Podcast appearances and mentions of Jessica Pressler

pWotD Episode 2696: Anna Sorokin Welcome to Popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 245,809 views on Wednesday, 18 September 2024 our article of the day is Anna Sorokin.Anna Sorokin (Russian: Анна Сорокина; born January 23, 1991), also known as Anna Delvey, is a con artist and fraudster who posed as a wealthy heiress to access upper-class New York social and art scenes from 2013 to 2017.Born to working-class parents in the Soviet Union (now Russia), Sorokin emigrated from Russia to Germany with her family at the age of 16 in 2007. In 2011, she left Germany to live in London and Paris before relocating to New York City in 2013, where she interned for the French fashion magazine Purple. Sorokin conceived of a private members' club and arts foundation, which included leasing a large building to feature pop-up shops and exhibitions by notable artists she met while interning. She later created fake financial documents to substantiate her claims of having a multi-million-euro trust fund, and forged multiple wire transfer confirmations. Sorokin used these documents, as well as fraudulent checks, to trick banks, acquaintances, and realtors into paying out cash and granting large loans without collateral. She used this to fund her lavish lifestyle, including residencies in multiple upscale hotels. Between 2013 and 2017, Sorokin defrauded and deceived major financial institutions, banks, hotels, and individuals out of $275,000.In 2017, the NYPD arrested Sorokin in a sting operation with the help of her former friend, Rachel DeLoache Williams, who accused Sorokin of defrauding her of $62,000. In 2019, a New York state court convicted Sorokin of attempted grand larceny, larceny in the second degree, and theft of services, and she was sentenced to 4 to 12 years in prison. After serving two years, she was remanded into the custody of U. S. Immigration and Customs Enforcement for deportation to Germany. On 5 October 2022, Sorokin was granted a $10,000 bail bond and released from prison. Sorokin's story gained publicity when Williams wrote a lengthy article in Vanity Fair about her experiences with Sorokin in 2018. She expanded on the story in her 2019 book My Friend Anna. The same year, journalist Jessica Pressler wrote an article for New York about Sorokin's life as a socialite; Netflix paid Sorokin $320,000 for the rights to her story and developed it into the 2022 miniseries Inventing Anna. Sorokin's life story has been the subject of multiple other television shows, interviews, podcasts, and theater productions.This recording reflects the Wikipedia text as of 01:56 UTC on Thursday, 19 September 2024.For the full current version of the article, see Anna Sorokin on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Aria.

After the 2008 financial collapse a lot of people said something had to be done about Wall Street, but some of the women at Scores were the only ones with enough guts to take action. Stand-Up Comic and Writer Natasha Muse joins Red Scott and Maggie Tokuda-Hall to talk the Jessica Pressler article, The Hustlers at Scores, and 2019's Hustlers Directed by Lorene Scafaria. You can read the 2015 Jessica Pressler article, The Hustlers at Scores, here. Natasha Muse is a Stand Up Comic and Writer who's appeared on Two Dope Queens, and was named both a “Comedian to Watch” and an “Artist to Watch” by SF Weekly. Order Maggie's newest book, The Siren, the Song, and the Spy If you like us, you'll also enjoy: Following the pod on instagram: https://www.instagram.com/failuretoadaptpodcast/ Following the pod on X: https://x.com/FailureAdapt Supporting Failure to Adapt on Patreon: https://www.patreon.com/FailureToAdaptPodcast

Grace and Niamh are like freakin hurricanes, asking the question.. is it OK when women scam? In this weeks episode we discuss Jessica Pressler's 2015 article, The Hustlers at Scores, and the Lorene Scafaria movie it inspired. We get into the financial crash, the importance of female friendship, and USHER BABY!The Hustlers at Scores: https://jessicapressler.com/the-hustlers-at-scores/498 Lorene Scafaria interview: https://www.vox.com/culture/2019/9/8/20847906/hustlers-director-lorene-scafaria-interview-strippersHustlers Oral history https://www.vulture.com/2019/09/hustlers-oral-history.html Longread hustlers music https://www.vulture.com/2019/09/hustlers-soundtrack-fiona-apple-janet-jackson-britney.html Hosted on Acast. See acast.com/privacy for more information.

Why is it that when a movie or a TV show is based on a true story, all the sudden we become that much more interested in whatever we're watching? Is it the IRL drama? Or is it the gag that we can't believe real people do crazy shit like stealing airplanes or drugging the men of Wall Street and taking all their money? This week we're talking to journalist Jessica Pressler, who wrote both “The Hustlers at Scores” (HHHHHHEYYYYY) and “How Anna Delvey Tricked New York's Party People”. She gives us an inside look at how these stories came to be, the relationships she has with the subjects of her stories, and what actually happened in those Rikers prison visits she had with Anna. If you loved “Hustlers” and “Inventing Anna” (and I know you did loves!) then this is the episode for you! Please support us by supporting our sponsors.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, we chat with Jessica Pressler, Owner and CEO of Radiance Travel on how she began to pivot her growing business into the luxury travel space. Jessica shares how she's created her brand to reflect her own travel inspiration and elevate her client's itineraries and travel experiences into the luxury market.Recorded on March 8, 2023Radiance Travel Website: https://radiance.travelInstagram: @radiancejess | @radiance.travelStart a free trial of Travefy

Join us today for the real life inspired movie 2019's Hustlers. A group of women use their insight into the world of exotic dancing to lure men in and take every last penny they own. Based on the article “The Hustlers at Scores” by Jessica Pressler.

Jessica Pressler (a.k.a. "Vivian Kent" from Shonda Rhimes' Inventing Anna) joins the show to sing (privileged) Anna Delvey's praises. Maria & Emma talk scams, "nobody wanting to work anymore" and the bullshit behind boot straps and authoritative adults.  **Episode recorded back in March but Maria did not get around to editing until June.** THREE recently recorded episodes to be released soon, so stick around for further streaming! As always, hit us up on Instagram, Facebook, and/or email to share your insights!  

Inventing Anna is an American drama miniseries created and produced by Shonda Rhimes, inspired by the story of Anna Sorokin and the article in New York titled "How Anna Delvey Tricked New York's Party People" by Jessica Pressler. The series was released on Netflix on February 11, 2022.Julia Garner starred as Anna Sorokin, the title character. The series received mixed reviews from critics, who praised the performances (particularly Garner) but criticized the inconsistent tone. «Изобретая Анну» (англ. Inventing Anna) — американский драматический мини-сериал, созданный и спродюсированный Шондой Раймс, вдохновлённый историей Анны Сорокиной и статьёй Джессики Пресслер в New York Magazine «Как Анна Делви обманула тусовщиков Нью-Йорка». Премьера сериала состоялась 11 февраля 2022 года на платформе Netflix

For the last episode of the podcast, Stacey discusses Anna's trial with her real life defense attorney, Todd Spodek. She also meets with Matt Byrne, who wrote the series finale, and who attended Anna's trial as a representative from Shondaland and Netflix.  Anna's defense attorney, Todd Spodek weighs in on the portrayal of his complex and ever evolving relationship with Anna, and on what the case meant to him personally. Anna was a difficult client at times, but she could also be profoundly charming and sweet. Todd reflects on the side of Anna he saw that he says no one else did. No one else except perhaps his good friend Jessica Pressler (Vivian's character is based on Jessica). He talks about their friendship, his thought process behind Anna's defense, what he thinks of his portrayal by Arian Moayed, and more.  Later in the episode, Matt Byrnes takes us inside the courtroom from his perspective, and reveals how the trial impacted the show's ending. The trial was still ongoing as he and the rest of the writers were scripting the series. He gets into why they chose to make it a true story, “except for all the parts that are entirely made up,” and explains what his and Shonda's intentions were behind the most crucial moments in the series and the finale. To catch up before you listen, make sure you binge Inventing Anna the series on Netflix now.  Please rate, review, subscribe and share Inventing Anna: The Official Podcast with everyone you know.  Follow Todd @ToddSpodek on Twitter, and host Stacey Wilson Hunt @galinhollywood on Instagram and Twitter. See omnystudio.com/listener for privacy information.

Anna Delvey is the real "Fake it till you make it" deal, scamming half of the New York's elitist and making her way through her unapproachable charm and critiqing charisma. This Shondaland production is the show to binge on for a spicy tale of how the rich just want clout and exclusivity, so much so that tshe scammed this whole club with fumes of an illusion of wealth. Fame & Connections is what Anna offers in exchange for... well Chanel, Dior, Hotels and a lifestyle of a German Heiress. Well Anna may not have time for this (What's up show reference!) but you sure do, so listen to the episode and let's break down the illusion. Jessica Pressler's article on which the Netflix series is based on - https://www.thecut.com/article/how-anna-delvey-tricked-new-york.html Also available on her website - https://jessicapressler.com/maybe-she-had-so-much-money-she-just-lost-track-of-it/1207 Write to me at tinwimpod@gmail.com with your feedback or reach out to me on instagram @thisisnotwhatimeant

Actor and podcaster Katie Lowes shares her unique casting experience and who she modeled the Rachel DeLoache Williams character off of. Katie tells behind the scenes stories from their time filming in Morocco, and the moment she believes everything changed between Rachel and Anna… it's probably not what you'd expect. Stacey and Katie also discuss what it would be like owing tens of thousands of dollars, an experience with which Katie IRL is not entirely unfamiliar.  Katie has been with Shondaland for years, most notably in the role of Quinn Perkins on Scandal. She gives a glimpse inside the legendary storymaking machine and offers some insights into what makes up the Shondaland special sauce, along with her own takeaways from Inventing Anna. To catch up before you listen, make sure you binge Inventing Anna the series on Netflix now.  Please rate, review, subscribe and share Inventing Anna: The Official Podcast with everyone you know.  Follow host Stacey Wilson Hunt @galinhollywood on Instagram and Twitter. See omnystudio.com/listener for privacy information.

In this episode Marc and Kristina welcome return guests Joann and Kelly who joined them on episodes 70 and 71 talking about the Tinder Swindler. The four co-hosts discuss Inventing Anna, the rise of Scam Culture, who did it worse, Anna or Simon, and our thoughts on everyday "scams". We appreciate you coming to listen to us each week and if you wish for more content from Marc and Kristina, please follow us on our patreon genXtemporaneous: after dark. patreon.com/genxtemporaneous Sources Inventing Anna an American drama streaming television miniseries created and produced by Shonda Rhimes, inspired by the story of Anna Sorokin and the article in New York titled "How Anna Delvey Tricked New York's Party People" by Jessica Pressler. The series was released on Netflix on February 11, 2022. https://www.youtube.com/watch?v=Sqpe8La4nkk&t=319s --- Support this podcast: https://anchor.fm/marc-snediker/support

This week Heather and Jessie follow up with some new facts and updates they learned about Anna Delvey. They also talk about what parts of the show Inventing Anna they learned to be real and which they learned were fabricated and as usual, they share their thoughts on the whole thing.Articles referenced for this episode; https://www.buzzfeed.com/madisonmcgee/inventing-anna-fact-or-fictionhttps://www.deseret.com/2022/3/29/23000268/inventing-anna-subject-anna-delvey-sorokin-where-is-she-now-where-is-her-art-showhttps://www.timesunion.com/hudsonvalley/news/article/Anna-Sorokin-Delvey-deportation-17037017.php#:~:text=The%20con%20artist%20%E2%80%94%20and%20dabbling,County%20Correctional%20Facility%20for%20now&text=Anna%20Sorokin%2C%20better%20known%20as,courtroom%20during%20her%202019%20trial.https://www.nytimes.com/2022/02/12/arts/television/inventing-anna-true-story.htmlhttps://screenrant.com/inventing-anna-facts-left-out/https://www.nbcnews.com/news/us-news/anna-sorokin-sues-ice-claims-got-covid-jailers-refused-give-booster-sh-rcna18591Email us at thegoethegirls@gmail.com or contact us on Facebook, Twitter, or Instagram.Facebook - https://www.facebook.com/thegoethegirls/Twitter - https://twitter.com/GirlsGoetheInstagram - https://www.instagram.com/p/CJpT9-pBCja/?igshid=1rmjkwidat5tiDon't forget to hop over to Apple Podcasts to rate and review our podcast.https://podcasts.apple.com/us/podcast/the-goethe-girls/id1548890458

This week Stacey talks fashion, character arcs, and process with critically acclaimed costume designer, Lyn Paolo.  Much of Anna's mystique comes from her ability to shapeshift, an ability intimately tied to her apparel. Lyn was in charge of recreating all of Anna's many outfits for the screen. From baby-doll dress to business-chic to trial style, Lyn traces the evolution of Anna's looks, and explains the unique challenges behind recreating the appearance of a modern day fashionista who Lyn calls a “chameleon.”  Anna isn't the only character whose story is reflected in what they wear. The people who get close to Anna in the series are affected by her elevated taste as well. Stacey and Lyn discuss the interaction between character arcs and fashion for Vivian, Rachel, and Alan Reed.  To catch up before you listen, make sure you binge Inventing Anna the series on Netflix now.  Please rate, review, subscribe and share Inventing Anna: The Official Podcast with everyone you know.  Follow Lyn @lynpaolo and host Stacey Wilson Hunt @galinhollywood on Instagram and Twitter. See omnystudio.com/listener for privacy information.

