Podcasts about mentalists

Send us a textBerly and LA recap the season seven Supernatural episode, The Mentalists.  Over drinks, they'll discuss lore, gore, and what they adore about the Winchesters and their adventures. Now, let's get tipsy!  CW/TW for violent and lewd commentary; listeners beware!

This week Noah and Sam dive into Season 7 Episode 7 The Mentalists, through the theme of Self Discipline. Join us as we discuss dynamics between the brothers as they work together again, and how they keep getting read by everyone in town. We also talk about the psychic sisters and their story as well as psychic lore in the show as a whole. Find us online at ⁠⁠⁠⁠⁠⁠⁠⁠⁠queeringthingspodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠! Don't miss out on our other show, Queering People, Saving Throws, a D&D adventure podcast , releasing every other Friday, right here on our feed!

Tonight I share my personal experience with Astral Travel and Remote Viewing.-=Links=-If you would like to join in on the conversation, Join me on Discord.Discord: https://discord.gg/a6UJEb5Dj3Twitter: https://twitter.com/magicsenshiIf you would like to be a guest on the show please Email me with the subject "Guest"Email: captainepoch79@proton.meIf you want to support this Podcast,https://paypal.me/Magicslayer/ Cashapp $CaptainEpochMusic by UDIO

In this episode we recap our time at the 2024 Oregon Ghost Conference! We met so many amazing people, had some unforgettable paranormal experiences, and spoke on the main stage about our journey as podcasters in the paranormal field. 

Welcome Back to the Hunt - and the most psychic town in America! In this episode (Season 7, Ep. 7 - The Mentalists), the boys take a trip (separately) to Lily Dale and meet an assortment of "psychics" - though we'll use that term loosely for most of them. We also wrap up the mini "Dean lied to Sam" arc on-going the last few episodes. Is it worth a rewatch? Join us on the hunt to find out! --- The Back on The Hunt Podcast drops EVERY Tuesday. Want to share your rewatch experience with us? Please send us a message: https://anchor.fm/chris-barrows/message Theme Music:Extreme Energy by MusicToday80: https://soundcloud.com/musictoday80/r... Attribution 3.0 Unported (CC BY 3.0) https://creativecommons.org/licenses/... Music provided by Free Vibes: https://goo.gl/NkGhTg

Bob Menery is completely blown away by Oz the Mentalists super powers! Oz sits down to show us more of his supernatural abilities. Discusses filming with celebrities, athletes and his plans for the future. Bob begins work on the “Magic Off” Use code : "BOB" Download the Monkey Tilt daily fantasy sports app at http://mtfantasy.com in select states and play sweat-free now up to $100. Please play responsibly Sign up here for international casino https://tracker.monkeytilt.com/link?btag=60983841_338508 --- Support this podcast: https://podcasters.spotify.com/pod/show/bob-menery6/support

In this episode, my guest is Rick Rubin, world-renowned music producer of numerous award-winning artists, including Johnny Cash, Red Hot Chili Peppers, Beastie Boys, Adele, Eminem, Slayer, and many more. Rick is also the host of the podcast Tetragrammaton and the author of the best-selling book about the creative process entitled “The Creative Act: A Way of Being.” In this Q&A episode, Rick explains the practical aspects of the creative process, such as specific morning and daily routines, the role of movement, and how to source and capture ideas, interpret dreams, and generate work-life balance. He also offers advice for those struggling with creative or motivation blocks. He explains how cultivating relationships with the unknown, uncertainty and life circumstances heightens the creative process. Rick's insights into accessing your artistic spirit and direction apply to everyone and all realms of art, work, and life. For show notes, including referenced articles and additional resources, please visit hubermanlab.com. Thank you to our sponsors AG1: https://drinkag1.com/huberman Maui Nui Venison: https://mauinuivenison.com/huberman Eight Sleep: https://eightsleep.com/huberman Waking Up: https://wakingup.com/huberman InsideTracker: https://insidetracker.com/huberman Momentous: https://livemomentous.com/huberman Timestamps (00:00:00) Rick Rubin (00:02:00) Sponsors: Maui Nui, Eight Sleep & Waking Up (00:06:27) Tool: Coherence Breathing, Heart Rate Variability (00:09:32) Treading Water, Podcasts (00:11:45) Tool: Meditation Practices (00:15:43) Sunlight, Skin, Circadian Rhythm (00:20:00) Headphones, Natural Living, Diet (00:24:31) Artificial Intelligence (AI); Childhood; Magic & Mentalists (00:28:34) Tool: Writer's Block, Creativity, Diary Entries; Deadlines (00:34:58) Sponsor: AG1 (00:35:54) Uncertainty; Creativity & Challenges; Sensitivity & Environment (00:40:43) Wrestling, Storytelling; Johnny Cash (00:48:51) Creative Endeavors & Outcome; Surprise in Oneself; Experimentation (00:56:36) Resistance; Business & Art (01:00:37) Sponsor: InsideTracker (01:01:39) Source of Ideas; Internet & Information (01:08:31) Dreams & Interpretation; Unconscious Mind; Motivations, Art & Outcome (01:14:07) Career Advice, Book Writing, Diary Entries, Expressive Writing (01:19:25) Music Industry; Capturing Ideas; Money & Ingenuity (01:25:21) Audience; Innovative Ideas (01:29:35) Alcohol, Confidence, Psychedelics (01:35:10) Creativity, Chaos & Organization; Shocking Experiences (01:42:13) News & False Stories; Playing, Wonder & Childhood (01:46:58) Ramones; Henry Rollins (01:49:55) Daily Routine; Red Light, Circadian Rhythm & “Cheap Photons” (01:57:46) Creativity, Experience vs. Institutions; Work, Stress & Relationships (02:04:29) Book Recommendations; Ancestry & Creativity (02:07:41) Experiencing Music; Developing Albums (02:12:28) Music Videos; Book Interpretation; Current Projects & Documentaries (02:16:40) Podcasting & Conversation (02:25:41) Zero-Cost Support, Spotify & Apple Reviews, YouTube Feedback, Sponsors,  Momentous, Social Media, Neural Network Newsletter Disclaimer

I do really enjoy this one, even if a lot of the fandom doesn't. I do enjoy Dean finally getting to feel at least a little relief, justifying his actions and turning at least a little of that back around on Sam. It's a bit of an unconventional case, and I always enjoy those. And the character growth is incredibly on point considering this is the only episode these two writers ever did. They'd definitely been taking notes. And since it's Thanksgiving, I'll just let the episode stand on its own this week. It's a good one to just sit back, relax, and enjoy some pie with. :) LINKS! The Superwiki page My tag (only 3 pages of posts, lots of versions of the Virile Manifestation of the Divine gif set mixed in with some good meaty Dean meta! It's worth wading through a bit…) My rewatch notes from May 2017 Lizbob's Dean and Cas are In Love series My fic, It's Lily Dale, 14k of destiel wacky case fic about truth and lies, and Sam getting accidentally cursed in Lily Dale. Rated T. --- Support this podcast: https://podcasters.spotify.com/pod/show/spngeorg/support

In this episode, Drew and Marie dive into Season 7, Episode 7 of Supernatural: The Mentalists. They discuss how Sam & Dean handle being siblings, and how it reflects upon their choices. Support us on Ko-fi or Patreon: carryingwayward.com---Audio provided by zapsplat.com

