lessons from the late, iconic James Earl Jones (the voice of Darth Vader) on how to turn your weakest muscles into your strongest assets. Book a Game Plan Call: If you are ready to identify the specific pain you solve and position yourself as a painkiller, book a one-on-one session: superchargeyourself.com/gameplanKey TakeawaysThe Candy, Vitamin, Painkiller Framework: Investors and businesses view roles in three categories. 'Candy' is fun but dispensable; 'Vitamins' are helpful and steady but not urgent; 'Painkillers' solve expensive, risky, or urgent problems. To be indispensable, you must be a Painkiller. The Perception Gap: Many senior executives are already solving pain in reality, but they communicate like vitamins. If you describe your work as "supporting cross-functional teams" rather than "eliminating financial leakage," you are underselling your impact.The PPF Strategy: I introduce my Painkiller Positioning Framework. Step 1: Identify the pain you solve (financial, time, or risk). Step 2: Articulate outcomes, not activities. Step 3: Position yourself as someone whose absence would hurt the business. Lessons from Darth Vader: James Earl Jones had a severe stutter as a child and was not the first choice for Darth Vader. His journey teaches us that you don't need to be the first choice to be essential, and sometimes taking a step back (or a lower fee) can lead to a massive leap forward. Episode Highlights01:00 – The Uncomfortable Question: What would happen if you stopped showing up to work tomorrow?02:58 – The 'Candy, Vitamin, and Painkiller' Framework: A breakdown of how businesses value roles, from dispensable "candy" to essential "painkillers."04:53 – Real-World Painkiller Examples: How finance, supply chain, and product leaders solve urgent, expensive, or risky problems.07:02 – The Painkiller Positioning Framework (PPF): A three-step strategy to identify the pain you solve and articulate outcomes over activities.10:37 – Lessons from James Earl Jones: How the voice of Darth Vader turned a childhood stutter into his greatest strength.14:02 – Strategic Steps Back: Why a temporary dip in pay or title can set up a long-term career leap.Enjoyed this episode? Here are three ways to go deeper:Share and review the podcastIf this episode resonated, share it with a colleague who needs to hear it. And if you have 30 seconds, please leave a rating or review on Apple Podcasts or Spotify. It helps more high-achieving professionals discover the show.Get my weekly “Charge-Up” newsletterIf you like smart, no-fluff career insights, you will love Charge-Up. Each week I break down lessons from movies, TV, business and real executive career stories that I do not s

Andrew J Lucas has contributed to books published by FASA, Dream Pod Nine, White Wolf Games, Rebel Minis and Atlas Games among others. He has twelve solo books for various RPG publishers and while his creative output is often blunted by his day job and the enthusiasm of his young daughter for distracting him, he does manage to get produce a few prime works each year. The last few years he has had a number of short stories published in various anthologies for publishers such as Outland Entertainment, Battlefield Press, and B Cubed Press. He also is working on a number of comic and graphic novel projects, which he is optimistic will be produced in 2022. When not working or writing he paints his wargame armies and occasionally finds time to field them in battle.Our Untold Tales Narrator, Shamaan Casey was born and raised in TX. Growing up, he always watched a lot of animation, which gave him a deep appreciation for voice acting, which only grew as the years went on. Even from a young age, he had a voice that commanded the attention of others. Though not an attention seeker, he always noticed how heads would turn when he spoke, and he was often compared to James Earl Jones and Morgan Freeman, even in middle school. When he chose to pursue a career in culinary arts and work as a food salesman, everyday people would tell him that I should be in radio. With years of public speaking experience thanks to his religious ministry, he finally yielded to all of the advice he had received over the years and finally embraced getting into the world of voice-over by making audiobooks. Now, he combines my vocal talents with his love of reading to help bring stories to life. When he's not reading, he's cooking, baking, or gaming. Whatever he's doing, he's got a story to tell.Music by Leigh Robinson from Pixabay

This week, Dennis Robinson of Botched is back to talk about the 1990 film, The Hunt for Red October. Starring Sean Connery, Alec Baldwin, and a host of "Hey! That guy!!" actors including Sam Neill, James Earl Jones, Scott Glen and Tim Curry. Set during the cold war, when a new Russian submarine with a silent propulsion system goes rogue, both the US Navy and the Russian Navy are trying to find it. So, is this one an edge of your seat thriller? Or is it just a bunch of people talking in a submarine for over 2 hours? Let's find out...Check out Dennis as he DM's Botched: A D&D Podcast at https://www.botchedpodcast.com/Thanks go out to Audie Norman (@TheAudieNorman) for the album art. Outro music In Pursuit provided by Purple-Planet.comSupport the show by going to patreon.com/wyhsVisit tvstravis.com for more shows and projects from TVsTravis Hosted on Acast. See acast.com/privacy for more information.

Did people really hate Jar Jar Binks?James Earl Jones is the most recognizable voice for white nationalists in the galaxy.unpacking accidental hatredDid mental deficiencies hold Kanye back?Did Kim make Kanye worse?Fan gets weird with AJ LeeA practical way to stop stalkers in 2025The line between what makes a creepAncient Chinese secret on how to get rid of your Boston accentJoe talks about the SouthMish breaks down the new ad-pocalypseWrap up. Shitbox next week for Cena's retirement.Become a supporter of this podcast: https://www.spreaker.com/podcast/wrestling-soup--1425249/support.