In this episode, the girls finally cover the Netflix series, Inventing Anna. The show is based on a true story about Anna Delvey (aka: Anna Sorokin), a young girl who scammed many of New York's elite and even a few banks and hotels. Join us as we share our thoughts and what facts we know about this wild story.Email us at thegoethegirls@gmail.com or contact us on Facebook, Twitter, or Instagram.Facebook - https://www.facebook.com/thegoethegirls/Twitter - https://twitter.com/GirlsGoetheInstagram - https://www.instagram.com/p/CJpT9-pBCja/?igshid=1rmjkwidat5tiDon't forget to hop over to Apple Podcasts to rate and review our podcast.https://podcasts.apple.com/us/podcast/the-goethe-girls/id1548890458

Jessica Pressler contou a história dela em 2018, em fevereiro deste ano a Netflix trouxe a sua versão, e agora é a nossa vez. No episódio de hoje, as Chicas falam dela: Anna Sorokin, a golpista que inspirou a produção da Netflix, “Inventando Anna”. E pra dar um spoiler, teve crítica, teve Saroca soltando o verbo e muito debate sobre o jornalismo e a construção da série!

Stacey hangs out in Scriberia with Anna Deveare Smith (Maud), Jeff Perry (Lou), and Terry Kinney (Barry).  These three legends of the theater world share about their experience working together on screen for the first time, an experience Anna compares to a jazz trio improvising. They certainly have amazing chemistry and have been warmly received by fans, many of whom claim Scriberia as their favorite part of the show. We'll delve deep into how they constructed their characters, key Scriberia moments from the show, the importance of journalism and the written word, and their feelings about Anna Delvey and the impact of the series.  To catch up before you listen, make sure you binge Inventing Anna the series on Netflix now.  Please rate, review, subscribe and share Inventing Anna: The Official Podcast with everyone you know.  Follow host Stacey Wilson Hunt @galinhollywood on Instagram and Twitter. See omnystudio.com/listener for privacy information.

First Draft Episode #352: Elissa Sussman Elissa Sussman is the author of adult romance Funny You Should Ask, and YA novels Drawn That Way, Burn, and Stray.  This episode is brought to you by Revision Season, the seven-week virtual master class in novel revision led by award-winning author Elana K. Arnold. The Spring 2022 course will run from May 1 to June 23 and enrollment is open now! Learn more at ElanaKArnold.com. Links to Topics Mentioned In This Episode: Elissa's previous interviews on First Draft here and here (with illustrator Arielle Jovellanos) Kate Spencer is the co-host of the award-winning podcast Forever35, and author of the memoir The Dead Moms Club. She joins to talk about her first novel, In a New York Minute. Jennifer E. Smith, author of YA novels The Statistical Probability of Love at First Sight, Hello, Goodbye, and Everything in Between and more. She's here to talk about her first picture book, Creature of Habit (with illustrator Leo Espinosa), and her first adult novel, The Unsinkable Greta James. “Chris Evans: American Marvel,” by Edith Zimmerman for GQ “Tom Hiddleston on Taylor Swift, Heartbreak, and Great Bolognese,” by Taffy Brodesser-Akner for GQ “The Full Tatum,” by Jessica Pressler for GQ Thanks for Listening!

This week’s Nose will be able to tell this story at a conference wearing flip-flops. The Dropout is an eight-part Hulu Original limited series that tells the story of Elizabeth Holmes and Theranos. It’s based on the ABC News podcast and stars Amanda Seyfried. And Inventing Anna is a nine-part Netflix Original limited series created by Shonda Rhimes that tells the story of Anna Sorokin. It’s inspired by Jessica Pressler’s New York magazine story “Maybe She Had So Much Money She Just Lost Track of It,” and it stars Anna Chlumsky and Julia Garner. Some other stuff that happened this week, give or take: Gilbert Gottfried Dies: Beloved Comedian and Voice Icon Was 67 The passing of the actor best known for his voice talents and stand-up comic gifts was announced Tuesday by his family. A secret plan, a bombshell lawsuit, and a soccer match: Inside Tom Brady’s un-retirement Women are now TAPING their foreheads for a ‘wrinkle-free’ complexion in a bizarre new TikTok trend — so does it actually work? How swearing became a weapon of resistance for Ukrainians Their enthusiastic use of bad language contrasts with Putin’s linguistic prissiness — and shows that Russia doesn’t own Russian The “Pity Me!” Personal Essay A recent trend in writing brings us a whole lot of dramatics and zero perspective The Kids In The Hall Trailer: The Sketch Comedy Revival Arrives In May Sure Elon Musk Might Buy Twitter Oh why not. Will Elon Musk Go Full Future-of-Civilization on Twitter? Of all the things Musk says are good for humanity, this one is not like the others. GUESTS: Taneisha Duggan: Associate producer at Octopus Theatricals Mercy Quaye: Founder and principal consultant for The Narrative Project Bill Yousman: Professor of Media Studies at Sacred Heart University The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Google Podcasts, Stitcher, or wherever you get your podcasts. Subscribe and never miss an episode! Join the conversation on Facebook and Twitter. Colin McEnroe and Cat Pastor contributed to this show. Our programming is made possible thanks to listeners like you. Please consider supporting this show and Connecticut Public with a donation today by visiting ctpublic.org/donate.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Anna's former trainer and life coach Kacy Duke divulges what was really behind her hesitation to be in Jessica Pressler's article, which episode was hardest to watch, and what her entanglement with Anna inspired in her own work as a life coach. She gives the scoop on what the Morocco trip and Anna's intervention were really like and how her lived experience compares to the show. Expect lots of laughs as Kacy lives up to her “effervescent” reputation (according to Laverne Cox) and delivers some delightfully on-brand inspirational mantras.  To catch up before you listen, make sure you binge Inventing Anna the series on Netflix now.  Please rate, review, subscribe and share Inventing Anna: The Official Podcast with everyone you know.  Follow Kacy Duke @KacyDuke and host Stacey Wilson Hunt @galinhollywood on Instagram and Twitter. See omnystudio.com/listener for privacy information.

On this week's episode, Laverne shares how she stepped into the (tennis) shoes of Anna Delvey's trainer and life coach, Kacy Duke. Laverne has all kinds of fun stories to tell about how she prepared for the role, like how she had to digitize Kacy's old fitness workout VHS tapes, and her four hour lunch with Kacy in New York. During that lunch, Kacy told Laverne her entire life story and Laverne found out that they actually have a surprising amount in common, primarily that they are both bad b*****s!! But also that they both have a strong connection to something larger than themselves.   Stacey and Laverne dig into key Kacy-moments from the show and explore Kacy's relationship with Anna, Rachel, and Neff. Centered around the series, Laverne explores themes of feminism and solidarity among women. She reflects on Kacy's life and shares how this role has changed her.  To catch up before you listen, make sure you binge Inventing Anna the series on Netflix now.  Please rate, review, subscribe and share Inventing Anna: The Official Podcast with everyone you know.  Follow Laverne Cox @lavernecox and host Stacey Wilson Hunt @galinhollywood on Instagram and Twitter. See omnystudio.com/listener for privacy information.

Heute beschäftige ich mich mit zwei Netflix-Formaten, die für ordentlich Diskussionsstoff im Netz gesorgt haben. Ich habe mir so meine Gedanken dazu gemacht, warum wir dazu neigen, Hochstapler zu idealisieren und Opfer zu beschuldigen. Welchen Nutzen haben diese Formate eigentlich abgesehen vom Entertainment-Faktor? Liefern sie einen wichtigen Beitrag zur Aufklärung und versauen den Betrügern ihre Masche? Oder sorgen sie vielleicht eher für eine neue Karriere??? // Kapitel // (00:01:27) Sind Betrüger und Hochstapler die neuen Helden? (00:04:07) Zusammenfassung: Simon Hayut, der Tinder-Schwindler (00:05:42) Zusammenfassung: Anna Sorokin (00:07:33) Gemeinsamkeiten der beiden Fälle & die Netflix-Formate im Vergleich (00:12:53) Wie gehen beide Formate mit den Opfern um? (00:21:37) Entertainment oder Aufklärung? (00:24:28) Neue Karriere dank Netflix? (00:30:04) Fazit // Quellen // Tinder-Schwindler von seiner Fake-Familie verklagt! - NEWSZONE (dasding.de) Hört auf, die „Tinder-Schwindler“-Opfer zu beschuldigen (refinery29.com) „Tinder-Schwindler“ plant jetzt eigene Dating-Show – und einen Podcast - FOCUS Online Der Artikel von Jessica Pressler mit dem alles begann: How Anna Delvey Tricked New York's Party People (thecut.com) "Inventing Anna": Sorokin-Opfer übt scharfe Kritik an Netflix-Serie (watson.de) How The Son of Sam Law Affects Anna Sorokin AKA Anna Delvey | True Crime Buzz (oxygen.com) Inventing Anna, Framing Rachel: Why Does The Netflix Hit Turn Its Victim Into A Joke? | British Vogue Anna Sorokin verklagt US-Behörde wegen Covid-Infektion - DER SPIEGEL Inventing Anna: What's True and What's Totally Made Up? | Den of Geek // Die Doku // Der Tinder-Schwindler, 2022. Stream: Der Tinder-Schwindler | Netflix – offizielle Webseite // Die Serie // Inventing Anna, 2022. Stream: Inventing Anna | Netflix – offizielle Webseite // Folgt mir auf Instagram // https://www.instagram.com/mord.ist.unser.hobby/ // E-Mail // mordistunserhobby@web.de GEMAfreie Musik von https://audiohub.de

Book Vs. Movie: "Hustlers"The 2015 New York magazine article Vs. the 2019 Jennifer Lopez FilmThe Margos decided to go back to the magazine mill to find a racy true story from writer Jessica Pressler about a group of Scores strippers who drugged and bilked their clients of thousands of dollars. The Hustlers at Scores came out in New York Magazine in December 2015 and became so notorious, Pressler was nominated for a National Magazine Award and the rights to the story were sold to Will Farrell's production company. The original article talks about the world of Scores, the treatment of women who work there, the abuse by customers who work on Wall Street, and how they were able to steal so much money for a long period of time without getting caught. The movie, Hustlers, was treated as an independent film with a small budget and a 29-day shoot in New York City starring Jennifer Lopez and lead hustler Ramona, Constance Wu as newbie Destiny, and Julia Stiles as “Elizabeth, the journalist.” Starting with its premiere at the Toronto Film Festical in September 2019 it was a (mostly) critical hit and made $157 million worldwide at the box office. Lopex does her own dancing and stunts and she has never been more beautiful. (Many people were bummed when she did not receive an Oscar nomination for her fur-draped performance.) The soundtrack features some amazing women artists including Fiona Apple, Britney Spears, Janet Jackson, and Lorde. Does it glamorize stealing? (Does anyone blame movies with men as thieves and villains harshly?) Pressler would go on to further fame with her next article about NYC con artist Anna Sorokin which was turned into a Shonda Rhimes production on Netflix--Inventing Anna. (Anna Chlumsky plays her in that adaptation!) So, between the original story and the 2019 film-which did we prefer? In this ep the Margos discuss:Writer Jessica Pressler and her magazine careerScores in NYC The differences between the real-life characters and the filmThe cast includes Jennifer Lopez (Ramona,) Constance Wu (Destiny,) Keke Palmer (Mercedes,) Lili Reinhart (Annabelle,) Lizzo (Liz,) Cardi B (Diamond,) Julia Stiles (Elizabeth the journalist) Mercedes Ruehl (Mama,) Frank Whaley (Reese,) and Usher (as himself.) Clips used:Ramona advises Destiny on pole dancingHustlers trailerRomona and Destiny in a coatDestiny and Ramona reuniteUSHER!Ramona rationalizes their schemeMusic by Lorde (arrest scene)Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

The Sad Girls get into it with Hustlers (2019) starring Jennifer Lopez and Constance Wu and based on the true story as reported by the one and only Jessica Pressler in 2015. Bethany and Mary discuss myth-making the Sad Girl to Girl Boss arc, Sad Girl origin stories in the Joker, Wuthering Heights, and Phantom of the Opera, and finding purpose in a postmodern world.