On this week's episode, Writer/Executive Producer Alex Berger (Blindspot, Glen Martin D.D.S, Quantum Leap, and many many more) talks about his writing career, thoughts on breaking into the industry as well as his experiences taking a "Showrunners Course" through the studios.STORY NOTESAlex Berger on IMDB: https://www.imdb.com/name/nm1584238/Alex Berger on Twitter: https://twitter.com/alexbergerla?lang=enFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAUTOGENERATED TRANSCRIPTAlex Berger:They said, when you're interviewing a director, ask if you're the showrunner and you're interviewing somebody who's coming in to do an episode of your show, ask the director, do you cook? And if so, are you a person who uses a recipe or do you like to improvise? And there's no right answer to that, right? But if you cook and you're the person who is going to measure out the exact number of grams of flour and the exact number of grams of sugar, that's kind of how you're going to approach directing. If you're going to come in with a shot list, you're going to be going to stay on time. You're going to make sure that you move the set along. And if you're the person who likes to kind throw a little salt to throw a little sugar, you might be a little more improvisational on say you might be a little more, more. There's little things like that that you're going to how to dig in on this with those. NowMichael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone. Welcome back to Screenwriters. Need to hear this. Michael Jamin here. I have another wonderful guest today and this guest, we're going to talk about drama writing because he works primarily in drama and his story is fascinating how he broke in. And we're going to get to please welcome Mr. Alex Berger and he's worked on Alex. Let me introduce people to some of your amazing credits here and you can fill in in, I'm just going to go for some of the highlights. Well, I know you did Kil, you co-created Glen Martin d d s, which is the show. My partner ran Covert Affairs, the Assets Franklin and Bash the Mentalist Blind Spot. And currently you are a writer on Quantum Leap, so you got a lot of drama. Burger. Welcome, welcome to the podcast.Alex Berger:Thank you so much for having me. It's, it's good to be here. I've been enjoying listening to it.Michael Jamin:Oh man, I'm so happy you're doing this. Let's talk. Let's start from the beginning because I think it was so interesting about your background. So many people say, how do I get a showrunner attached to sell my show? And you kind of sold your show, your show, Glen Martin, d d s. You were pretty new to the scene and then you got a show on the air without much experience. So how did that happen?Alex Berger:Yeah, I'd been out here for probably five or six years and I'd had a couple of staff jobs. I'd had a job doing a sort of comedy variety show before that. That was a very sort of small potatoes thing. But that came about because Steve Cohen Cohen, who I know you've talked about before, was a friend of mine and had mentioned this idea that Michael Eisner had for a long time about a family who traveled the country in an rv and they had writers attached for a long time. Tim and Eric of Tim and Eric Show were attached to write the thing.Michael Jamin:I didn't know any of this.Alex Berger:They got a 60 episode order on their other show, and so they had to back out. And so Steve would come in and pitch a take. So I came in and I pitched a take, and Michael Eisner, who had just left basically running Hollywood, he was running, Disney had just started a company, and he had just had larynx surgery, so he couldn't talk. So every time I pitched something, he had to write his response on a computer, which was fun, but a little challenging.Michael Jamin:But what was the idea, how much, when you pitched your take, what did they give you?Alex Berger:He had said Family lives in an rv. Basically it travels the country and animation. And he had more than that. I mean, it is been almost 20 years, so I've forgotten. But he definitely had a real idea. He'd had this idea for 30 or 40 years that he'd wanted to do over the years at Disney and he wasn't able to do it. So he had a pretty formed idea of what he wanted the show to be. ButMichael Jamin:Was it dentist you came up with that throughAlex Berger:Development? I mean, that was sort of like Steve and I, Steve became sort of a, and it was almost like an incubator instead of a typical situation in which I would come in and pitch a show, he kind of brainstormed with me and created the ideas with me, and we kind of toyed with a couple of different versions of it and came up with the idea of him being, why is he on the road and what's he driving in? And came up with the idea of a dentist that was in his mobile dentistry unit and sort of built some of the characters around that. And it kind of kept getting added to,Michael Jamin:Because all that stuff became comedy gold throughout the seasons. We were like, what kind of idiot has a dental car? Who does he think, what kind of clients? How does that work? And it all became fodder for the show,Alex Berger:For the circus at one point. And it was doing dental work on animals, if I remember correctly. But it was definitely, I didn't think I'd seen that before. So that was kind of one of the things that was fun to explore.Michael Jamin:And so you came up with all the, well, at least the dynamics for the characters, because what I remember, we watched the, I dunno if it was a pilot or presentation that you saw, but yeah, the characters you invented were funny. You had the dumb kid, he had the daughter and she had an assistant, which we hadn't seen that before.Alex Berger:It was definitely even more than other experiences I've had in development, very much a team effort. And then we had sort of come up with a script, and then I think you had Eric Fogle on the show before, and Eric came on and was also sort of added his vision both in terms of look and feel and tone and story, and was digging in with us. And then Michael on his own, paid for an eight minute pilot presentation. So they made an eight minute stop motion, basically the first act of the show. And he took it downtown and took it everywhere. And we ended up setting it up at Nick at night with this 20 episode order. And I think that's when you guys sort of made the picture, right?Michael Jamin:So you started, I'm curious. It's funny how I never even asked you about this. So at that point you had to meet showrunners for a show you created, which we're going to talk about a second. Did you meet a lot of showrunners?Alex Berger:I met none of the showrunners. I met you guys after you'd been hired.Michael Jamin:Oh, really? I wonder how many they had. SoAlex Berger:The tote system was, they wanted to sort of make that decision. And so they met with showrunners and had decided they were very much immediately captivated by you guys and were really excited about, and I don't think it was a pretty quick decision. And then they had me come to meet you guys.Michael Jamin:Now the thing is, I imagine you were very easy to work with and to your great credit, I always felt like you just turned over the keys and it was like, okay, here you go. And it was never an ego thing if you, but was it difficult though for you?Alex Berger:I mean, I can give you the answer that I was thinking at the time, and I can give you the answer that I have in retrospect. I think at the time I felt like, I don't know. It's a good question. Let me give you the answer in retrospect first, which is in retrospect, I know that I was inexperienced to know, especially about comedy writing a lot and certainly about running a show. I think at the time I was very happy for you guys to come in and run it. And exactly as you said, take the keys. I think that I felt intimidated because it was a room full of really seasoned comedy writers. I knew I was one of the least experienced writers on the show, and yet my name was on the show. So it was a kind of a weird game. It's not like a typical situation in which a more experienced writer comes in, but they've never run a show.So they pair them with a show runner and then they're really a triumvirate or something. I definitely felt like experience wise and sort of comedy chops wise, I was with folks who'd broken 2, 3, 400 episodes of cool sitcoms that I really admired. So I felt like I wanted to contribute from a character and comedy perspective as much as I could, but I also felt like I was learning on the fly that I had my name on. So it was definitely tricky to sort of figure that out. But you guys were great about never feeling like you were stepping on toes, and you always would consult with me, especially at the beginning, but it was very clear that it was your show, but it was also that you wanted me to sort be on board with what we were doing.Michael Jamin:And I mean, it was a fun room. I mean, maybe I shouldn't speak for you. I thought it was a fun room. Yeah,Alex Berger:Yeah, it was great. I mean, it was like I'd never been in a sitcom room before. I mean, I've been in a couple of drama rooms as an assistant and a writer, and those rooms are more buttoned up and a little more like, let's come in at 10 and start talking about the story at 10 15. And there's definitely bits and sort of digressions, but a comedy room has a certain energy that you can't replicate. And it was really fun to be in that room. And I've been in rooms that are a little bit like that since, but never anything that was, I laughed quite so much, just had it.Michael Jamin:I was going to ask you about that, right? I haven't worked in any, we've done dark comedy, but never drama. And so I'm curious, you've done a lot of drama. So are the rooms, are they really what you're saying? Are they buttoned up? Are they sur because it's still a creative shop?Alex Berger:It's fun. I would say this is based on a very small sample size of my two years in Glen Martin. And then just listening to comedy writers talk, I think comedy writers find the genius through procrastination. I think that it takes the tangent sometimes to get you to the gold. And I know you guys, especially more than other comedy writers I've known, were very focused on story structure. I know from your time with Greg Daniels and Seaver had bought a book at the mall,And it was very important to you that the story felt like it had load-bearing walls, but it did feel like more free flowing and there were room bits and there was a whole sitcom inside that room of three characters, both people in the room and people we were looking out the window at. So that's definitely different than other shows I've been on, other shows I've been on, it's a little more like, all right, let's get to work. And especially these days with room hours have gotten shorter and so on less. And I've been in Zoom rooms for the last couple of years, so it's even less of a roomMichael Jamin:Basic. Oh, so gotten, haven't gotten, your last rooms haven't been in person either. YouAlex Berger:Haven't? Yeah, I've been in three Zoom rooms since the pandemic.Michael Jamin:It's funny you mentioned because comedy rooms have room bits and our offices were on Beverly Hills and Big glamorous street in Beverly Hills. We would look out the window, and you're right, we would create stories when we weren't making stories for the tv, we were making stories for the regular characters that we would see outside our windows.Alex Berger:Yeah, I mean truly. I know you had Brian and Steve and a couple of other people from the show on. I have not laughed that hard in a room.It was a blast. And I also think there's value to it creatively. It's not wasted time. I think it's just a different way of getting to the process. I remember hearing once of, I can't remember which one, it was a Simpsons writer who would be on draft. He had two weeks to write his draft, and he would past around the fox lot for 12 days and then write the draft in the last two days. And someone asked him, why don't you just write the draft for the first two days and then be done? And he said, because I need those 12 days of pacing to get me to the last two days. And I think copywriter are more prone to that kind of way of thinking. I think.Michael Jamin:See, see, I don't remember that way always. I always get nervous when that story's not broken. I always want to crack the whip seavers more. Like that's, but to me, I was always,Alex Berger:When you were in the room, it was more like, let's stay on story. And when see, it was a little more. And then when you guys were both out of the room, it was even more free flowing, which is not to say that all of the eps weren't trying to keep us on story, but its like it's was a silly show about silly characters and absurd, every premise of every episode had a massive degree of absurdity to it. And so you wouldn't be too serious in a room like that, or you wouldn't be ready to make that kind of show. I mean, at least that was my take on it.Michael Jamin:I would describe that as a writer's show. It was always about what made us laugh and not the 15 year old kids who shouldn't be watching or the 10 year old kids. I knowAlex Berger:It was either Brian or Steve who said it was a show with a demographic of nobody.Michael Jamin:Yeah,Alex Berger:The demographic of the 15 people in that room for sure. We all really enjoyed watch them. They're all really funny. They'reMichael Jamin:Funny.Alex Berger:It was on the wrong network.Michael Jamin:Oh, for sure. Steve and I were horsing around procrastinating on some work we were doing, and for some reason we stumbled on, maybe it was some guy's YouTube channel where he was talking about Glen Martin and this guy nailed it. It was like he was in the room. I don't know how he knew every, it seemed like he knew where we messed up. He knew where we got it. Right. I was justAlex Berger:Amazed. I saw that video and I was like, I can't believe somebody watched the show. I thought that literally, I could not imagine that this guy was that deep into the show.Michael Jamin:Oh no. I get a lot of comments on social media like, oh my God, you ruined my childhood. Really? Like you gave me nightmares.Alex Berger:My wife's cousin is like 25 or 26, and he's dating a girl. And on the second date, he asked her what your favorite shows are. And the second show she said was Glen Martin, d d s. And when he said, oh, my wife's cousin wrote that show, she was instantly smid with him. She gave him so much gr.Michael Jamin:Oh, that's so funny. I mean, it was a wild show, man. Too bad. That was a shame. We were going to spin it off too. We all, oh yeah,Alex Berger:Stone spin off right behind. OhMichael Jamin:Yeah, there you go.Alex Berger:The Drake Stone. Yeah,Michael Jamin:All my dolls. Yeah. As soon as they went under, they go here. Here take some. You must have some dolls, right? They give you some dolls. I haveAlex Berger:Alen Martin Puppet and an Alex Burger puppet, and my kids constantly want to play with them and I won't let them.Michael Jamin:Who were you in the show? I don't remember what kind.Alex Berger:I think I was a Greek God carrying somebody at some point in some fantasy sequence and they would reuse the puppets. That was what was so funny. So I think that was one thing, and then they reused me as another thing.Michael Jamin:And did you ever get out to Toronto to see theAlex Berger:No. Did you go upMichael Jamin:There? Oh yeah. We went once and Fogel and I had a very romantic dinner together on top of the Toronto