Eddie Murphy plays Prince Akeem and, with the help of a whole lotta latex, several other supporting characters in the 1988 hit, "Coming to America." Back then, the movie charmed audiences and critics alike, and solidified Murphy as box office royalty. It also gave him an opportunity to be in a rom com. But now, decades later, is 80's Eddie still a King of Comedy? Should the barbershop scenes end up on the cutting room floor? And, are our two love interests following a rose-pedaled path to heartbreak? The Old Roommates head to Queens and give it all a revisit through their middle-aged lens. Smear on some Soul Glo and join them. Old Roommates can be reached via email at oldroommatespod@gmail.com. Follow Old Roommates on social media @OldRoommates for bonus content and please give us a rating or review!#JohnLandis #EddieMurphy #ArsenioHall #JohnAmos #JamesEarlJones

This week, Paul, Jason, and June, welcome Zack Pearlman to discuss the 1983 film, Sleepaway Camp. The crew tries their hardest to figure out this movie, from the who's-who of it all to trying to make sense of the geography and economics of the camp, to Robert Earl Jones (father to James Earl Jones) appearance in this film. • L.A. listeners! Register to attend a free special HDTGM show on 10/15 at www.siriusxm.com/podcastsmonth• New live shows 11/7 in NYC & 11/8 in Philly! Go to hdtgm.com for tix, merch, and more• Have a Last Looks correction or omission? Call 619-PAULASK to leave us a voicemail!• Submit your Last Looks theme song to us here• Join the HDTGM conversation on Discord: discord.gg/hdtgm• Buy merch at howdidthisgetmade.dashery.com/• Order Paul's book about his childhood: Joyful Recollections of Trauma• Shop our new hat collection at podswag.com• Paul's Discord: discord.gg/paulscheer• Paul's YouTube page: youtube.com/paulscheer• Follow Paul on Letterboxd: letterboxd.com/paulscheer• Subscribe to Enter The Dark Web w/ Paul & Rob Huebel: youtube.com/@enterthedarkweb• Listen to Unspooled with Paul & Amy Nicholson: unspooledpodcast.com• Listen to The Deep Dive with June & Jessica St. Clair: thedeepdiveacademy.com/podcast• Instagram: @hdtgm, @paulscheer, & @junediane• Twitter: @hdtgm, @paulscheer, & msjunediane • Jason is not on social media• Episode transcripts available at how-did-this-get-made.simplecast.com/episodesGet access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using the link: siriusxm.com/hdtgm Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

It's Mighty Monday, and Ryan is here to take us back to the diamond with one of our favorite films: The Sandlot.ABOUT THE SANDLOTIn the summer of 1962, a new kid in town is taken under the wing of a young baseball prodigy and his rowdy team, resulting in many adventures.AIR DATE & PLATFORM FOR THE SANDLOTApril 7, 1993 | Theatrical ReleaseCAST & CREW OF THE SANDLOTTom Guiry as Scott “Scotty” SmallsMike Vitar as Benjamin “Benny the Jet” RodriguezPatrick Renna as Hamilton “Ham” PorterChauncey Leopardi as Michael “Squints” PalledorousMarty York as Alan “Yeah-Yeah” McClennanBrandon Quintin Adams as Kenny “The Heater” DeNunezGrant Gelt as Bertram Grover WeeksShane Obedzinski as Tommy “Repeat” TimmonsVictor DiMattia as Timmy TimmonsJames Earl Jones as Mr. Mertle (and “the Beast” guardian)Directed & written by David Mickey EvansBRAN'S THE SANDLOT SYNOPSISThe movie kicks off with a narrator telling us about Babe Ruth calling his shot as an announcer gets ready to call a baseball game.Flash back to that guy as a kid. Scotty Smalls moves to the San Fernando Valley with his mom and stepdad, Bill. He doesn't have any friends, so he asks Bill to teach him how to play baseball. Bill puts his prized possession on the mantel—a signed Babe Ruth baseball.The next day, Scotty runs to the nearby baseball field to see if he can make some friends. A fly ball comes right to him, and it doesn't go well. As he fumbles for the ball, he's terrified by this… Beast… on the other side of the fence. The kids give him a hard time for not knowing how to throw or catch. Scotty goes home, asks Bill to teach him again, and ends up with a black eye.The next day, despite the other kids not wanting him to play, the team's best player, Benny, says they should give him a shot because they need a full team. Benny teaches him to throw and catch, and soon Scotty starts to fit in.One day, Ham smacks a home run into the Beast's yard. When Smalls asks about the Beast, the boys hold a sleepover and share the legend of the terrifying dog who lives beyond the fence.The boys become best friends and do best friend stuff—like hanging out at the pool and celebrating the Fourth of July. But at the end of the day, it all comes back to baseball.One afternoon, Benny absolutely crushes their only ball. With Bill out of town, Smalls thinks he's got the solution: he'll grab the one from the mantel. What Smalls doesn't realize is that the ball is signed by Babe Ruth. When he hits his first home run with it, he proudly tells the guys it was signed by “some girl named Ruth.” They freak out once they realize what he's done.The boys quickly forge Babe Ruth's signature on a new ball as a temporary replacement while they try to get the real one back. But the Beast doesn't make it easy.After a dream where Babe Ruth himself tells Benny about being a legend, Benny decides to take matters into his own hands. He hops the fence. The dog—who turns out to just be a big, playful pup—chases Benny all around town. Eventually, Benny makes it back, but the Beast crashes through the fence and gets stuck. Scotty and Benny free him, and the dog gratefully licks Smalls' face before leading them to his stash of baseballs.The boys meet Mr. Mertle, the Beast's owner, and are shocked to learn that he knew Babe Ruth personally. Mr. Mertle gives Smalls a ball signed by the entire 1927 Yankees in exchange for weekly baseball chats.The gang eventually grows up and goes their separate ways. Smalls? He's revealed to be the sports commentator from the beginning, still best friends with Benny, who goes on to play for the Dodgers. Watch the show on Youtube - www.deckthehallmark.com/youtubeInterested in advertising on the show? Email bran@deckthehallmark.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.