Book Vs. Movie: "Hustlers"The 2015 New York magazine article Vs. the 2019 Jennifer Lopez FilmThe Margos decided to go back to the magazine mill to find a racy true story from writer Jessica Pressler about a group of Scores strippers who drugged and bilked their clients of thousands of dollars. The Hustlers at Scores came out in New York Magazine in December 2015 and became so notorious, Pressler was nominated for a National Magazine Award and the rights to the story were sold to Will Farrell's production company. The original article talks about the world of Scores, the treatment of women who work there, the abuse by customers who work on Wall Street, and how they were able to steal so much money for a long period of time without getting caught. The movie, Hustlers, was treated as an independent film with a small budget and a 29-day shoot in New York City starring Jennifer Lopez and lead hustler Ramona, Constance Wu as newbie Destiny, and Julia Stiles as “Elizabeth, the journalist.” Starting with its premiere at the Toronto Film Festical in September 2019 it was a (mostly) critical hit and made $157 million worldwide at the box office. Lopex does her own dancing and stunts and she has never been more beautiful. (Many people were bummed when she did not receive an Oscar nomination for her fur-draped performance.) The soundtrack features some amazing women artists including Fiona Apple, Britney Spears, Janet Jackson, and Lorde. Does it glamorize stealing? (Does anyone blame movies with men as thieves and villains harshly?) Pressler would go on to further fame with her next article about NYC con artist Anna Sorokin which was turned into a Shonda Rhimes production on Netflix--Inventing Anna. (Anna Chlumsky plays her in that adaptation!) So, between the original story and the 2019 film-which did we prefer? In this ep the Margos discuss:Writer Jessica Pressler and her magazine careerScores in NYC The differences between the real-life characters and the filmThe cast includes Jennifer Lopez (Ramona,) Constance Wu (Destiny,) Keke Palmer (Mercedes,) Lili Reinhart (Annabelle,) Lizzo (Liz,) Cardi B (Diamond,) Julia Stiles (Elizabeth the journalist) Mercedes Ruehl (Mama,) Frank Whaley (Reese,) and Usher (as himself.) Clips used:Ramona advises Destiny on pole dancingHustlers trailerRomona and Destiny in a coatDestiny and Ramona reuniteUSHER!Ramona rationalizes their schemeMusic by Lorde (arrest scene)Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

This episode features a conversation with the real Neff Davis, the hotel concierge who befriended Anna Delvey.   Neff was loyal to Anna throughout the turmoil of her arrest and trial, going so far as to create an Instagram account for Anna's “trial style.” In this interview, she shares what her thought process was behind creating that account, what it's been like being a part of the Shondaland production, and so much more.  Neff and Stacey discuss Neff's experiences with the fake heiress by reflecting on specific scenes from the show. Neff is still in touch with Anna and she sets the record straight about the nature of their friendship. Finally, Neff shares about her own aspirations as an aspiring filmmaker and where her life is headed now.  To catch up before you listen, make sure you binge Inventing Anna the series on Netflix now. Please rate, review, subscribe and share Inventing Anna: The Official Podcast with everyone you know.  Follow host Stacey Wilson Hunt @galinhollywood on Instagram and Twitter. See omnystudio.com/listener for privacy information.

We're butting into our break to bring you a slightly different episode: a discussion about Netflix's Inventing Anna! If you haven't listened to our previous episode about Anna Delvey/Anna Sorokin, check out https://player.captivate.fm/episode/eb0d7873-6968-4ff0-bc21-22b7d5cb0f10 (Episode 76: Fake Heiress), and be sure to let us know what you think about Inventing Anna! FURTHER READING: https://www.thecut.com/article/how-anna-delvey-tricked-new-york.html (Jessica Pressler's original article) https://www.vanityfair.com/news/2018/04/my-misadventure-with-the-magician-of-manhattan (Rachel Deloache Williams' original article) https://www.buzzfeed.com/uk/tag/inventing-anna (Inventing Anna (Buzzfeed)) ----------------------------------------------- https://square-mile-of-murder.captivate.fm/listen (Like the show? Give us a rating and review!) Join our Patreon: https://patreon.com/squaremileofmurder (Patreon) Check out our merch store: https://squaremileofmurder.store/ (Square Mile of Murder Merch) Get our newsletter: https://squaremileofmurder.com/newsletter (Newsletter) Send us an email: info@squaremileofmurder.com Follow us on social media: https://www.facebook.com/pg/squaremilepod/ (Facebook) https://www.instagram.com/squaremileofmurder/ (Instagram) https://twitter.com/squaremilepod (Twitter) https://squaremileofmurder.com/ (Squaremileofmurder.com) Music provided by https://www.youtube.com/audiolibrary?feature=blog (YouTube Audio Library) and https://artlist.io/Taylor-2050697 (Artlist.io)

Creator Shonda Rhimes and journalist Jessica Pressler chat about their collaboration and deep investment in Anna's story. Jessica shares her perspective on Shonda's adaptation and the depiction of the fictionalized version of herself as “Vivian Kent.” They both recount memorable moments of discovery and how each connects to key story points in the show. To catch up before you listen, make sure you binge Inventing Anna the series on Netflix now.  Please rate, review, subscribe and share Inventing Anna: The Official Podcast with everyone you know.  Check out Jessica's new book, Bad Influence (money, lies, power, and the world that created Anna Delvey), out now.  Follow host Stacey Wilson Hunt @galinhollywood on Instagram and Twitter. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com See omnystudio.com/listener for privacy information.

The Mandys turn to the ultimate VIP in their effort to not look poa with the latest Netflix hit from Shonda Rhimes's Shondaland, Inventing Anna. Here's the original story from New York Magazine by Jessica Pressler that started all this Anna Delvey/Sorokin stuff. "How Anna Delvey Tricked New York's Party People". You should read it. Then, check this one out about how "Netflix paid fake heiress Anna Sorokin $320,000 for its show about her, and she's already used the money to pay off her victims Along the way, the Mandys review Mandy's latest performance of Miscast, then they celebrate the woman-kissing efforts displayed on Family Feud by America's Favorite Uncle, Richard Dawson. Don't forget! You can support the ongoing production of this show by visiting the Mandcave and becoming a Fandy. Learn more at TruStory.FM. And if you'd like to sport the logo on your bod, head over to our Teepublic store (no 'k') and get shopping!

“Inventing Anna”的故事是Netflix根据《纽约》杂志著名记者Jessica Pressler发表的长篇报道而改变的连续剧，讲述了一位 20 多岁的女孩Anna Delvey, 假扮名媛，以富有的德国女继承人的身份混入纽约上流社会，骗取钱财的故事。这个剧上映以后，引起了很大的争议。在这一集的“柠檬变成柠檬水”Podcast节目里，北美品牌专家俞骅和Poy Zhong一起从PR的角度分析了Anna的故事，欢迎大家收听。收听方式:请您在Apple Podcasts, 小宇宙APP, Spotify, iHeart Radio, Google Podcasts, Amazon Music等，搜寻”柠檬变成柠檬水“。联系方式:微信：reelstone 网站：www.turnlemonintolemonade.com领英：https://www.linkedin.com/in/hua-yu-ca/

Creator and Showrunner Shonda Rhimes shares her approach and process adapting a true story into a limited series in real time. The powerhouse executive producer dives into how she constructed Anna Sorokin's (AKA Anna Delvey's) character, what inspired her decision to anchor the show from a journalist's perspective, and why scenes with Vivian's band of misfits in Scriberia were some of her favorites. Later in the episode, Shonda chats with her closest confidante in creating the series, Jessica Pressler. Jessica wrote the 2018 New York Magazine story that inspired Inventing Anna. She tells Shonda why Anna's story felt unique and what it was like to meet the fake German heiress for the first time.  To catch up before you listen, make sure you binge Inventing Anna the series on Netflix now.  Please rate, review, subscribe and share Inventing Anna: The Official Podcast with everyone you know.  Follow host Stacey Wilson Hunt @galinhollywood on Instagram and Twitter. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com See omnystudio.com/listener for privacy information.

Welcome to another episode of OTTplay Now You Know, one podcast that talks about lesser-known trivia, facts about your favorite shows and films. I'm your host Nikhil Created by Shonda Rhimes, Inventing Anna is a Netflix drama series based on the fraudster, Anna Sorokin, who swindled money from banks and investors posing as a wealthy heiress. The show stars Julia Garner and Anna Chlumsky in lead roles and is currently one of the most popular shows on Netflix.  Lucy Mangan of The Guardian stated in her review of the series, quote-unquote, “It may have more heft than it initially appears, but it is played essentially as a modern soap opera – and God, is it fun”. Let's dig into some trivia now. Star of the TV series Ozark, Julia Garner, had an unconventional auditioning process for Inventing Anna. She just had a meeting with creator Shonda Rhimes instead of an actual audition. According to Julia Garner, who plays the lead as Anna ‘Delvey' Sorokin, she found the real Anna very likeable and charming when Garner visited her in prison to research the character for the series. To perfect Anna Delvey's accent, Julia Garner spent time learning the German and Russian accents and mixed them together. She also added a few elements of the American accent as well because Anna Delvey lived in New York for several years. The actors who played the roles of the Scriberia journalist group, comprising of Jeff Perry, Anna Deavere Smith, Terry Kinney, and Anna Chlumsky, used their spare time in between scenes to play various theatre games.The Scriberia journalist group was the centre of comedic relief through the series, and actor Anna Chlumsky said that it was endearing that the series focused on her character Vivian Kent's love for journalism. The real name of journalist Vivian Kent, who broke the story about Anna Sorokin, the character played by Anna Chlumsky, is Jessica Pressler. Pressler is also portrayed in the 2019 film Hustlers starring Jennifer Lopez and Constance Wu. In the film, her character was renamed Elizabeth for the film, and she is played by Julia Stiles, and the film is based on her article. If you haven't watched this series yet then do so streaming exclusively on Netflix.Well, that's OTTplay Now You Know for today's podcast I shall be back again with a brand new episode pretty soon until then it's your host Nikhil signing out.Aaj kya dekhoge OTTplay se poocho 

Hi everyone! Mogab was sick this week, and so unfortunately we do not have a new episode for you all.  We did not want to leave you hanging, though, so we decided it was a great time to re-release our episode on Anna Delvey! This week, Kristin tells Mogab the story of Anna Delvy - one of the greatest con artists of our generation, which is saying a lot since Millennials can claim both Billy McFarland from Fyre Fest and Elizabeth Holmes from Theranos. Everyone loves a good scam story. And this is definitely a good scam story. So good, in fact, that Shonda Rhimes is making a show with Netflix about Anna Delvy: the German heiress trying to open her Center for Kids Who Can't Read Good (or something like that...). She lives in New York's fanciest hotels, is at all the best parties, and loves to tip big and take lavish trips with her friends. But weird things keep happening: her credit cards keep getting declined, or she's having trouble tapping into her trust fund, so her friends start covering for her. Only, she's not a German heiress. And she doesn't actually have any money. So how did she manage to con all her friends Into funding this lifestyle she wanted so badly? I want to point people towards the National Center for Victims of Crime, who have a Financial Crime Resource Center. They wanted to provide a resource for victim-centered services in the area of financial fraud and so they produce a guide calledTaking Action: An Advocate's Guide to Assisting Victims of Financial FraudThis guide is designed to provide advocates with practical victim-centered resources to help navigate the various options available for reporting crimes, protecting other assets and preventing re-victimization. It also offers advice on how to assist with psychological and – where possible – financial recovery.Sources: “How Anna Delvy Tricked New York” by Jessica Pressler, printed in New York Magazine“My Misadventures with the Magician of Manhattan” by Rachel Deloache Williams, printed in Vanity Fair“Who Is Anna Sorokin, a.k.a. Anna Delvey, the Alleged Soho Grifter?” by EJ Dickson for Rolling Stone Magazine“Anna Sorokin Was Just Sentenced for Grand Larceny and Theft. Here's What's Next for the ‘Soho Grifter' by Mahita Gajanan“‘Anna Delvey' Might Not Profit From Netflix Series on Her Life as a Fake Heiress” by Sharon Otterman of the New York Times. “Anna Delvey Didn't Look Rich—Which Is Exactly Why She Seemed Like She Was” by Rachel Tashjian printed in GarageAnna Sorokin entry on WikipediaSupport the show (https://www.patreon.com/truecrimecreepers)

Nesta semana, Sandra Trabucco Valenzuela comenta a minissérie Inventing Anna – Inventanto Anna, criada e produzida por Shonda Rhimes. Baseada no artigo publicado na Revista New York Magazine, "How Anna Delvey Tricked New York's Party People", de Jessica Pressler, a minissérie conta a história real de Anna Delvey, uma suposta milionária alemã, que enganou ricos e famosos da sociedade novaiorquina. O drama foi adaptado para a minissérie, que estreou em 11 de fevereiro de 2022. No elenco, estão Julia Garner, Anna Chlumsky, Katie Lowes, Laverne Cox e Alexis Floyd, entre outros. . O programa Mega Séries é apresentado por Sandra Trabucco Valenzuela, todas as terças, às 15h, com reapresentações as quartas, às 10h, e aos sábados, às 16h. na Rádio Mega Brasil Online. E também é disponibilizado, simultaneamente com a exibição de estreia em imagens, na TV Mega Brasil.

So, yeah, whatever did happen to Richard Gere's career? The Golden Globe-winning actor was once everywhere on the big screen, but has been largely MIA for the last few years. Could it have something to do with his ongoing vocal support of Tibetan independence, a stance that has gotten him banned from China? Given China's importance in Hollywood's big picture, Wall Street Journal journalist Erich Schwartzel writes in his fascinating new book Red Carpet: Hollywood, China, and the Global Battle for Supremacy, Gere had become a liability for studio heads to hire. As China now boasts the world's largest moviegoing audience – coinciding with the decline of moviegoing in the United States – and getting American movies into Chinese theaters requires approval from strict Chinese government censors, every single frame of a movie is examined before the censors sign off. Mission: Impossible III editors had to excise a scene depicting dirty laundry drying in Shanghai, because Chinese censors felt it didn't portray the city as modern. In 2012's Skyfall, a scene with James Bond killing a Chinese security guard was axed, because Chinese censors felt it suggested Chinese men were weak. With such scrutinizing the norm, it's clear why casting Gere would be a non-starter for any major Hollywood release, Schwartzel writes in his exhaustively reported, entertaining, and informative read on a complicated subject that is only going to continue to expand its impact on American pop culture. Read more:  RED CARPET: Hollywood, China, and the Global Battle for Supremacy Pop Literacy Recommends: “The Untold Story of the World's Most Infamous Sex Tape” by Amanda Chicago Lewis:   “Maybe She Had So Much Money She Just Lost Track of It” by Jessica Pressler

In Dec 2015, New York magazine's contributing editor Jessica Pressler wrote an award-winning story "The Hustlers at Scores." This was after interviewing Roselyn Keo ‘Rosie,' one of the two ringleaders of the New York strip club scam. http://realtalkmcsf.com/30-roselyn-keo-hustlers-scheme/ ‎

Premiering March 2nd, this companion podcast delves deeper into the making of the hit Shondaland series Inventing Anna on Netflix.Hosted by Stacey Wilson Hunt, each episode features conversations with guests including creator Shonda Rhimes, journalist Jessica Pressler, cast, and the real-life people who inspired this iconic saga.  To catch up before you listen, make sure you binge Inventing Anna the series on Netflix now! Learn more about your ad-choices at https://www.iheartpodcastnetwork.com See omnystudio.com/listener for privacy information.