Space Needle or whatever they call that. I sawAlex Berger:Them shooting the pilot presentation, which they shy in New York. It was incredibly cool, but just I've always found set to be tedious in general, but I can't imagine how tedious it must be to do stop motion.Michael Jamin:Do you go, oh, I think they wanted to poke their eyes out, but do you go on set a lot for dramas? Yeah. Is it just your episode or what?Alex Berger:Depends on the show. I did this show called Blind Spot for five years, and basically we would have a writer on set for every episode and we would try to make it your episode, but oftentimes it was the writer who wrote the episode had a baby and is on maternity leave or they can't go to New York at this time or if they went to New York and they wouldn't be back in LA for the breaking of their next episode. So we tried to shuffle it around a little bit and it's trickier when it's out of town. You've got to make people have life that they've got to plan around. But you're going for three and a half weeks to New York.Michael Jamin:Are most of your show shot out of town?Alex Berger:It's been mixed Quantum Leap, which is the show I'm on now is Shot Year on the Universe a lot. Blind Spot was New York Covert Affairs, which I went to a lot of episodes for, was in Toronto, which was a lot of fun. And then I've had a couple Franklin, imagine the Mentalists were LA and it's been sort of a mix.Michael Jamin:How many day shoots are most of your shows? Dramas?Alex Berger:It depends on the budget of the show. Blind Spots started as nine and then was eight and a half and some tandem days and by the end was eight. They keep pulling money budget every year. Quantum Leap I think is eight.Michael Jamin:Interesting. And then what do you, as a writer on set for comedy when on set, it's like, I want to make sure they're playing the comedy right, making jokes, but what are you looking for that the director isn't covering?Alex Berger:Well, first of all, it's a lot of times if you have a great director, it's a team effort. So the director is obviously in charge of the set, but if you have a director who's collaborative, they're asking you, do you feel like that works? Or which take do you feel like was better? It's blocking work for you and your main job is just to make sure that you're the protector of the script and a protector of the story. And it's not like, excuse me, you didn't say the word there. Although there a Sorkin set, they will keep you word perfect, but it's more like, actually, I know you want to change that line. It doesn't feel comfortable in your mouth, but it's really important that you say this. It's going to set something up that we're doing in three episodes, or Hey, just so you know, when you're saying this to this character, you're actually lying and you're going to be revealed to be.It's a lot of making sure that everybody knows the episode up to the episodes we're leading to. And then, yeah, there's still a lot of shows I've worked on have a fair amount of comedy. So you're still making sure jokes, land and actors, this doesn't feel comfortable in my mouth. Do you mind if I say it like this? Or if you work with an actor who wants to have a little bit and wants to assert a line, sometimes I need to be the one to say, okay, well then that means that this person needs to say this line after to keep a joke going.Michael Jamin:Right? Right. It's interesting, and especially when scenes are shot out of order, it is easy for actors to lose track of where they are in the story. So that is theAlex Berger:Part I really like is Prep, because I've worked on a lot of big shows, big action shows and into you fly to New York with your script in hand and you're so excited. And then the first thing that the line producer tells you every single time is, we're $400,000 over budget. Before you even say hello. The fun part to me is the puzzle of how do you protect the story with the constraints of we can't shoot this in nine days. I've walked into episodes that were supposed to be seven day shoots, and the board came out and it was 10 days. And so you've got to figure out, okay, we can move this back into the house so we can take this care, we can do this here. And actually the shootout that happens after the bank robbery, maybe that happens off screen, stuff like that.Michael Jamin:So are you doing a lot of rewriting on set then?Alex Berger:It's usually in prep.Michael Jamin:Okay. In prep,Alex Berger:By the time you're on set in a drama, you're pretty close to set to go unless something changes or an actor nowadays, if an actor gets covid, then all of a sudden you're taking that actor out of the scene and rewriting the scenes and why are they, that kind of thing.Michael Jamin:And then are your showrunners ever on any of these shows ever on set? Or are they always sending proxies? Yeah, itAlex Berger:Depends. It depends on the show. So typically on the shows that I've been on, the showrunner, the showrunner was there for the pilot. They're usually going to go for 1 0 2 just to, it's been four months and they want to reestablish a tone and kind of be a leader, and then they'll try to pop in and out a bunch during the year so that it's not like they're just coming when there's a problem. And then when the show's in la, the showrunner will usually try to pop by after set, especially if before the Zoom Room thing, the writer's room would wrap at seven, the production's still going, so they usually come for the last couple scenes, something like that.Michael Jamin:How many writers are there usually on these hour shows?Alex Berger:I mean, I'm curious to hear what your answer is for comedy too, because it's really shrinking in the beginning. I mean, Glen Martin was what, 10, 12, something like that, including if you're Partners is too, and then it's gotten down to 10 and then eight. And then I think Quantum Leap were about 10, which is a big staff, but the Netflix show I just worked on was six. The show, the Assets that I did, which was a limited series was five. And this is a lot of big issues of the strike is these rooms are getting too small. What are the root comedy rooms like now? Because I know there's been, it's like sometimes it's like 25 people in a roomMichael Jamin:Well, on animation, but I think those days are kind of overAlex Berger:Or big network sitcoms aren't there.Michael Jamin:I don't think they're that big. I don't think there aren't big network sitcoms anymore, but I don't think, I mean it was never,Alex Berger:What was the Tacoma room?Michael Jamin:Oh, it's probably eight or so. But that's a small cable show,Alex Berger:But they're all small. I think they're all like that now. Even the network comedies, unless you're Abbott, they're all 13 or eight orMichael Jamin:Yeah, I think even just shoot me back in. This was in the day, I want to say maybe 10 or 12 times. Oh really? That's it. Yeah. Yeah, Roseanne. Roseanne was famously Big. Fred had a big staff, but that was Roseanne. It was a giant show.Alex Berger:And The Simpsons, I know there's these shows that have the two, I mean the drama rooms, there's a bunch of writers who having a big staff and then they like to split the room in two and break two episodes at the same time. A lot of showrunners actually want a small staff and hate having too many voices. I like a big room. I like eight to 10 people because you're always in a drama room, especially you've always got one writer on set, two writers on draft sometimes set, so there's three or four people gone every single day. So your room thins out real fast, and I think you need at least five people to break a story.Michael Jamin:Oh yeah. Now the thing is, you're a funny guy. You have a good sense of humor. You started in comedy, but do you miss at all comedy or do you feel I'm a fish in water with drama?Alex Berger:Yeah, I was in over my head in comedy, I be the guy who can do a little bit of comedy on a drama staff than that guy in a comedy room who's mostly focused on story. I mean, I felt like, obviously I wrote Pilot and I felt like I had a voice on that show, but it was clear to me that this was not the type of show that I was going to be thriving at. I really enjoyed it, but it was like just comedy wasn't my thing. I love writing on a Funny One Hour, Franklin and Bash, which was a legal show, was essentially a comedy that had the stakes of a drama, but the tone of a comedy. And I love because I like being able to go to the serious scene to have the emotional he, to not have to have a joke at the end of every scene. And then I've written some pilots and stuff that have a fair amount of comedy, but I always want, and I've written half hour dramas. It's just I want the pressure of three jokes a page and beating a joke and beating a joke and beating a joke. It just wasn't my pace.Michael Jamin:Well, I got to say, I think it was probably the last script you wrote was you and Pava teamed up to write a Christmas episode. Oh yeah. And you guys crushed it. I remember coming back, you guys turned it in, whatever you guys did together, were like, you guys, you're going to do this together. Probably because PA wanted to write a musical. I was like, Papa, I'm not writing a musical. And he probably did, but you guys turned in a great draft. And I was like, if that show had gone, I'd be like, I remember thinking, well, these guys are going to be stuck in a room together for a long time. Because yeah,Alex Berger:That was a lot of fun. That was a lot of fun. And it's funny, I want to show my kids the show. They're really young and there's not a lot of episodes that are appropriate for little, that one's pretty tame. That one's pretty tame. We did a rom-com parody sort, the Wedding planner parody, and then we did a, what was it? I forget the other ones. It was a lot of fun.Michael Jamin:Oh yeah. What is nutty stuff? So now the dramas, I'm sorry. When you go off to write your own pilots, when you're developing your own, is there a unifying theme tone that you like to pitch? Yeah,Alex Berger:I would say two things. One is fun. I don't want to write some things super dark. I don't want to write. I like watching shows like that. I watch Last Of Us and The Leftovers and a lot of shows that are real bleak and I really enjoy them. But when I'm living in the world for 12 hours a day, for eight years, I want it to be fun. I want to have a certain amount of lightness to it and sort of levity to it, which is not to say it has to be a comedy, it can still be a drama. There just needs to be something fun about it. And even when I'm writing on a show like Quantum Leap, we've had episodes that are really serious, but the ones that I do, I try to make them, I did an airplane hijacking episode, but I tried to make it fun and sort of like an eighties action movie. And then the other thing I would say is sort of optimism. I try to write something that makes you think that the world is going to be a better place. I've written a lot of political shows and politics is pretty dark these days. One, my take is sort of, but if we do this, we can all get through it. None of those have gotten on the air. So maybe that says something about what people feel about optimism these days.Michael Jamin:Well, it's also a numbers game, but how do you feel, let's say you were given the keys to run your show, got on the air somewhere, eight episodes on the air. How do you feel? Feel about that? Yeah, let's do it. I'm ready. Or like, oh my God, what did I get?Alex Berger:Both. I mean, I did the Writer's Guild showrunner training program a couple of years ago, which is phenomenal. WhatMichael Jamin:Was that? Tell me all aboutAlex Berger:That. It was great. But so essentially it's a six week every Saturday, all day, every Saturday college course on how to run a show. And it's run by Jeff Melvoin, who's a really seasoned showrunner, and Carol Kirschner, who's been working in the business forever. And then they bring in John Wells is usually a big part of the program and they bring in really heavy hitter showrunners all the way down to people who were in the program last year and then got a show on the year. And they're like, bill and Ted when they come back at the time Machine and Bill and Ted's, and they're like, you're in for a crazy journey. And so it's really cool to hear from all of those people and they focus one day is on writing, one day is on post one day on production. And what I learned from that was having been on staffs for something like 250 episodes of tv, I've learned basically all the things you can do in terms of book learning to run a show.But the last 20%, you can't learn until you're there. Sort of like if you read a hundred books about swimming, you kind of know how to swim, but if you dropped out of a helicopter ocean, you're going to have to figure it out and you're going to be drowning while you're doing it. And literally, I don't know if this was your experience when you guys had it, but every other show I've talked to says nothing fully prepares you for it. So I have a couple shows in development right now, and if you told me that they were to go, I think the first feeling would be utter terror and like, okay, let's do it. Let's go. This is the time to do it. And I've run a lot of writers' rooms and stuff like that, but I've never actually had the keys to the castle, soMichael Jamin:Interesting. Right. Okay, so you've run the room, you've been breaking stories, you're in charge of that. Now time in terms of tell me about the short run is problem You apply, how do you get in?Alex Berger:You have to be recommended by somebody and applied and they want someone, they're trying to find people who are the next shows up. And so people in the program have a pilot that's already been shot and that's already ordered a series, but they don't know how to run a show. You people who've worked in features or worked in writing novels who are transitioning into television. So all the production stuff to them is totally new. And then you have lot of people like me who sort came up as staff writer, story editor and just worked their way up the ranks who've been around for a while, who just haven't taken that next step, who want to know more about what it's like to run a show. I loved it. First of all, it was like being in college, man, it was just absorbing material and taking notes at a frantic pace and reading that they recommended. But it was just so interesting to hear. It's like this, your podcast is so great because you could hear people speak, but these are people who are specifically targeted at the demographic of you're a co eep and you're about to run a show. Here's what you need to know.Michael Jamin:And so you don't pay for this, right? Or youAlex Berger:Do, the guild pays for it and the studios pay for it. It's a phenomenal program.Michael Jamin:And then it's so interesting. And then, alright, so then how big of a cohort, how big of a group isAlex Berger:It? 30. And it's a bummer because these days it's been on Zoom and so you don't really get to the year. I did it in 2017 or 2018. And so I got to know those folks and they were sort of, yeah, again, my cohort and three quarters of them are running shows and everybody else's EPS or eps, running rooms. It's a very fun dynamic to have a group.Michael Jamin:What are they teaching you? I'm so curious as what they teach you. I bet there's stuff I don't know. And we've done three shows. What are they teaching you about post that you were surprised?Alex Berger:The overwhelming, the first thing they tell