This is an episode about control. We've tallied up the votes for our Listeners' Choice episode and in a landslide victory, 2019′s Hustlers emerged quite victorious. One of our favorite films of 2019, the film (based on Jessica Pressler's expose in The Cut) stars Constance Wu and Jennifer Lopez as two exotic dancers who team up to … Continue reading "175 – Hustlers"

Alison Eakle is the EVP and Head of Creative Development at Shondaland. We discuss how imagining movie posters makes her a better creative exec, being a co-EP on Netflix's #1 show Bridgerton, why she's racked up so many recent promotions, and being part of new Hollywood's most groundbreaking streamer partnerships. Subscribe to our newsletter. We explore the intersection of media, technology, and commerce: sign-up linkLearn more about our market research and executive advisory: RockWater websiteFollow The Come Up on Twitter: @TCUpodEmail us: tcupod@wearerockwater.com---EPISODE TRANSCRIPT: Chris Erwin:Hi, I'm Chris Erwin. Welcome to The Come Up, a podcast that interviews entrepreneurs and leaders. Alison Eakle:I'll never forget there was... The current assistant had put out a job posting. And how this works in Hollywood is you'll see jobs on things called tracking boards or emailed chains, but they always say, "No phone calls, please. Just email your resume." Right? And I was like, "I'm going to call him." And I did. And I just called him and I was like, "Look, I did not come up through the agency feed. I don't have the required experience, but I swear to God the desk I'm on is harder than any agency desk you can imagine. And I'll tell you why if you meet me for like 15 minutes." So we did. We literally met in the middle of the lot at Paramount. He was like, "You know what? I think my boss would like you." Chris Erwin:This week's episode features Alison Eakle, the EVP and Head of Creative Development at Shondaland. Alison grew up on the Jersey shore, actually my same hometown. She loved the arts since an early age, traveling to New York City for auditions as a young teenager, but she was planning to give it all up at Georgetown for career in politics until she had a breakthrough moment in her screenwriting class. Alison went on to get her MFA at UT Austin and then had roles in some of the most exciting production houses in Hollywood, from Paramount Vantage to Columbia Pictures and working for Ellen DeGeneres. Then a serendipitous moment took her to Shondaland where her career has been on fire. Some highlights of our chat include how imagining movie posters makes her a better creative exec, being a co EP and Netflix is number one show bridging that where she's racked up so many recent promotions and being part of new Hollywood's most groundbreaking streamer partnerships. All right, let's get into it. Alison, thanks for being on the podcast. Alison Eakle:Thanks for having me, Chris Erwin Chris Erwin:Very well, Alison Eakle. We got some history between us. Alison Eakle:That's right. Chris Erwin:So let's go back a bit. Where did you grow up? What was your household like? Alison Eakle:So I grew up in Rumson, New Jersey, which is a bit of a towny suburb, as they say, in the Northern part of the Jersey shore obviously. Well, I grew up the only child of Wall Street parents. Parents who had met kind of working at Wall Street in the '70s at a time that I've heard many incredible stories about. And it's interesting because when I was eight, there was a big stock market crash. And my dad was all for Morgan Stanley and my mom inspired him to start their own company, a financial investment advisory firm called Eakle and Associates. And so it's interesting I haven't really thought about that a lot, but I did watch my dad face what is one of my worst fears, that idea of just suddenly everything kind of pulled out from underneath you and I watched them together kind of build something new. Chris Erwin:Did your parents both work for the company? Alison Eakle:Oh yeah. My mom was VP, he was president and basically it was just a three person operation. And my dad, he had clients that he would manage their portfolios, but he put out something called the Eakle Report every week and would have to find really creative ways to talk about the stock market, which Godspeed to him because I wouldn't touch it with a 10 foot pole. I have no idea how to talk about the stock market. My mom ran all the logistics, taught herself computers at that time and really brought her up to speed fast. And they had that company for a long time until their divorce, which I have no idea what role the company played in that, but they definitely had it for, it was over 10 years, really successful. So that's kind of like what I grew up in. And I was very privileged. I came from a place of a lot of privilege where I went to private school. Chris Erwin:RCDS? Alison Eakle:RCDS, Rumson Country Day School, big shout outs, still very loyal to that school, that little short brown stone church on the corner. Chris Erwin:Are you still involved with the RCDS community? Like I have the friends from school I'm still in touch with, but I'm not giving back or anything like that. Well, maybe I should rethink it. Alison Eakle:No, I am not as involved as I want to be. I did have like a strange fantasy that one summer I'd go back or one year I'd go back to my 20s and substitute teach there. I don't know where that came from but- Chris Erwin:On the theatrical program? Alison Eakle:Yeah, why not? I'll do so. I love a school play. I love that. I love something roughly adapted from children's literature into strange costumes and children sputtering around on a stage, but it was just such a surreal experience because it was so safe, so incredible. I feel like that experience really formed me even from kindergarten on. And it was across the street from Bruce Springsteen's house. So what a quintessential New Jersey experience really? Chris Erwin:Yeah. I remember walking down Bruce's driveway on Halloween. He always would give out like the supersize snicker bars. Alison Eakle:Yeah. And [inaudible 00:04:44]. Chris Erwin:It was always like, we got to go to Bruce's house then we'd go to Bon Jovi's house. That was like such a fun thing. Alison Eakle:Yeah. That's very dead on. I grew up there riding bikes to the beach, just walking around the neighborhood. They're a very arcade fire of the suburbs kind of existence, but with the modicum of real safety that I so appreciate now and also again realize how lucky I was in a lot of ways. Chris Erwin:So I have to ask, your parents are to business, it's just funny to hear that. I just recorded a podcast last week with Naomi Shah, the Founder of Meet Cute, it's a new romcom podcast network. And her parents started a technology business based out of Portland, Oregon. And so it's just funny that now like a week later I'm interviewing you and your parents started a business together as well. There is an entrepreneurship vein in your family. So was there a theme though about your interest in the arts that came from your parents or did that come separately? Alison Eakle:That was from really my aunt and uncle. And look, my mom was one of those people who did leave her job when she had me, but continued to have that kind of type A excel at anything she put her mind to it personality. She was somebody who played the organ. We had like a Hammond organ in our living room now that I think about it. She had interest in music and musicals and all of that thing and certainly was very supportive of the arts, but wasn't necessarily kind of ensconced in it. Whereas my aunt had been an actress since the day I was born, my uncle had been an agent at Theatrical Agent in New York, but also run his own company called Cornerstone up until he died. And so for me... And they were much younger than my parents. My mom is like 12 years older than my aunt. Alison Eakle:So they were this cool young aunt and uncle really ensconced in show business. They took me to my first Broadway play Les Miserables when I was 10. I felt incredibly like I had a model to look at of like what would a life in that business look like. And I definitely was born with the bug and loved trying to get the solo in school plays or whatever it was. And eventually my parents did let me act as a kid and tried to make a go of it professionally. And I was represented at a now defunct agency called J. Michael Bloom. Chris Erwin:What age is that, Alison? Alison Eakle:So this is like, by the time I'm actually wrapped I'm 13. So this is like '93, which is a very awkward age to be putting yourself out there. But for whatever reason, I was really into it and loved it and had some close calls. I got to do a callback in a room with James Ivory for Jefferson in Paris, a role that eventually went to Gwyneth Paltrow, which I think the better woman won. They aged it up and gave it to her, I remember, but it was such a cool experience too for a year. My parents were very anti stage parents. They were like, "Look, you clearly have some bit of talent in this and you really want to try it. We'll let you try it. But it's going to be for a small amount of time." It was only like maybe a year and a half, two years and then you really do have to go back and focus on like high school if it doesn't click, if there's not for me. And I only went out, I didn't go out for commercials. So it was sort of- Chris Erwin:Did you take time off from school at all for this? Alison Eakle:RCDS was really lenient in the sense that if I had to leave at three o'clock for like an audition in the city or to do a reading for an off-Broadway play or whatever it was, I could be flexible, but come close as I may have, I never got the big part that would have necessitated the on-set tutor. Chris Erwin:Did you feel at an early age, a clear interest in the arts and that, hey, this is going to be my career, this is where I'm going to be? Alison Eakle:I think if you look at my life in general too, and we'll talk about this, it's so funny because that clearly was always had such a strong pull that even when I tried to divert myself to more stable or a prestigious academically kind of bent careers, like politics and things like that, somehow it would just find me again and kind of pull me back to acting, writing, performing, creating, that side of things. Chris Erwin:So I think it's good that Gwyneth got the part because you've obviously had very special trajectory at Shondaland, you are exactly where you are meant to be. Alison Eakle:That is very reassuring to hear. And I do tell myself that sometimes. And I do get to still read parts at table reads occasionally at Shondaland, which is how I scratched that itch. Chris Erwin:So you're acting in your teams, you have some representation, you're going out on auditions, I just got to throw this out there from the RCDS memories, for some reason this is so ingrained in my brain. I remember taking the bus with you I think after school and then going down, I think if I remember correctly, it was a stone driveway, a gray stone driveway. It was a circle. The school bus would go down that and we would drop you off and your house, was it a gray house or a white house? Alison Eakle:Yeah. A gray house and white trim. It doesn't exist anymore. It was raised to the ground to build some other crazy mansion, but it was an adorable 1920s house. Four fireplaces when I think about it. Good God. Chris Erwin:Wow. One of my earliest memories that is definitely imprinted in my brain and I remember specifically from you, I think you were a year above me. Alison Eakle:That's kind. I'm three years older than you. I just loved to hang out with... Chris Erwin:Yeah. So that's what I was going to say is that you befriended myself and my twin brother, John, and you're always so kind to us on the bus. So you were very interesting. You just had interesting points of views on things and we picked that up at a pretty early age. Alison Eakle was at the light in my childhood, but it didn't stop there. So after RCDS, I left that school system I think around third grade and I went into the public school system as did some of our other friends. At RFH, I think that's where we were reunited in a Spanish class. You were a senior and I was a freshman, was that Parker's class or Von Handle? Who was that? Alison Eakle:Oh, maybe it was Von Handle actually, now that I think about it, but I couldn't remember her name. I just remember she had great hair, like a really perfect... So what did happen was I took French from third grade forward. And then in high school I had done the AP and I was like, I sort of want to start another language when I might have a chance of speaking on a daily basis. And so I started Spanish as a junior, but it was hilarious to be... It was my only experience of being the lone senior in a class full of freshmen. It was such a blast and such a different perspective on things at that point in my life. I was so happy to be in it with you. And it was Adam Sachs too. Chris Erwin:It was Adam Sachs. Maybe John Waters was in there. Alison Eakle:Yeah. Waters 100%. And we had to make a video. I'll never forget this. We had to make a video project for the class. I forget who else was on my team, but there was like a surfer kid named Ryan. And we stormed at his house and I was just like, I'm 18 years old at this point just making a weird Spanish video with a bunch of freshmen in it, but it was great. I felt like I really loved that experience. Chris Erwin:Yeah. Very on theme again, a little bit older hanging out with the younger kids, we enjoyed it. There's something in the water, I think from like the Rumson Monmouth County area for Hollywood, because it's a bunch of people from the East Coast, but then Adam Sachs is running Team Coco, Conan O'Brien, you Andy Redmond running Tornante under Michael Eisner, you're at Shondaland doing a thing, Matt Warshauer another friend is a writer and- Alison Eakle:A really talented writer. Chris Erwin:Yeah. Impressive creator. And then I'm trying to do my thing at RockWater in New Media. So there's a crew of us out here together. Alison Eakle:It was probably the biggest surprise to me when I got here is how many people from growing up in New Jersey are out here, both from that experience, the experience we shared, but also somehow or another, we convinced a lot of people to leave New York when we first came out here in the mid 2000s. And we have a really... I always thought it would be kind of my film school crew that would, and there's a lot of them, the Austin Kids out here too, Austin, Texas, but tons of Jersey people. Chris Erwin:So after high school, the arts theme continues. You go to Georgetown, did you run a TV station there? Alison Eakle:Yeah. Well, it's so funny. I went there, again, trying to do like the sensible thing. I was like, I'm going to be in politics and urban development. And I had a real tracy flick then to me of like, I'm going to be the mayor of the city. And then I got into those classes and was sort of put off by the approach that the other students had to government and the idea that everybody was obviously in this kind of self aggrandized way. And I realized, oh, that's not maybe my jam. I'm not here to prove how much I know about how many congressmen are from which districts or what have you. I really wanted to affect change on a local level. Of course, part of its insane ambition. I don't think anyone decides to go into politics without being a little amped up about that and being like, I think I'm pretty great. Alison Eakle:I absolutely had that threat, but I felt so kind of outpaced by my classmates in terms of their ambition and I started to question if it was for me. And then weirdly enough, it was a sophomore class, a screenwriting class I took with a professor named John Glavin. And at that time, he had mentored Jonah Nolan who at that point had made Memento with his brother and suddenly I had, yet again, a model to look at him like, oh, somebody in a class just like this with this man as their professor broke through. Right? Obviously he has incredible talent. And that stuff can't be taught, but it was like suddenly I could at least see a path sort of. That same year, I think my sophomore year Georgetown University Television, the finest closer television channel in the land was starting on campus, and I realized, oh, that seems like fun. Alison Eakle:And my first show that I produced and sometimes hosted with Aaron Cocce and Brian Walsh, was it called G Talk Live? And I even forget all that I did. It was sort of a running gun, all hands on deck, but it's like a live call-in show, a talk show, panel show for the campus. And I'll never forget they were like, "Alison, do you want to host a very special episode?" And I said, "Of course, I do." About one of the most pressing topics out there, Dawson's Creek. So that was my big contribution, but I loved it. And I stayed with the television station all three years. And at my senior year, we sponsored like a film festival and the films were incredible. And you think back it was... I looked at a program I'd kept from maybe six years ago when I was moving and it's like, Zal Batmangli, creator of The OA along with Brit Marling, the two of them had made one of the shorts and contention and Mike Cahill and Brit Marling had also collaborated in a way that would pre-stage their collaborations on another earth. Alison Eakle:And it was kind of incredible because I look back and I see that drive. I see all of these people who actually were trying to carve out a space at a school maybe not known for people who are going to forge a path in TV and film doing so, but also it was like Mike Birbiglia and Nick Kroll, John Mulaney were all my contemporaries as well. So also seeing a real comedy scene evolve, I feel like again, very lucky and they're at the right time in terms of it was in the zeitgeists of again, getting to look at people really trying to forge that path in a way that I had not seen before. Chris Erwin:And then you felt, I think, empowered. It's like, I can do this. Like that screen writing class was a spark for you. It's like, fine, this is what I'm going to pursue. I came here for political science and different reasons, but that's now changed. Alison Eakle:Yeah. I'm so glad I decided to try it and listen. And again, at that point I'd let go of the acting thing, even though I would still occasionally act in like one act plays that friends would write or things like that. But I do think the acting informed the love of writing, which in turn, all of that feeds the work that I do now, essentially because I think as a creative executive, I do look at everything through the lens of, okay, I know what it's like to sit and stare at a blank page now with that cursor blinking and understanding kind of how do you generate something from nothing, how do you riff on ideas to try to get through a piece of writer's block, all of that. Alison Eakle:But I also approach things in terms of like, when I read a script, I do think to myself, do I want to play that role? Because I know that if I have that instinct of like, oh my God, I wish I want to say these words, I wish I could play that part, you're onto something at that point. That is a really good sign that somebody has created something worth making. Chris Erwin:Because you have an acting background, you can empathize with the words on the page and you could have a vision for how the words will manifest. Alison Eakle:It's almost like first, it's a different way that informs decision-making, right? Because in terms of creatively, the big question is like, what do you love enough that you would actually spend years of your life working on? And I think, again, that's one thing that goes, I can really appreciate when a piece of writing is going to appeal to an actor. Like in this business too, so much of it is who's going to fill this role, especially in TV so often if you're not going with an already established huge star, you need to find a person who can really become that role. Especially when there's a breakout hit and an actor has really been a part of creating that role with the writer, that follows them for the rest of their life. People always think of them in some ways as that person. Alison Eakle:So I do try to think of like, are there iconic roles in this that somebody would really dig into that would get me excited that way? And similarly, actually the writing piece of it comes into mind too, because if I read a pilot or something, but I found something worth pursuing and talking about it, if my head's already like, oh my God, I can see episodes, I know what I'd want to watch and want to see in the show, so that's the writer part of me thinking like, oh my God, if I had to pitch ideas for it, I could, that's really promising. So it's definitely stuff that that background I think does inform the work I do. Chris Erwin:Got it. As I'm listening to you, Alison, I'm hearing the passion come out from you. So I think you said you no longer act, but you really enjoy the table reads that you do with the Shondaland team. Do you think that there might be a future where you might see a script and you're inspired to be like, "You know what? I want to go do a one woman show. I'm going to join a small private troop." Is that something that either maybe you're doing now or that's like seated in your brain? Alison Eakle:It's something that I still do for friends. Like we'll still do writer's table reads together and things like that. I don't think I would rule out the idea of doing some kind of acting with friends on a project. I don't think it's going to be generated by me. I don't think I'm going to be the one to push it forward, but I think that if an opportunity presented itself, it would be really fun. And I actually love