you when you walk in the door is quality scripts on time. The bug that they gave me, the showrunner program, quality scripts on time, and that was basically the theme of it was being efficient, being and knowing when to cut your losses and say move on. And knowing when to say this isn't good enough. And so for posts, it's like, are you the type of person who wants to be in post for 10 hours a day? That's fine, but then you need to have somebody who's going to be overrunning the room, or do you want the writer who produced the episode to do the first and the second cut? And then you do the last cut and they bring in editors and they talk, editors tell you about what they want to hear. A lot of things that I'd been in post a lot before I was in that room and then editors were telling me things that I was doing that annoyed the crap out of them. And I was like, oh, little thing like what? Snapping, when you say cut there,Michael Jamin:Oh,Alex Berger:That annoys.Michael Jamin:That annoys them. It's like a dogAlex Berger:Thing. Yeah, exactly. And a lot of editors, some editors want line notes. Some editors want you to say, this scene doesn't feel funny enough, I'm not getting the comedy. And then they'll say, okay, let me take another swing at it. And you need to feel like, is this the type of editor that wants to do it on their own or that type of showrunner that wants to do that. But broadly speaking, it's essentially a leadership training program. The nuts and bolts stuff with all stuff that I had seen up close being a lieutenant on a show, there are a lot of little tips that I picked up here and there and when I get a show, I will go back to my notebook and frantically look through it, but it's mostly about how do you lead, how do you manage, how do you fire people? How do you delegate? How do you tell people that they're not doing a good enough job but give 'em a second chance? Interesting. They bring a lot of directors in, stuff like that.Michael Jamin:What was the last thing youAlex Berger:Said? How to interview a director? How to interview director. A big director came in and talked to you. Here's some questions you should ask when you're interviewing. Here's a great one that they said. They said, when you're interviewing a director, ask if you're the showrunner and you're interviewing somebody who's coming in to do an episode of your show, ask the director, do you cook? And if so, are you a person who uses a recipe or do you like to improvise? And there's no right answers to that, right? But if you cook and you're the person who is going to measure out the exact number of grams of flour and the exact number of grams of sugar, that's kind of how you're going to approach directing. You're going to come in with a shot list, you're going to be going to stay on time, you're going to make sure that you move the set along. And if you're the person who likes to kind of throw a little salt to throw a little sugar, you might be a little more improvisational. I say you might be a little more, more. There's little things like that that are like how to dig in on this with those people.Michael Jamin:Now I'm learning. What else can you share with me thatAlex Berger:Might be helpful? I can get my notebook you,Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.I remember when we're running Glen Martin, which is the first show we ran a lot of this, and you probably weren't even aware of this, A lot of it was me. If I was at the board or whatever, it was me like, okay, I want to make sure I'm not losing the room. I want to make sure everyone, no one's losing focus. And I think part of that was make a decision even if it's a bad one because you can lose the room if you can't pull the trigger. You know what I'm saying? It's so frustrating. You guysAlex Berger:Did a good job with that. And then I think that decisiveness, I think is actually one of the most important qualities in the showrunner, but also willingness to admit you were wrong if you made a decision and moved on and then a day later you realize you were wrong. You have to and say, I made the wrong decision. And one of the things I've learned running that I've really tried to do when I'm running a room is if there's an idea floating around that I hate, but it's getting energy and it's getting excitement, I try not to step on it until it either burns out on its own or it's reached a critical mass and I'm like, look, I think this is not going to work, but let's talk it out because there's nothing worse as having come up on staffs. And this is one of the most valuable things when you've been a staff writer and a story editor as opposed to getting your own show as the first thing that happens to you is you know how demoralizing it is when everybody's super excited about something now it's not going to work. It's so demoralizing. Yes, A lot of times you think it's not going to work. You just sit there back and listen for 20 minutes and you're like, oh, actually, you know what? There is a version of this that'll work if I just add this one thing. It's an organism and you're leading an organism and it's very hard. You guys did a great, and you guys are a team, which is even harder because you've got to read each other's minds aboutThis works.Michael Jamin:You bring a good point. I remember one time, so when Glen Martin, I would go, I would direct the actors on Wednesdays or whatever and see would be running the room, and I remember coming back at the end of a long day directing, come back to the room and you guys had made a lot of progress on the script and everyone's excited. Everyone's excited about this idea and you guys pitched it to me. I wasn't getting it. I didn't get it. I was like, I didn't want to shit on it because I could tell everyone was so excited about it. And so I just kept on asking questions just to explain it to me so that I would get on board.Alex Berger:That's a really hard part is and because I've never been the actual showrunner, I've never been the one, I would be like, I'm sorry we're vetoing this. A lot of times what I would do, because I was a number two, was if I hated something, if I left the room and then I came back and I hated something, I'd be like, look, I'm not totally on board with this idea, but let's give it its day in short and let's pitch it to the showrunner. And I would try, when I would pitch it to the showrunner be to not give away which side I was on or to say, look, here's one side of the argument, here's the other side of the argument. But when it's ultimately up to you, it is hard because I always analogize it to in Family Feud when the first four people give their answer and then that last person has to give the final answer and they want to go against the rest of the family. It's a hard thing to do. You're wrong.Michael Jamin:Yeah,Alex Berger:I guess, I don't know. What was that experience like for you? Did you feel like it was like you had to balance? What was your favorite idea versus losing another 10 people's morale?Michael Jamin:It wasn't even about my favorite idea. It was more like I just want to make sure if sea's on board than I trust, I trust him. But it's also like I wish I can remember what the episode was. It just didn't make anyAlex Berger:Sense to me. No, I remember that a couple times. Every show I've ever been on has had that. Every show I've ever, the showrunners left the room, the room gets excited about, something comes back in and it's not what they want, it's just part of show running. The value of having a staff that's been together for a while is the longer the staff has been together, the more you can say, oh, secret and Michael are going to hate this. We shouldn't even this path. Versus early on, you're going down a million paths you don't know. But once you get to know the showrunner, you kind of get to know what they like and what they don't like.Michael Jamin:Yeah. There was another idea that we had in that, I don't remember what we were all on board, but Seaver wasn't on board. It was something crazy.Alex Berger:Oh, I think it was the radio episode and there was something about wires or no wires, and they weren't recording the music the whole time,Michael Jamin:Who wasn't recording music.Alex Berger:Glen went to, you got to cut this out of the podcast.Michael Jamin:No one's going to care. ButAlex Berger:It was like there were a lot of room bits that I think that's the problem with room bits is they take on a life of their own and then they're an inside joke. And if the runner comes in and there's a room bit in the script, it's an inside joke. It just doesn't work. You weren't there for the beginning of it, which is a good sign that it's not a good story because the audience wasn't there for it either. But I think it was Glen becomes a radio producer named Stacey Rappaport.Michael Jamin:Yes.Alex Berger:His wife was also named Stacey Rappaport. Yes. And I know he works for Stacey Rappaport. And anyway, the whole time it was the, you guys were doing the Brady Bunch, Johnny Bravo episode basically as aMichael Jamin:Yeah,Alex Berger:Remember the debate was like, were they actually recording by the way? I will say again, you can cut this out early, but it's not relevant at all. But I grew up watching the Brady Bunch for whatever reason, even though I'm 10 years younger than you guys. And that was number one reference that you guys talked about. So I did feel like at least I got those references.Michael Jamin:Oh, it's so funny. I remember that. I remember because I think I was the one who pitched the name Stacey Rappaport.Alex Berger:I remember because I had a friend named StaceyMichael Jamin:Rappaport. Oh really? That's so funny. It was just a man's name that the joke was that Glen was going to choose a new identity for himself and he chooses a woman's name.Alex Berger:What have you gone back and just watched full episodes of the show?Michael Jamin:No. And everyone, people want to know about. People ask me that a lot. I don't touch. I should. I love that show, but I don't touch anything that I've written. I just don't. It's over and I don't know why, but you doAlex Berger:Just not even about Glen Martin. That is an interesting thing about writers is whether they want to go back. I go back and watch stuff and I hate it because I'm like, but because Glen Martin was not really mine. It was such an organism of the room. I laugh when I go back and watch it except the one I wrote, which I don't like.Michael Jamin:Oh my God. We had some fun in that show. But okay, so when you take, I have so many questions for you. When you were young, when you were a kid, did you want to be a writer? I know TimeAlex Berger:Know was a profession. I loved television. I was a youngest kid. I was raised by the Cosby Show and the Brady Bunch and G I F. And my idea of a family was basically what those families were probably to go back, rethink the Cosby one. And then even in college, I interned at Saturday Night Live and late night with Conan O'Brien back when he was on, which were fantasy camp, especially the s and l one was truly a dream come true. And it still didn't occur to me that it was a profession that I could go do. I was go to law school and then a buddy of mine, we were in Jerry's Subs and Pizza, which is an East coast person you probably remember. And we were sitting there talking about what we're going to do and he's like, like I said, I'm going to go to LA and be a writer. And I said, how do you do that? And he said, someone writes this stuff, why couldn't it be us? And it just gave me this epiphany of like, oh yeah, everybody who's out there as a writer at some point wasn't a writer and just got out there and learned how to do it. And so we all went out together and we kind of got our start.Michael Jamin:Did your friend become a writer too?Alex Berger:Yeah, we all ended up creating a show together. So the earliest thing that we did was we were on the high school debate team together and we walked into National Lampoon, which at the time was doing low budget cable programming, and the head creative guy there just made fun of my resume the entire time and made fun of debate. And then by the end of it said, there's a show here. And so we came, pitched him a show called Master Debaters that was a debating society, and we ended up getting to make, it was like our film school. I knew nothing about how to make a TV show and that one, I was throwing the keys to the castle. I was casting it, writing it, producing it. I was in it, posting it with every crisis. But it was so low stakes because the budgets were tiny and they were in syndicated cable stations and college campuses. No one would watch me. So I got to learn by doing and I loved it. It was great.Michael Jamin:Interesting. And then, all right, so then you became a writer and then you just kept on writing. I guess mean it's not an easy path, but you've made a really pretty good name for yourself over the years.Alex Berger:Yeah, I mean, thank you. It was a winding path when I came out, I thought for a minute I might want to be a development executive. I read a book by this guy, Brandon Tartikoff, who used to run N B C called The Last Great. It was like basically made it out to be, you're sitting in your room and the smartest people in the world come and tell you what TV show ideas they have, and then you pick the eight of them and pick the order in America Shears. And so I worked in development for a minute and I was not what it was like at all, and I was miserable and I was jealous of all the writers who were coming in. So I said, that's the job I want. And so I quit. WhatMichael Jamin:Was it I didn't know you worked at VO for? I wasAlex Berger:Assistant. I was an assistant in development at N B C.Michael Jamin:What was it like then?Alex Berger:It's very busy and not as creative as I wanted to be. I actually really enjoyed the conversations I had with the executives when it wasn't time to do my job and it was just time to talk about tv. But the actual job I was doing, I was terrible at, I mean, it was a lot of keeping track of who was calling, and I'm an absentminded first, butMichael Jamin:That you're an assistant. I mean, surelyAlex Berger:You, but it's a long time before your branded Tartikoff, right? Almost everybody else under branded Tartikoff has a lot of business responsibilities to do. And it wasn't, that's not how my brain works. My brain needs more free time. I think if I worked at a place that was smaller that was incubating three or four shows, I probably would've enjoyed it more. But we had 50 comedies and 50 dramas in development, and I was trying to get of all of them and who was calling and the letterhead changing and all this stuff. And it was just like I was not good at it. I mean, my boss even said to me one day, he said, you're a very smart guy. Why are you not very good at this? And we had a nice conversation about that. But the main thing was the writers that came in that I was, can I get you a coffee?Can I get you a tea? Can I get you a Coke? I was so jealous of them. Door would close to the pitch, and I just wanted to be in there listening to. And so I realized I should follow that. And so I didn't last that long. I left like eight months and I quit. I at the time had been, I think had a couple of writing jobs, like smaller writing jobs lined up that show Master Debaters had been optioned of VH one. So we were writing a pilot for VH one and a couple of their small writing jobs. So I went to go do those and then got back in the beginning of the line as