the idea of like voiceover, that idea of doing that kind of work too, because I give real actors steeped in their craft so much credit because the way you make yourself so vulnerable reading at a table read or doing a piece of voiceover where I can kind of hide behind, not be on camera and not be seen, that's more appealing to me now than leaving it all on the stage every night or really exposing myself fully on a show or a film and just emotionally, physically all of these things. I think that stuff's incredibly scary and every time I see actors go for it, I'm just standing out. Chris Erwin:Shondaland launched an audio business and maybe scripted audio is in your future. You could do some of that. You just- Alison Eakle:I'm going to ask Sandy Bailey if I can audition for some of those pieces. That's right. Chris Erwin:All right, cool. I want to flow into your early career, but so after Georgetown, you end up getting your MFA at UT Austin. So from there I think you go to New York for around six months and then you transition to LA if that's right. Tell us quickly, what was that journey from being at UT Austin, one or two key themes from that and then the beginning of your journey in Hollywood thereafter? Alison Eakle:I just was interviewed about my time at UT Austin. And I think the thing that's so crazy about it, that was a big takeaway was do not let your program define you because when I got there, it was just an MA screenwriting program. It became an MFA screenwriting program. But I think there was this kind of a mentality sometimes like we were the weird step-kids of like the film program, but also the really prestigious writing, the James Michener program that is for like novelists, poets, playwrights. So it's like a multi-disciplinary incredibly competitive workshop. Two years, they pay you. It was easy sometimes to feel a little less than, but then as time got going and I just fell in love with a couple of professors, I started like working on short films with people. I was a TA. Speaking of hanging out with younger kids and being a TA as a grad student, I can't tell you how many of my former students are also out here killing it and just absolutely running shit. Alison Eakle:And it blows my mind that I ever thought I could teach them anything like run indie film divisions of agencies. I really did start to just make my experience what I thought it could be as opposed to just be like, well, I'm just an MFA screen writing student. It was great. It was a great experience. I lived with law students instead. So that kind of exposed me to a whole different way of experiencing UT. They worked hard in the party tag, Chris, I will say that. That was my Austin experience. And I wound up working for Burnt Orange Productions, which is this company that had like a really cool experiment at hand where they were making low budget indie features like one was Elvis and Annabelle, starring a very young Blake Lively and Max Minghella. And that's the one, when I was there, they were making. Chris Erwin:So then thereafter, did you have a more specific lane of knowing where you wanted to go and what exactly you were going to do? How does that get you to, I think, was a pretty transformational role, which was at Paramount Vantage. Alison Eakle:It's so funny, but I really thought I was going to just be a screenwriter. My best friend, Ashley, who is now a show runner in her own right with her husband, she was finishing film school at Columbia. So the only reason I did that six months stint in New York was because A, growing up in Jersey and looking at New York is like the city. It just felt like I have to live in New York at some point. And so many of my good friends are there, I just want to have that experience. So I thought I might stay, that there might be a way to make it work, but New York is hard and expensive and it's even more so now an impossible place to live. But even in 2006, it's like, I'd worked Monday through Friday as like an assistant in an advertising agency and then Saturdays and Sundays, I would like go to Bronx Science and other schools in the city to teach SAT prep. Alison Eakle:So I was truly working seven days a week and still hardly getting by and I didn't even have to pay rent because I was just crashing with my friend. Her boyfriend, now husband, had moved out to LA in kind of October of '06 and we started processing and thinking about it could we really make this trip? I'm like, could I really break my mother's heart and move across the country? And eventually realized that if this is really what we wanted to do was to be screenwriters, it really did feel like we had to be in LA. And so we did it together with her two cats and her two goldfish and a Toyota Corolla. Chris Erwin:Two women, two cats, two goldfish, two Corollas. Alison Eakle:Yeah. Two of everything. One of the cats shit himself as we were crossing Arkansas. And there was a very uncomfortable gas station interaction with some locals and that cat and trying to get that cat out of the carrier of the car, but look, all worth it. The two fish died immediately when we put them in LA water, a very foreboding omen. New York was just, I knew in some way I wanted to get a chance to have an adventure with Ashley, collaborate with her potentially and we wound up moving out to LA together. Chris Erwin:Similar to you, after graduating from school in Boston, I was like, "Yeah, I got to go to New York." That's like what... You're in the tri-state area, big exciting visions. And then the fact that I can go down to the shore and see my family on like an hour train ride or the ferry that had just started to emerge. And I got stuck there for five years in finance. So you only got stuck for six months, I probably took like 10 years off my life doing finance in New York City. But you got out and so you make the move, you get to LA and then you end up at Paramount Vantage and you do a few things before that. Alison Eakle:And one really formative job. So basically I get there, I go to a temp agency my show business actors aunt had connected me with and I'm like, "Let me do a typing test. Let me show you I can use Excel." And I got a job that was temp to perm, potentially assisting a woman named Nancy Gallagher, who was an EVP of marketing at Paramount Pictures. And this woman was like close personal friends with Steven Spielberg and Joel Schumacher and Tom Cruise. Like she had done marketing campaigns for movies that had shaped my teen years, like Clueless and Titanic. Like I lost my mind when I realized really the impact she had had. She was also incredibly old-school, did not use a computer at the time. It was a kind of a wild experience. I would be there 8:00 AM to 8:00 PM. I would never leave the desk. I would take dictation. I would read her an email she got. She would dictate an answer back to me and I would type it back to the person. Chris Erwin:This is 2007? Alison Eakle:Oh yeah, don't worry about it, Chris. But she was incredible. I mean, she was an incredible talent. She just was sort of like had not kind of embraced that part of the job and was just deep in the creative. I mean, again, I got to meet so many impactful, incredible filmmakers, like Calvin Kennedy, we had four movies that we're marketing. It was a real learning curve for the almost two years I did it. And that classic, first Hollywood job, like don't screw up that phone call from Scott Rudin or whatever it is. Like there were those moments consistently. And I was scared out of my wits until I wasn't. And eventually I was just like, I would see the kids in their suits come in from Yale to take my job since I was just a temp and interview and I was like, "No, no, no, no, fuck it. I'm going to keep this job." It almost became like a challenge to myself. Alison Eakle:And I think being able to stick it out and succeed there, even though I didn't want to do marketing, and on that desk is where I realized I never have time to write and I'm never making time. And people who really want to be writers, they make time. They get up at 6:00 AM and write for two hours before their desk job. And I was not doing that. So I just realized I think I found out there was a thing called development, which is basically what I loved about writing most was workshops like working with writers, not being the writer and started to try to think about how to make that transition. Chris Erwin:Got it. Look, I hear this from a lot of people who work at the agencies like pretty early on is that it's really exciting in the beginning, but it's also painful, the work, the stress, a lot of bad bosses, it turns people out and they leave Hollywood. But when you were there, did it feel like you're just getting more excited, but you're like, but I'm not in the role that I want. Like what you just described as like, I want to get into development. So I feel good about the industry, this is hard, but the stars in my eyes, they're still real and they're not going away. Is that right? Alison Eakle:Yes. I think I am at some level, again, like a pragmatist. There's always competing parts, right? There's the creative and the pragmatist and the pragmatists was like, you have a job that pays really well in a business that doesn't, you have overtime, you have health insurance, I was just like, keep doing this. And again, I love the challenge of a professor or a boss that's incredibly difficult to impress. So I love that challenge. And I learned a ton because honestly the biggest lesson of marketing is like, don't create something you don't know how to approach an audience with. You need to know who this movie or this show is for and obviously there's always a pleasant surprise when it kind of broadens out past that, but that was really drilled and it's like, what does the poster look like? Alison Eakle:Because we would get scripts and movies that we had to market. And we would look at each other what is this about? How did you sell this movie? And I will not name names, but it was incredible to see it from that other end. And that was the boss. She was incredible in teaching me like Alison, as an assistant in Hollywood, your job is to assume no one else is doing their job correctly, which is a terrible place to live for a long time in terms of that is so fear-based. But it is also a way to I learned how to anticipate what could go wrong or how to kind of shore up and idiot proof certain processes in a way that I do things still serves me to today. Chris Erwin:Hey listeners, this is Chris Irwin, your host of The Come Up. I have a quick ask for you. If you dig what we're putting down, if you like the show, if you like our guests, it would really mean a lot if you can give us a rating wherever you listen to our show. It helps other people discover our work and it also really supports what we do here. All right. That's it everybody, let's get back to the interview. Two points that I think are interesting. Alison, you described as being able to anticipate what could go wrong or sit at corners, we had Chas Lacaillade interviewed on this podcast, he now runs a digital talent management company called BottleRocket, but he said the same exact thing he was at ICM. He's like, "The one takeaway I have from that is you can always anticipate what's going to go wrong in a deal, a conversation, a client meeting," and he found that very valuable. Chris Erwin:The second thing I think that you said, Alison, that I really like is how to market and how to approach an audience. So I think today where media has changed, where they used to be fixed supply, if you can get theatrical distribution, you're going to win. If you're going to get on like a TV network, you're going to win. But with the internet, there is so much content out there even if you're like putting up content on Netflix or you're putting up content on YouTube or in some like digital, native way, your content has to stand down. And the marketing campaign that wraps the actual content itself, how you speak and engage and excite your audience, that is where the winners are today. So the fact that you have that lens from your history, I think is really interesting. Alison Eakle:You put it better than I ever could, but that all tracks. Yes, that feels right. Chris Erwin:So you realize you're not having the amount of time you need for writing, so you've got to change it up. So where do you go? Alison Eakle:I saw a job opportunity to assist the director of production and development at Paramount Vantage. What I'll never forget there was the current assistant had put out a job posting and how this works in Hollywood, for anyone who's listening and doesn't know, is you'll see jobs on things called tracking boards or emailed chains basically. But they always say, "No phone calls, please. Do not call me. Just email your resume." Right? And I was like, okay, this job is on the same lot, I'm going to call him. And I did. And he was so incredibly lovely. Colin Conley, he's still in the business, an incredible manager. And I just called him. And I was like, "Look, I did not come up through the agency. I don't have the required experience, but I swear to God, the desk I'm on is harder than any agency desk you can imagine. And I'll tell you why if you meet me for like 15 minutes." Alison Eakle:So we did, we literally met in the middle of the lot at Paramount. And he was like, "You know what? I think my boss would like you." And he was leaving to go work at the Sundance Institute, fucking cool as hell. And I tried not to be too intimidated. And I met his boss and loved her. And the only weird thing about that experience was when I did get the job, three weeks into it, most of Paramount Vantage was let go. They were downsizing all indie studios at that point. And I was like, oh my God, I just took a pay cut and a huge risk to take this job and now I'm going to get fired. That was all that went through my head is like, we're all going to get laid off, but I don't know what happened, but for eight months, some of us still hung on. Alison Eakle:And I learned so much about future film development from my boss, Rachel. And then we were all let go. Then it really did. The hammer came down in July of 2009. John Lynch left as the head of the studio of Vantage was done. And another colleague of mine who used to be at Vantage got me my next job just assisting a production exec at Sony Pictures, Elizabeth Kentiling, who was incredible. And the experiences were so different because at Vantage, I learned a ton about development, but we never got to make anything because essentially it was like, you already saw the writing on the wall. You knew it was only a matter of time to some extent that you were going to be shut down, which I've never had an experience like that since. It is sort of freeing, because I was just like, well, I'm going to learn and do as much as I can while I'm here. Alison Eakle:And then at Sony, it was the opposite where it was like, there was development happening on scripts so I was there, but my boss was making movies. Like I always watched her oversee Social Network and Girl With the Dragon Tattoo and got really a firsthand view of like how that side of things works when stuff is going. So it was incredibly valuable, but the whole time I'm sitting there thinking, okay, I'm still an assistant, I'm 30... How old was I at that point? Probably 31. Again, wasn't acting, wasn't writing, wasn't really an exec. I would go to drinks with other assistants and them not knowing how old I was would be like, "Oh man, if I'm still an assistant at 30, kill me." Chris Erwin:It's interesting you're saying this because I was reading an interview that was done with you. Asked like what's the worst advice that you can receive or that you have received? And you said something along the lines like, oh, if you're like an assistant or haven't figured out your career in Hollywood by the time you're 30, it's over. And that's BS. That's not true. And so I think this is clearly where that's coming from. Alison Eakle:Oh yeah. And trust me in the moment I was like, maybe it is true. Like I'm not impervious to insecurities. 100% I was like, I've given all this up, I've left my family, I've moved to LA, did I make a terrible choice? Is this right? But there is such a thing where you just got to stick it out and you keep learning and try to keep growing and then the next opportunity will find you. I totally flunked out on my first creative executive interview in the Future World. And I just was like, oh man, this other junior exec at the movie studio got me this opportunity and I just said stupid shit and I blew it. But then a friend of mine from my Paramount Vantage days, a friend who had worked at Comedy Central while we were doing the Comedy Central branded movies and I really loved, was like, "My old boss from Comedy Central is starting a company for Ellen Degenerates, would you ever want to go be the assistant/exec?" Alison Eakle:And it was primarily television, both scripted and unscripted, not movies, not the big sexy thing at that time that I was still like, no, no, no, you got to work in movies. But I was like, I fucking love television. I raised myself on television. Let me tell you, I jumped at the chance. And again, I was still answering phones at that point technically, but I was like a coordinating manager. So I got to be in the meetings and watch how it happened and take meetings of my own. Chris Erwin:This is A Very Good Production, that's the name of the company? Alison Eakle:Yes. That's A Very Good Production. Chris Erwin:Okay. Alison Eakle:And look, I probably did that classic thing that I think a lot of women do where I didn't think I would feel ready to go from assistant to just exec. That is where I second guessed myself a bit. And so I loved that idea of like a hybrid opportunity, but I also couldn't have learned from anyone better than Lauren Carrao as we were building that company from the ground up with the deal at Warner Brothers. Chris Erwin:Got it. Wow. So Alison, I want to get into now your rise at Shondaland, a company that you joined back in 2013 and where you're still at today and interesting juxtaposition. So I interview a mix of technology and E-commerce, but also media executives on this podcast. A lot of the technology executives I interview, their career rise starts a lot earlier, right? It's like the difference. But in media, a lot of the people that I've interviewed, it takes a bit longer. You're joining Shondaland I think in your early 30s, but you've had an amazing run over the past almost a decade. So I'm curious, how did you first end up there? Alison Eakle:Truly going back to my doomed, but learned a lot moments of Paramount Vantage, it was my boss there, Rachel Eggebeen. She was the first kind of creative executive that Shonda and her longtime creative and producing partner, Betsy Beers, my other boss brought on and into the company when they'd had their deal through ABC. They'd been making Grey's Anatomy and Private Practice and a few other pilots that had knocked on to series. But I believe as Rachel came on board, they were making the Scandal pilot. They had expanded the company and around the time that I was ready to move on from a very good production in terms of trying to get kind of my first either producing credits or full exec job, whatever that next move was going to be for me, I reached out to Rachel and I said, "What do you think I should consider? You're one of my favorite bosses, favorite people, favorite friends, what do you think I should do?" Alison Eakle:And she said, "Well, interestingly, Shonda and Betsy are thinking about expanding the work they're doing and hiring another person. And your background in comedy could be incredibly useful and important part of the mix given they're starting to do more of that." When I came on board, they'd already been developing a pilot with Issa Rae, actually for ABC. Ultimately didn't move forward, but was one of my first experiences as an exc. It got to be me and Issa Rae in a room, sitting on the floor, working through a pilot and I will never forget it. And it was incredible. And I loved every second of working with her. Chris Erwin:Speaking of Issa Rae, so I joined the whole YouTube revolution in 2013. And I remember we were launching different like digitally native verticals. Issa Rae came in and pitched a show with her creative partner. Alison Eakle:Oh, no way. Chris Erwin:Yeah. Early days. And now look at her, she's a phenomenal. You shouldn't make a fuss. Alison Eakle:Talk about a rise. I feel silly calling what I've experienced duress in light of Issa. I mean, just and so earned and so deserve. Like with the pilot was called, I Hate LA Dudes. And that was very much my mindset while we were working on it. But I would meet my husband just a few months after we finished up with that and I reversed that decision. No, it was great to kind of come on board. And look, I was, again, nervous, that imposter syndrome thing is hard to shake. I'm like, it's my first executive job, I am a fan of these shows of Grey's Anatomy and Scandal. Scandal season one and like half of season two had aired when I started. And that jump is a big jump in Hollywood when you're first like really not answering the phones anymore. I didn't have an assistant, but I wasn't an assistant. Alison Eakle:And I got to develop like my first comedy from the ground up with these writers Petrossian Goldstein that came partly from like an original idea I had just by like being like, fuck, okay, what do I want to see in the world that I don't see? What do I want to watch on TV that's in my life and I don't see reflected? And we came up with this idea of what if your friend was dating someone terrible, just absolutely the worst. You wouldn't want to spend brunch with this person. And then they show up one day early in the dating and they're like, "We're having a baby." And I had pitched this idea of like, that would be the friend groups worst nightmare, but a lot of it would be not so much about that girl who kind of enters the group, but really about you and what you're going through emerging as a group of like 20 somethings into your 30s. Alison Eakle:And then when we pitched this idea to these other writers, they had had an idea of what had happened in their friend group, which is one of their really close friends had passed away. And that guy's parents had sort of become the parents of their friend group. And we wound up having this incredible meeting where we realized we could merge these ideas. And it was just one of those first experiences where Betsy and I were in the thick of it and I realized like, oh, this is it, this is what I wanted this to feel like and be like. I love the idea that I can have an idea, writers can make it better and bring their own experience to it and then I get to watch it just evolve. Alison Eakle:And it was such a well-received comedy pilot that at the very last minute we did not get to make it, but it was a great first experience in that first year at that company of like, A, I love this, B, I love why I'm working with on these projects and C, maybe I'm not terrible at it. Like that first moment you're like, oh, I should keep doing this. Which I think a lot of people don't talk about because I think you're supposed to pretend that you're just like a girl boss from day one and always had the confidence, but no, I mean, it truly took going through that first experience to be like, okay, I deserve to be in the room. Chris Erwin:Amazing. So very early on, everything felt right to you. This is the right team, this is the right role and did you get a sense that it's like, hey, this is a company I can be at for a really long time. Alison Eakle:I was like, hey, I hope they'll have me for a long time. Again, like even with the successes, I think there's always a moment where you're just like, what's the next thing I can do? Like I want to continue to earn this spot or earn their respect. And the other thing I just sort of lucked into was that at that same time that we were doing that comedy, we had six other drama projects in development, how it works as you sell ideas in pitches to the networks and then the writers write the scripts and around Christmas time, these networks were just in the network side, they would decide which ones they were actually going to shoot. And the one that they decided to shoot was How To Get Away With Murder. And so then even though my comedy pilot, that experience hadn't borne fruit in terms of being shot, I got to see that show be born and come to life. Alison Eakle:The other thing that happened in those first eight months I was there was that Rachel did leave Shondaland to go to another job at Fox 21, which is a studio. And again, I was terrified because the person who brought me in was gone and I was still getting my sea legs, but Betsy and Shonda were incredible. And I learned so much from them. And I got to all of a sudden just not limit myself to being like, hey, I'm the person who's here to do some comedy and I got to experience what it is to develop dramas and realized I loved that too. Chris Erwin:You mentioned it... Again I saw on an interview that you had like a handful of promotions within the first four to five years that you were there. Alison Eakle:Yes. Chris Erwin:So what did you feel that you were doing at the company that started to really stand out and have you get noticed? Alison Eakle:I was kind of the only one for a while. I feel like I don't know what I would necessarily pinpoint. I'd be interested to hear Betsy and Shonda say it. I think one of the things was not only did I have the things that I would get excited about and bring to the table, but I think that Shonda's excitement and Betsy's passion are really contagious. Right? I think very early on I realized, okay, they have fucking genius ideas. I can execute that. I can take that. I can run with it. I can get some progress going. I can find the writer. I can work on the vision of the writer. I also loved the fact that we had this incredible community of writers that had come up on all the Shondaland shows. So I think I really just threw myself fully into trying to make projects with them work and support them. Alison Eakle:And I think there's also a little bit of magic sometimes when taste and instincts lineup, the rest of it is sort of just to do the work, especially those early days. To this day, even after I've had a kid, which we'll talk about, I've never not worked on weekends, I've never not worked at night. Like even when I'm not working and I'm using air quotes, my brain is constantly going in terms of how to fix issues or how to approach strategically certain projects. And I think that they must have responded to it. Chris Erwin:Yeah. Because I think to you it was clear as it's not just work, this is a passion. It's like part of your essence. It's having like a creative mind wanting to support the creative community. I think like you were saying with Shonda and Betsy, you have this reputation where you could take an idea that they have and really nurture it and build it and make it even more special. So there's this trust that they're bestowing on you, but they really appreciate new ideas that you bring to the table. So then, okay, there's an exciting moment. You're there for around four years, 2017, then there's the big announcement that Shonda is leaving ABC for Netflix and what was reported to be, I think, the range is up to $150 million deal. What was that like? Was that something... Had you been working on that for a while? Was that something that you knew of? Was that something that was just dropped on you? What was that like to receive internally? Alison Eakle:I did know a little bit before the announcement came, I just was over the moon excited in terms of it being such a new learning opportunity for me, right? I know Shonda and Betsy had their excellent reasons for making that transition at that time when they did. Strictly speaking from my experience of it, I was just so interested in how different that could be, what restrictions would be lifted when you suddenly don't have to make television for network to fit that 42 minutes of a drama episode to kind of deal with broadcast standards and practices. But also just the idea that I think once we went to Netflix, it probably did also, at least in my opinion, as I spoke to people in the industry, it started to broaden their ideas of the kind of shows we made sometimes, sometimes not. Sometimes they'd still come to us and be like, "Here's Grey's Anatomy, but in a funeral home." Like they would still do that too, but there was a lot of people understanding that now we were going to do TV and movies. Alison Eakle:We could do comedies. We wanted to do genre. Like I think, especially by the time we were able to announce those first things we were working on kind of a year into the deal, it did make people understand that while they often thought of us in terms of, I will use the quote, sexy soap or serialize procedurals, the ambitions were so much bigger than that. And to get ready because we had a lot of things coming that you would not be able to do on network. And that was really liberating and exciting. Chris Erwin:Did everyone feel that same way? Was there anyone internal on the team or within your writer community that was like, "You know what? I want to work on network programming and going to a streamer is not a place I want to be." Alison Eakle:If that was happening, it was not something that I was privy to or that people were coming to talk to me about at all. Everybody was like, "I can't believe this. I'm so excited." And we're moving into new offices and all. It was just felt like a real thrum of excitement. And look, I think to this day, there are still writers who appreciate the consistency of a network job, but the whole business has changed. This is a conversation for another time in that residuals are not the same anymore. And there are so few shows like Grey's and Station 19 that can go that many episodes a season. Whereas writer you know you're booked kind of like August to April or whatever it is, I do think some writers probably miss that and will gravitate towards that kind of structure, that storytelling, all of that. But I didn't experience anyone being like, "Ooh, Netflix," at all. Chris Erwin:Okay. And maybe look, I think there was a lot of excitement at the moment. Was this announced right after Ryan Murphy's deal? I think he announced like a $300 million deal, was that- Alison Eakle:We were the first. Chris Erwin:You were the first. Alison Eakle:Shondaland was the first. Yeah. That was the first deal for Shondaland was the first of these big star producer deals. And I think Ryan Murphy, Kenya Barris, a few others came in like quick succession, but it was the first big announcement like this. Chris Erwin:Clearly it's working, right? So there's the big 2020 hit with Bridgerton. And then recent news, there's a re-up between Atlanta and Netflix are reported or confirmed or reported up to 400 million, but what was it like in that moment when Bridgerton which I think is the number one performing show on Netflix today, when that hit and your team started to get some of the success reporting, what was that feeling like? And were you involved in that show at all? Alison Eakle:Oh yeah. So I am a co-EP on the show and moving forward into seasons two, three, and four, I'll be working on it. It honestly was something where I still remember the day that Shonda was like, "There are these romance novels that are absolutely incredible. They would make a great show." I will be the first to admit I was like, "Romance novels, like grocery store paperback romance novels?" The genius that she is she's like, "Just read them. Just read one. Read The Duke and I." Which is the first book and is what season one is based on, the Simon and Daphne's story. And I read it in like one sitting, definitely started blushing about like 80 pages in for sure, but immediately I was like, oh, I get it. I get it. I understand the conceit of how this works for many seasons. I get why there's such a huge under-serviced fandom of this material. And they have not gotten to see some of their favorite stories brought to the screen and shot. Alison Eakle:It was so smart because she knew that people would clamor for that. And that audience had just not gotten to see those characters come to life, but also that there would be a broader reach. And also I think that it was such a surreal experience for me. I was incredibly pregnant. It was Christmas time. We had done post-production in COVID entirely from our homes remotely. Every music spotting session would be inimitable, Kris Bowers. Like all of it had been done remotely, all the posts. So it was like being in this kind of strange bubble and just sitting there as the holiday started just wondering how it would be received. And I don't think I could have ever anticipated what a mark on the culture it would have. Chris Erwin:I didn't even start thinking about the opportunity to romance space until Sarah Penna, who is one of the co-founders of the Big Frame where I was at right after school. And she had an idea that I think she's still working on with Lisa Berger called Frolic Media focused on, I think it's in a podcast network and digital video programming for female romcom romance enthusiast. And when she started telling me some of the numbers of how big this demo is, I was like hearing the success of Bridgerton, I am not surprised. So a new Netflix deal's announced and here's some exciting things like a focus of film, games, VR, branding, merchandising. There's a larger team from Bridgerton Ball that's coming up in November. So it's really extending your work streams and creating an audience experiences into a lot of new channels. Where is Shondaland today and where is it headed? Alison Eakle:The other side of the company that is the digital side, that is the podcast, the website, whatever shape and form this gaming and VR enterprise is going to take to it is incredibly exciting and I think a huge part of how my perspective on my job has shifted. And look, I've gotten to experience people often say like, "How have you been at a company for eight years?" And I was like, "This company is always evolving. The opportunities are always evolving. The work we're doing is always shifting and changing and growing." And it's part of why I was so excited to work with Shonda and Betsy in the beginning because I knew they had these bigger plans, right? World domination through incredible storytelling, very appealing, but I'm just really always trying to think to myself too synergy. Alison Eakle:Are there opportunities of things that we're working on that could translate to the podcast space or there could be a great story on the website about it and thinking more actively how do I talk to them about that and tell them about it before it's too far down the pike or vice versa, what are they working on that could be the next great show for Netflix or first documentary came out right before the holidays as well around Thanksgiving, Dance Dreams: Hot Chocolate Nutcracker about the life and legacy of Debbie Allen as seen through her kind of like planning and staging this incredible her version of the Nutcracker? Alison Eakle:So we have a real hunger to do unscripted, both doc series, lifestyle, reality shows, things like that, the right kind of thing for the right kind of audience, the thing that we think will appeal to our fans and the people who love our material, but also Inventing Ana is going to be out soon, which is Shonda's next show that she created based on the incredible cut article from Jessica Pressler, how Anna Delvey tricked New York's party people about the Soho grifter, who basically found a way to make all the finance bros in New York and all the art people and all the fancy pants people in New York who believed she was a German heiress. An incredible kind of fake it till you make it American dream story from a very slanted interesting perspective. Alison Eakle:So I'm really excited for that show to hit and to launch and for people to see that it's a limited. That's like the next big thing on top of the fact that we have announced through Bridgerton season four to really get to service the Bridgerton's children's love stories. We've got a lot of story to tell. And then Shonda's next project is a project based on the life of young Queen Charlotte, who obviously is someone we featured heavily in the Bridgerton series. So that's some of the scripted coming down the line. We do have feature films in development. We have a lot of different genre TV shows that I don't think people would be necessary... Again, always trying to broaden the idea of what people think of as a Shondaland show, which is just incredible unexpected storytelling that has an incredibly human lens. A lot of different things coming down. Chris Erwin:All this program is going to be exclusive to Netflix, is that right? Alison Eakle:Yes. Exclusively in Netflix. Chris Erwin:Looking at the Shondaland website yesterday, and I saw the 2017 partnership with Hearst where you've launched a lifestyle website. You have this January, 2020 audio partnership with iHeart, where I think you're creating companion content to promote some of your series, but also maybe seeding some new IP, which is definitely a theme that we talk a lot about here at RockWater. But these are divisions that are separate from your purview, but you want to collaborate and you want to work together. And I think that'd be an awesome thing to do more of in the future. I'd love to see that. Alison Eakle:Oh yeah. It's a top-down mentality the idea of like, no, no, no, you guys, you're not just making content for Netflix and you're not just making content for Hearst to iHeart, this is Shondaland. This is a united family of people figuring out how to tell stories best. Chris Erwin:Last question, Alison, before we get to the rapid fire round. So you are a mother of one who is five months old. Alison Eakle:Yes. Chris Erwin:When you say you work nights, you work weekends, how does that change with a kid at home not just in terms of like time capacity, but also just how you think about your programming and where you want content to go in the world considering that you're raising someone new in it? Alison Eakle:That's a great question. I think I'm so in it right now. It's all still so new. I don't know yet the impact it'll have on me. And look, animation both for adults and children is something we've talked about a lot and gotten excited about that kind of programming. I'll be honest, I binge-watched the Babysitters Club with that best friend, Ashley, who we moved out here from New York together. I think there's incredible content for kids. I don't think my brain has fully processed yet how having this child is going to impact my creative work, but I do think it has changed how I work and yes, I just have less time right now because every minute I'm not with him, I inevitably am wondering, am I missing it? Am I missing something? Right? But I also realize there's a lot of time that he sleeps, not in the beginning, but now there is. Alison Eakle:And it's interesting how I think I used to be a real... I do get up very early with him and I do do great work in the morning, I feel, but I've really also become that person who eight o'clock hits and I take a minute for myself, but I do think to myself, okay, I have quiet. I have a couple of hours of quiet before I hit the, hey, how am I going to use this time? So I think I've just gotten smarter about time management and realized that like I can be sitting there rocking my baby, playing out, what kind of thoughts or how we might re-break a pilot in my head. I've just gotten a little bit more nimble in terms of how I use the time I have. Chris Erwin:I like that. And kind of what you are saying, Alison, reminds me of like the classic high school Adagio. If you have a really busy schedule, like a bunch of high school sports and everything, it just forces you to be more productive to get your work done in the time that you have and you're better. And then second, I think it's this beautiful new moment in your life that's giving you incredible new fulfillment and appreciation for what matters and it's a shock of the system. And I think shocks and changes are good to see things in different ways and that's good for creativity. You've had an amazing rise, who knows where you're going to go? Alison Eakle:Who knows? Chris Erwin:I'll close this out a quick interjection for me before rapid fire. Alison, known you for a long time, but admittedly have not been in close touch in recent years. So it's been exciting that we can come together I think at a dinner that I threw a couple of years ago, but also through this podcast. And I think just hearing your story, what I love and what feels so special is I'm hearing that there was no fear of trying things, of experimenting, putting yourself out there and following your heart. There was moments where like, look, growing up in Rumson where we were, your parents from Wall Street, I ended up going to Wall Street. Like that's what I was inspired to do. And you, I think you said, "No, there's something else that I want to do and give it a go." And then you went to Georgetown, you thought you were going to go down the political science path, but then you had that amazing class and you went with that. You trusted your gut. Chris Erwin:And I think you being able to listen to yourself and set up a very exciting career for you and an ability to do programming that's really a meaningful impact on people's lives and look at the success of Bridgerton and more to come. So it's really fun to see this journey and reflect on it. And I can't wait until we do the second podcast, which is like on this next page. Alison Eakle:Well, thank you. And thank you for having me on too. And also right back at you, it's watching an evolution of a career that's not in Hollywood always fascinates me a lot more than even watching the stuff inside the industry. I love everything that you are doing and juggling right now too. Chris Erwin:Appreciate that. All right. So rapid fire. Here's the rules. Six questions, short answers. It could be maybe one sentence or maybe just one or two words. Do you understand the rules? Alison Eakle:I mean, I'm a wordy mofo, but I will try to keep it to the one sentence or the one word. Chris Erwin:Okay, here we go. Proudest life moment. Alison Eakle:Navigating the return to work after having my son and not absolutely losing my mind. Chris Erwin:Got it. What do you want to do less of in 2021. Alison Eakle:Judge people. Chris Erwin:What do you want to do more of? Alison Eakle:Acts of service. I feel like I got away from that during COVID. Yes, acts of service. Chris Erwin:I like that. One to two things drive your success. Alison Eakle:As you said, willingness to try things and to experiment. And I think also a willingness to really listen to people and figure out what they want. Chris Erwin:What is your advice for media execs going into the back half of this year and into 2022. Alison Eakle:Now that I have a kid and less time than ever, I'm all about essentialism. And I think people have to remember that sometimes less is more, less is more. That's what I'll say. See, trying to be shot. Private is the sour word. Chris Erwin:Saying less is more and trying to do it in short with fewer words. Got it. Considering your parents entreprene