an assistant, I was a writer's assistant on a show, and then I was an assistant to a showrunner and then I stop.Michael Jamin:So it's a brave move for you to leave that behind in.Alex Berger:It was definitely, I mean, I had some stuff lined up, but it was definitely a risk, but I just knew it wasn't the right, I was in the wrong place. But it's interesting, it was an incredible learning experience. I knew how development work from the inside, and I still think I know more about what's actually going on at the network than a lot of my peers because I was on the other side. And then the folks I met who are the other assistants to the other executives are now all executive vice presidents of networks or presidents of networks or I met my agent because he was an assistant to an agent that used to call, and then he signed me while he was still a coordinator. One of the people on that hall now became the president of Fox, another one who I've dealt with a lot became the president of N B C. I met a ton of great folks through that who have become friends and allies over the years, and I sold Joe to,Michael Jamin:But okay, so it's probably changed lot since you were in assistant that was probably 20 somethingAlex Berger:Years ago, 19 yearsMichael Jamin:Ago. So what is it like then that we don't understand?Alex Berger:I think the main thing that I didn't understand, and this has for sure changed and certainly in cable and streaming is just a volume. They are not spending as much time thinking about your script as you are by definition. But in development, there are literally 40 to 50 scripts at least back then on both on comedy and trauma. And so my boss, who was in charge of both has a hundred scripts to keep track of. So he was very smart and could make a judgment very quickly about a script, but he would read it once, sometimes read it again, and then he was making a judgment about whether it was a show. So as a writer now I know they're reading fast, they're reading it at three 30 in the morning, or they're reading it on the plane, I've got to grab attention fast, I've got to hook you in. I cannot lean, oh, the great twist, wait till the Great Twist. It's on page 55. And when I'm pitching, it's the same thing my boss said to me, I hear 300 pitches a year. I typically hear about five ideas I haven't heard before. The other 95 I've heard before. It's about take, it's about the writer, it's about their passion. And so when I go and pitch an idea, the substance of the idea is the second most important thing. And my connection to it and why it has to be me is the first most important.Michael Jamin:And that's the hard part. I feel that's the hard part because usually you think of an idea, you can't really, I don't know, you're a hundred percent right. They always, they want to know why are you the only one in the world who can write this idea truthfully? It's like a lot of times you're not a lot of times like, well, this is the characters we created. It's a funny situation, but there's probably a lot of people who could write this idea.Alex Berger:I think that what I have seen, and I've never done this, but I know folks who have is, I knew a writer once who his sort of why me paragraph was, I just run a show for a bunch of years. I came off of running that show and I didn't know what I wanted to do next and I had an identity crisis. And so it got to the idea of identity crises and here's a spy show, an action spy show, but at the center of it as a character going through an identity crisis. So it's notMichael Jamin:GrewAlex Berger:Up and my dad was a spy, and therefore sometimes it's emotional or sometimes I had this interaction with a guy on the subway and I couldn't stop thinking about it. And it led me to this show. And sometimes by the way, you retrofitted sometimes you already come up to the show and then you've got to come up with that first paragraph that's retrofitted and sometimes often it feels organic even though it was come up with thatMichael Jamin:Word. That's so interesting because I'm glad you said that to me. It almost sounds, it gives me some soce knowing that, because a lot of times we'll say, okay, this is why we're the only ones, and this is from seabird's idea home life or my home life, and then it doesn't sell. And you're like, well, I don't know what to do now. But you're actually broadening it out into a thematically, it's more personal to you. It's not necessarily a dynamic. It's more like,Alex Berger:Here's how I think about it. I think that, and I could be wrong, and by the way, it's different in a comedy because you've got to make 'em laugh in a comedy, and I know certain comedy executives don't laugh, but for the most, if you're funny in the room, they're thinking, okay, I want to be in business with these pets, but in drama, are there twists and turns? Am I hooked on this? Is this going to fit with something that we have on the air? Do we have something similar? But I always think what they're going to remember when they've heard six, they hear six to eight a day, and then at the end of the week they go tell their bosses about the ones that they bought. So what they're going to remember is, oh my God, you'll never believe the story this guy told about the time that he was held hostage on the subway, or you'll never believe that, or a cool twist or a cool character. They're not ever going to remember the third beat of the pilot, or when pitch episode ideas, here's soMichael Jamin:Interesting.Alex Berger:I think you need that stuff to be in there, but what they're going to remember, it's like when you walk into a house, when you're looking for a house, you remember, oh, I was dazzled by the kitchen and the master bedroom had the fullest bathroom and yeah, yeah, it had five bedrooms and five baths, which is what we need. But it felt like this when I walked in. It's like, how do they feel? That's another, I'm sorry to ramble, butMichael Jamin:No,Alex Berger:For drama. I think in a pitch, if you can make the executives feel how the show is going to make them feel, that's a successful pitch to me. Comedy's a little different, I think. ButMichael Jamin:Interesting. I feel like I'm learning a lot from you actually, because I mean, honestly, we'll sell shows and we'll not sell shows.Alex Berger:We're learning all that time from you guys for 40 episodes on the murder.Michael Jamin:But a lot of this is, like I said, we will sell a show or we won't sell a show, and I won't know why. I don't know. I'm not sure why this one sold this one, the other one didn't sell. I can, but that'sAlex Berger:Why I really don't like Zoom pitches because you can't. I love, that's actually my favorite part. I think it comes from, like I said, I was on the debate team in high school and college, and I loved trying to persuade someone who was not necessarily on my side at the beginning that I'm right. And I viewed every pitch as a miniature debate. I'm debating against the person who says, don't buy this. And I love the feeling of like, oh, I've got them hooked, and they're now, they are going to buy the show as long as it continues to go on this pace. And I hate the feeling of, I think they've checked out. And actually when I've memorized a pitch, when I think they've checked out, I'm talking, but my internal monologue is, well, I guess we didn't sell it to Fox. All right, well, if we can sell it to Fox, we can go to a B, C. Because I'm sort of like, I've moved on.Michael Jamin:How much off book are you have notes or not?Alex Berger:I've developed this method that I got from this guy, Martin Garra, who I've worked for eight or nine years for some blind spot, and now on Quantum Leap, it's different, but I love it, which is, it's different on Zoom, but when we go back to in-person pitches, what he does is he brings in his laptop and he puts it on the table in front of him and it acts as a teleprompter. And so he's looking up at you making eye contact and occasionally looking down. And then he is got a remote that flips page to page and the script is there word for word. So if you're like, oh shit, I'm about to get to the part that I always mess up, then you just look down and read for a minute and they know you've written this. It's not like no one is under the illusion that you walked in and RIFed for 20 minutes off theMichael Jamin:Topic. Does he do this in person or on Zoom?Alex Berger:Both. On Zoom, it's so easy because you can have your screen, but in person, I thought, oh, they're going to think it's offputting. But because I was practiced, I got to the point where 70% of it was eye contact and the laptop was there as the security one did.Michael Jamin:And what program is he using? That's a teleprompterAlex Berger:Work.Michael Jamin:Oh, so you're just scrolling. Oh, you're just clicking.Alex Berger:There's this Bluetooth remote that he uses that I was now in my drawer, and it's just you click and it's to the nextMichael Jamin:Page. You have a Bluetooth remote that works on your lap. I didn't even know this such a thing. I'm learning so much from you Burger.Alex Berger:Oh, you know what? I've lost it. Oh, here. Yeah, so it's like a little U S B that plugs into the back of your computer, and then you're just like, you click, click, click and it's, you look like you're giving its head talk it 5% easy. And I actually think in a comedy pitch, it might come off as too dorky, but for a drama it's like, I'm going to tell you a story. I'm going to deliver a pitch. And I wrote it. And the reason I find it useful is a lot of times when you're developing with the pod and the studio and then also the non-writing show runner, so many Sunday night, you're getting notes for a Monday morning pitch and stuff's changed. So if I get to the section that just changed, I might look down a little bit moreMichael Jamin:Interest. So I was going to say, are you going in mostly with pods these days for people who don't know that they're producers on the overall deals at studios, but is that how it works in dramas as well?Alex Berger:I don't think I'm going to show on the air anymore without an entourage. So when I was on Blind Spot, it was produced by Greg Ante and I did a couple pieces of development with him and then also with Blind Spot. I just think there's the business side of it, which is that these networks want to be in business with their 800 pound gorillas and the not. So if you walk in with one of them, even if it's my vision a hundred percent, and it's my personal story, the fact that this brand is behind it really helps. And then I also, I actually enjoy the process of crafting the idea with smart people. I don't want to work with a pod who's annoying and gives dumb notes or a studio who does that. But every pod I've ever worked with, if I'm stuck on an idea, I'll say, Hey, can we hop on the phone for half an hour and work out this story problem? You guys have each other so you can get in a room and hash out a story problem. But I need to talk. I cannot think through anyMichael Jamin:Interesting,Alex Berger:And we'll work it out. Oh,Michael Jamin:So you'll really use them as a resource. It's so interesting.Alex Berger:I mean, this guy, Martin Garrow who runs Blind Spot Quantum Leap, I've developed him a bunch of times and he's a writer.Michael Jamin:Yeah, it's differentAlex Berger:Stuff is acting as a pod. But I can call him and we have such a shorthand, we've broken 150 episodes a week, butMichael Jamin:That's different because he's a writer. He is not, I mean, he's a writer, is writer producer, but he's really aAlex Berger:Writer. So it's Greg Ante. I like working with folks who are on the creative things, and I've worked with producers who weren't writers, but could be because they're a creative, the worst part of that development is when someone gives you a note and they don't realize, oh, that's going to unravel. They think it's two lines, but it actually unravel all. Whereas when you work with people who've made a lot of tv, they're like, look, I know that this blows everything up to do this one little thing, but here's why I think it's better. Or Hey, they gave a huge note. Here's easy fix. It's only two lines.Michael Jamin:Yeah, I mean, that's so interesting. You're absolutely right. There's a huge difference between, I think between working with a producer, producer and a writer producer, because the writers, they just know what's going to unravel everything. I don't know. Yeah, that's ProducersAlex Berger:Are good for like, oh, you know what? Who'd be great for this is this actress. And they make the call and they're good.I find that you find everybody's in this business, they're good at something. Nobody who's come to this business and is just dashing a check. Well, probably not true, but the people that I try to find work with are people who are in this business smart. And even if they're not totally up on exactly what I wanted to do, fix the script, they have something that they're really good at that I want to use. So even if it's, there's one person at this company who's mostly the production person have a really good idea about like, Hey, if we shot this in Buffalo, we could do this.Michael Jamin:Right. Interesting. Wow. I think I've learned a lot from you. Before we conclude, you want to write drama withAlex Berger:Me? Let's go that. Let's talk about drama.Michael Jamin:I think I'm going to get into the drama business with you. I think you're going to be my pod. What advice do you have for young writers? You must have something to Wise to say.Alex Berger:Yeah, I mean, I probably don't have anything wise to say, but I'm happyMichael Jamin:To. Or how are they breaking in the business?Alex Berger:It's funny. The answer was so different 10 years ago to four years ago. It changed rapidly, and it's very different now because of the writer's strike. So if you're talking about what should I be doing right now, if I want to break in? I was just talking to a writer today and my advice to her was, just use this time to write. It's not a good time to try to get a producer attached or a showrunner attached or an agent. It's a good time to just be writing and really writing diligently. And then this is over. And in general, my advice is get a job in the industry, even if it's as an assistant. If you can't get a job as an assistant in a room, get a job as an assistant in post or get a job as a PA on set, just get into the room. Then just keep building a network and talking to everybody. And when your cousin comes and says, you know what? I used my college roommate, I think as a writer, I don't know what he take them up on all of those opportunities because you never know what's going to result in something. The first three jobs I got were from general meetings that I didn't want to take because actually two of them were from people. My mom had metParties in Washington dc but they were another assistant who was leaving their job and happened to open up. And then the last thing I would say is, I think the thing that people don't do as much of it that they should do is engage in the continuing education piece of this. So your listeners to your podcast are obviously trying to learn how to write, and that's important. There's a lot of other good podcasts out there. There's Deadline Hollywood, which everybody should be reading every single day. There's business podcasts like The Town and the Business and Fresh Air that people should be listening to understand the macro pieces of their business. So often you get people who come out here and they have