This week, Jamie, Caitlin, and special guest Siouxsie Q head to a New York strip club to chat about Hustlers! (This episode contains spoilers) For Bechdel bonuses, sign up for our Patreon at patreon.com/bechdelcast. Follow @SiouxsieQMedia on Twitter. While you're there, you should also follow @BechdelCast, @caitlindurante and @jamieloftusHELP Here's the article the film is based on, "The Hustlers at Scores" by Jessica Pressler: https://www.thecut.com/2015/12/hustlers-the-real-story-behind-the-movie.html Here is the oral history about the movie, “The Hustle Behind Hustlers” by Rachel Handler: https://www.vulture.com/2019/09/hustlers-oral-history.html Here are the various resources provide by-- and ways to support-- our amazing guest Siouxsie Q: http://thewhorecast.com illreputepodcast.com  www.youramericansweetheart.com  www.ilovesqmedia.com @SiouxsieQMedia on Twitter and Instagram http://youramericanbabe.com Folks can stay in touch and hear about Siouxsie's latest adventures by shooting her a text at 415-548-9185 Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

At the Women Tell All, some of the women were fake AF! Fake personalities and crocodile tears. So, Megan tells the story of another faker, Anna Delvey (aka Anna Sorokin). Anna posed as an heiress and lived in luxury in New York City until her world came crashing down around her. Links Discussed in the Episode: New York Magazine Article by Jessica Pressler about Anna Delvey/Sorokin Promo: Wine Dine and Storytime Connect with us at linktr.ee/CrimeandRoses There you can see links to listen and share the podcast and connect with us on Twitter, Instagram, and Facebook. Email: CrimeandRoses@gmail.com. Send us crime suggestions and any questions or comments you may have. --- Support this podcast: https://anchor.fm/crimeandroses/support

Join 'Have you heard about....' host Mahsa and cohost Joe as we do a deep dive on the wild story of Anna Delvey (Sorokin), the fake heiress who tricked Manhattan's elite into believing she was an heiress and nearly got away with it.... until the money ran out. Making headlines again after being released from prison this week, we break down the sordid details, and how she (almost) got away with it.For a more dynamic experience, follow us on Instagram @haveyouheardpodcast. We post cool articles, tv/film recommendations, and generally gossip. We love hearing from listeners, so be sure to drop us a DM. You can find us on Twitter @MahsaSaysIf you enjoy the podcast, be sure to subscribe, share, and consider rating 5 stars / writing a review. It goes a long way and is much appreciated!Sources:How Anna Delvey Tricked New York's Party People (Jessica Pressler, The Cut)My Bright Lights Misadventure with a Magician of Manhattan (Rachel Williams, Vanity Fair)