Does AI even read our transcript? It said: In this exciting episode of the Devil's Trap Podcast, hosts Liz and Diana delve into the fascinating world of spiritualism as inspired by the Supernatural episode set in Lily Dale, the Florida spiritualist church. They explore their deep-rooted connections to the intriguing concept of a place where people gather in the woods to converse with the departed. While Liz suggests there was room for further exploration of Lily Dale's unique lore, both hosts agree that the episode was respectful and engaging. Switching gears, the duo also chat about the Muppets on Disney Plus, highlighting a cult dedicated to Janice known as the first Shurlians. The hosts humorously ponder the idea of worshiping this niche group. Don't miss out on this rollercoaster of an episode where spirituality meets fandom. Join Liz and Diana as they navigate through the lore of Lily Dale and the captivating universe of the Muppets. Tune in and 'cheers' along with our hosts as they bring you another great episode of Devil's Trap Podcast.Tags: #DevilsTrapPodcast #Supernatural #LilyDale #Spiritualism #Muppets #DisneyPlus #FirstShurlians #PodcastEpisodeSeriously we talk about Supernatural Season 7, Episode 7 The Mentalists. Liz loses her shit because they are talking about Lily Dale, New York and she really wants to go to there. Research LinksThe Fox Sisters and the Birth of Spiritualism - HeadStuffInside Lily Dale, New York, Where Psychics and Spirits Are The Main ResidentsLily Dale, New York - WikipediaHow the Tiny Town of Lily Dale Brings Death to Life - Part II | HuffPost ReligionFox sisters - WikipediaNews | IMDbProLily Dale Spiritualist Community – Cassadaga, New York - Atlas Obscura

Welcome to Part XXV of our series on understanding counterfeit identity! Brandi summarizes the "Mentalists" family and Shawn introduces the third family, "Place Seekers." This group puts their worth strictly in relationships of various kinds and are at the mercy of those they seek value in and idolize. The focus is how they relate to those around them. Shawn compares and contrasts them to the Mentalists. The first archetype is the "Helicopter Parent" and it's not limited to strictly being a parent. Brandi shares how she fell prey to this along with how this combined with the conditions of being a Careerist. Codependency is a major danger. Please let us know if this episode helped you! You can contact us and check us out through our social media platforms from our linktr.ee site here. Or you can contact us directly through the Anchor app or by email at partnershipvisionpodcast@gmail.com If you would like to donate to our podcast and ministry, you can do so easily through our DonorBox site (more of the money gets to us that way) or through PayPal here -Music Credits- Intro song: Song: My Everything by Dj Quads Music provided by: Music for Creators Outro song: Title: Rattlesnake Railroad Artist: Brett Van Donsel Source: Soundcloud License: Creative Commons Promoted by Music Library: http://bit.ly/MusicLibraryYouTube Background Music Credits: Music provided by Lofi Geek Check them out here: Spotify - https://spoti.fi/3dTH2FN and on YouTube - https://www.youtube.com/channel/UCyD59CI7beJDU493glZpxgA --- Send in a voice message: https://podcasters.spotify.com/pod/show/pvm/message