Can FX repeat its American Crime Story success in the unscripted space? The Most Dangerous Animal Of All takes a big swing, but Gary Stewart may get stuck on the bench with me, my guest Eve Batey, and everyone else whose dads aren't the Zodiac. Would this have made a good feature just on the criminal drama that was Stewart's birth parents? What is the series trying to accomplish with the volte face in the fourth episode? And should I rename the podcast "Look, Nobody's Dad Did Anything"? But we're thrilled that Hustlers qualified for discussion in our Cold Case section, and no, not JUST because it's a crime that Jennifer Lopez didn't get an Oscar nom. What makes a good longread-to-film adaptation? Does Constance Wu make the perfect not-too-charismatic protagonist? And is Cardi B's character running on a pro-labor platform or what? Don't let your earbuds fall out during a reverse stag: it's The Blotter Presents, Episode 135. SHOW NOTES FX's landing page for The Most Dangerous Animal Of All  Aaron Barnhart's TMDAOA review Eve's and my first foray into the Zodiac case, Ep 019 Ep 079 on The Innocent Man Hustlers on Amazon (you can also rent it) Jessica Pressler's original story in New York  That New Yorker profile of Constance Wu Eater San Francisco Best Evidence 

A movie review of "Hustlers", original article by Jessica Pressler, written and directed by Lorene Scafaria. Starring Constance Wu, Jennifer Lopez, Julia Stiles, Keke Palmer, Cardi B, and Lizzo. Official Website: CoryBakerFilmmaker.com iMdb: Imdb.me/CoryBaker Facebook: Facebook.com/CoryBakerFilm Twitter: Twitter.com/LegendCB5 Instagram: Instagram.com/LegendCB5

Lorene Scafaria portrays the criminal scam at the heart of HUSTLERS with a sort of cinematic brio that has earned the film comparisons to the work of Martin Scorsese, in particular the similarly flashy Vegas epic CASINO — and not just because both prominently feature chinchilla fur coats. In this half of our vice-ridden pairing, we talk over what works and what doesn’t about HUSTLERS before diving into the two films’ shared preoccupations with destructive trust and capitalist systems and compare the filmmaking flourishes Scafaria and Scorsese use to draw viewers into their seductive worlds. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar. Please share your comments, thoughts, and questions about CASINO, HUSTLERS, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730. Show Notes Works Cited: • “The Hustlers at Scores,” by Jessica Pressler (thecut.com) Your Next Picture Show:  • Tasha: Takashi Miike’s FIRST LOVE • Scott: Jim Jarmusch’s THE DEAD DON’T DIE • Genevieve: Anthony and Joe Russo’s AVENGERS: ENDGAME Outro music: Britney Spears, “Gimme More” Learn more about your ad choices. Visit megaphone.fm/adchoices

Act I: Charlie and Joey provide updates on Undone (the TV show), Bumble (the app), and Mayor Pete (the presidential campaign). Spoilers for Undone from 2:20 - 10:45. Act II: A discussion of the new film Hustlers, written and directed by Lorene Scafaria and based on the New York magazine article by Jessica Pressler.

LOOK OUT, YOUR HOTTIES ARE BACK! That's right, CT and KW are back with a fresh episode, featuring: Life Updates [1:43]! What has moving done to CT's brain? What is grad school like for KW? Then the Hotties have a spoiler filled chat about the greatest movie of our time, HUSTLERS [25:00]. J.Lo, fashion, scamming, and did we mention J.Lo? And of course, we have some culture for you to Get Involved with [49:00]. Join us, won't you?    This episode contains swearing. Music is courtesy of Ryan Little. Find links, sources, and other goodies at theblackhotties.com. Follow CT & KW on Twitter jointly @theblackhotties, and individually @c_gracet & @thatblasiangirl.   Mentioned this week: Jessica Pressler's piece on which Hustlers is based  Lana Del Rey's Norman Fucking Rockwell!  Lisa Taddeo's Three Women  

Best Spanish and Latino Podcasts - Oprahmag.comThe Hustlers at Scores by Jessica Pressler

Grierson's back! After a two-plus-week absence while traveling to the Venice Film Festival and the Toronto Film Festival, Grierson has returned to us! He gives us the best and worst films from each festival, and then dives right back in with discussions of two movies out this weekend. First, it's the Jennifer Lopez stripper-crime-drama "Hustlers," and then it's the adaptation of the Pulitzer Prize-winning novel "The Goldfinch."  Our reboot isn't messing around either: It's the Federico Fellini classic "8 1/2." Timestamps (approximate): 12:32 "Hustlers" 31:22 "The Goldfinch" 46:19 "8 1/2" Isn't it nice having Grierson back? Thanks again to Bilge Ebiri and Jessica Pressler for hanging with us in his stead. Thanks to Dylan Mayer and My Friend Mary, both of which are wonderful, for the music. We hope you enjoy. Let us know what you think @griersonleitch on Twitter, or griersonleitch@gmail.com. As always, give us a review on iTunes with the name of a movie you'd like us to review, and we'll discuss it on a later podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Matt and Andrew are back for the sequel! It's STEP AND REPEAT: EPISODE II - HUSTLERS. On STEP AND REPEAT, your co-hosts cover the week's news in the movie world and share their reviews of a big new release. This week, Andrew and Matt are talking about HUSTLERS, written and directed by Lorene Scafaria. It stars Constance Wu, Jennifer Lopez, Julia Stiles, and Keke Palmer. It is based on the 2015 New York magazine titled "The Hustlers at Scores" by Jessica Pressler. It was released on September 13, 2019. The plot follows a group of strippers in a post-financial crisis New York who devise a scheme to drug and steal money from Wall Street stockbrokers. This week, we'll cover J.Lo's Oscar prospects, debate whether Constance Wu is a good actress, talk about movies about the financial crisis, and also clear the air about THE GOLDFINCH reviews. 00:01 :: HUSTLERS Trailer 00:24 :: Welcome 08:33 :: Revisiting THE GOLDFINCH 16:06 :: HUSTLERS Discussion 41:18 :: Oscar Revisionist History FACEBOOK - https://www.facebook.com/Step-and-Repeat-Podcast-104672387590106/ TWITTER - https://twitter.com/RepeatStepPod GMAIL - stepandrepeatpod@gmail.com Trailer: https://www.youtube.com/watch?v=lDv-TwjQ_o4 IMDB: https://www.imdb.com/title/tt5503686/ New York magazine Article: https://www.thecut.com/2015/12/robin-hood-strippers-scores-c-v-r.html Andrew's Letterboxd: https://letterboxd.com/ashine/

"If you don't want to tell me something it makes me very interested in what it is.” Jessica Pressler is a staff writer at New York magazine and joins Jacob this week to talk interesting stories, screen adaptations, and empathy. Her article "The Hustlers at Scores," is the basis for the new movie "Hustlers," and Jessica discusses the unique experiences of having a story adapted for the screen and being visited in your own home by a movie star assigned to portray you (Hello, Julia Stiles!).

#Hustlers #AnatomyOfAMovie #PopcornTalk Dance into the conversation for “Hustlers” with Demetri Panos and Kit Bowen on this edition of Anatomy of A Movie. Hustlers is inspired by a New York Magazine article by Jessica Pressler that went viral, former strip club employees band together to turn the tables on their Wall Street clients. Make sure to subscribe to Popcorn Talk! - http://youtube.com/popcorntalknetwork HELPFUL LINKS: Website - http://popcorntalk.com Follow us on Twitter - https://twitter.com/thepopcorntalk Merch - http://shop.spreadshirt.com/PopcornTalk/ ABOUT POPCORN TALK: Popcorn Talk Network is the online broadcast network with programming dedicated exclusively to movie discussion, news, interviews and commentary. Popcorn Talk Network is comprised of the leading members and personalities of the film press and community including E!’s Maria Menounos. Current Roster or Shows: -Anatomy of a Movie -Box Office Breakdown -Meet the Movie Press -Guilty Movie Pleasures -Marvel Movie News -DC Movie News -Action Movie Anatomy -Watchalong Series! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

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New concept alert! We proudly introduce "Grierson and Leitch Conversations," in which we sit down with someone OTHER than each other to talk movie stuff, or culture stuff, or sports stuff, or whatever stuff! It'll be fun. We can't just talk to each other FOREVER. We introduce the occasional, sporadic series with Jessica Pressler, a longtime writer for New York Magazine whose 2015 story "The Hustlers at Scores" was adapted into the upcoming film "Hustlers," starring Jennifer Lopez. Jessica talks about the process of the film, working with Adam McKay, whether she's met J-Lo and what it's like to be played by Julia Stiles in the film. (Which she is!) We're excited about this interview, and we hope you are too. Thanks to Dylan Mayer and My Friend Mary, both of which are wonderful, for the music. We hope you enjoy. Let us know what you think @griersonleitch on Twitter, or griersonleitch@gmail.com. As always, give us a review on iTunes with the name of a movie you'd like us to review, and we'll discuss it on a later podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Three reads, three listens, and five watches that made my best-of list for the last year. SHOW NOTES Bad Blood, Episode 70 Jessica Pressler on Anna Delvey, The Summer Of Scam Kathleen Hale, "Living With Slenderman" Last Seen, Brief 1 Slow Burn, Episode 64 Dr. Death, Episode 74 Making A Murderer Part 2, Episode 73 American Vandal S2, Episode 69 The Sentence, Episode 72 Rest In Power, Episode 66 American Crime Story S2 recaps at Previously.TV

On this special episode of Recode Media, you get two interviews for the price of one: First, Recode's Peter Kafka talks with Jessica Pressler, a New York Magazine staff writer whose longform story about a New York City high society grifter, Anna Sorokin, became a viral hit online. Pressler explains how she reported that story in a matter of months, and why Sorokin's con worked so well. Later in the show, Kafka is joined by New Yorker media critic Ken Auletta, who's the author of a new book called "Frenemies: The Epic Disruption of the Ad Business (and Everything Else)." Auletta says advertising is in peril as people have shifted to smaller screens and ad-free media viewing. He also expains why media companies like Fox and Time Warner are trying to sell, and recounts how he tried (and failed) to break the Harvey Weinstein story in the early 2000s. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jessica Pressler is a contributing writer for New York Magazine and has written for Elle, GQ, and a number of other outlets. She speaks to us this week about some of her profile pieces on the titans of the finance world, celebrity interviews, the tendencies of her subjects to treat her both as friend and foe, and why she struggles to write as a woman in a largely male-dominated world.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we discuss why Tony is missing, is Sesame Street on its way out and should schools even consider purchasing iPads now that Google Chromebooks make up more than 50% of devices in US schools. Check out the show notes below. What Will HBO's Sesame Street Look Like? by Jessica Pressler of Vulture a. Link: http://www.vulture.com/2016/01/what-does-hbo-mean-for-sesame-street.html b. Is this the beginning of the end? c. Thoughts? Do schools still use it much anymore? d. Reading Rainbow - https://www.readingrainbow.com/ e. Malcolm Gladwell The Tipping Point - http://gladwell.com/the-tipping-point/ Apple loses more ground to Google's Chromebook in education market a. Link: http://www.usatoday.com/story/tech/news/2016/01/11/apple-loses-more-ground-googles-chromebook-education-market/78323158/ b. iPad Mini 2 - http://www.apple.com/shop/buy-ipad/ipad-mini-2 c. If you're looking for devices do you even consider iPads anymore?

Jessica Pressler writes for New York, Elle and GQ. "I really like hustlers, stories about someone who comes out of nowhere and tries to do it for themselves. Those people are just easy to like. Even when they're sort of terrible, they're easy to like." Thanks to TinyLetter and Warby Parker for sponsoring this week's episode. Show Notes: @jpressler Pressler on Longform [3:00] jessicapressler.com [11:00] "Philadelphia Story: The Next Borough" (The New York Times • Aug 2005) [17:00] Longform Podcast #77: Dan P. Lee [24:00] "It’s Too Bad. And I Don’t Mean It’s Too Bad Like ‘Screw ’Em.’" (New York • Jul 2011) [29:00] "The Dumbest Person in Your Building Is Passing Out Keys to Your Front Door!" (New York • Sep 2014) [29:00] "Let’s, Like, Demolish Laundry" (New York • May 2014) [30:00] "20/30 Vision" (New York • Aug 2013) [39:00] "The GQ Cover Story: Adam Driver" (GQ • Sep 2014) [41:00] "Adam Levine Doesn't Care If You Like Him (But He'd Really Prefer That You Did)" (GQ • Jul 2014) [41:00] "The Full Tatum" (GQ • Mar 2011) [43:00] "American Marvel" (Edith Zimmerman • GQ • Jul 2011) [49:00] "A Holly Golightly for the Stripper-Embezzlement Age" (New York • Sep 2011)

On today’s The Gist, Mike and New York magazine’s Jessica Pressler head to a laundromat to discuss what the hot new laundry app Washio says about the worldview of the bros who make apps. Plus, law professor Dean Rivkin explains how truancy fines work against the problems they’re trying to solve. In the Spiel, Mike explores headlines that overpromise and underdeliver. Get The Gist by email as soon as it’s available: slate.com/GistEmail Subscribe to the podcast in iTunes: itunes.apple.com/us/podcast/slate…id873667927?mt=2 Learn more about your ad choices. Visit megaphone.fm/adchoices