The Living Word Fellowship was a cult. In this podcast we'll discuss the history of the organization and the effects of its abusive culture and toxic leadership. We'll investigate the remaining factions of The Living Word Fellowship, its former leaders and... The kidnapping of Yoko Ono's baby Doomsday prepping Time Travel Gold and Silver Mine scams Raising people from the dead Secret affairs Sexual scandals Child Labor Health Food Crazes Arranged marriages Extravagant trips to Africa and Brazil Exotic Animal Farms High-budget Hollywood style productions Expensive artisan turtle coffee tables Teen bad boy bootcamps Court battles Exorcisms Death prayers against John F. Kennedy Pastors in Speedos! Violent intercession Brainwashing! Mentalists! Psychics! Communes and compounds Deviant sexual interests Misogyny Bars in churches - drinks, drinks, drinks! Christian capitalism Secret vault eMail - contactwalkdoc@gmail.com Instagram - www.instagram.com/thecultdoc TikTok - www.tiktok.com/@thewalkdoc YouTube - www.youtube.com/@thewalkdoc --- Support this podcast: https://podcasters.spotify.com/pod/show/oopsiminacult/support

Welcome to Part XIX of our series on understanding counterfeit identity! Body composition and self-image are further discussed in how they cannot define you. Counterfeit confidence is feeling confident in something that isn't true…it's believing a cultural narrative and waving it like a flag for strength. It doesn't bring true validation because it was never created to be a foundation for worth or identity. Physical trauma is a major cause for the "Inverted Thinker." And, the second archetype of the "Mentalists" is introduced…The Absolutist. Please let us know if this episode helped you! You can contact us and check us out through our social media platforms from our linktr.ee site here. Or you can contact us directly through the Anchor app or by email at partnershipvisionpodcast@gmail.com If you would like to donate to our podcast and ministry, you can do so easily through our DonorBox site (more of the money gets to us that way) or through PayPal here -Music Credits- Intro song: Song: My Everything by Dj Quads Music provided by: Music for Creators Outro song: Title: Rattlesnake Railroad Artist: Brett Van Donsel Source: Soundcloud License: Creative Commons Promoted by Music Library: http://bit.ly/MusicLibraryYouTube Background Music Credits: Music provided by Lofi Geek Check them out here: Spotify - https://spoti.fi/3dTH2FN and on YouTube - https://www.youtube.com/channel/UCyD59CI7beJDU493glZpxgA --- Send in a voice message: https://podcasters.spotify.com/pod/show/pvm/message

Welcome to Part XVI of our series on understanding counterfeit identity! Shawn explains how even when someone rises to the top, they're not completely or truly satisfied/happy. The second family division, "The Mentalists" are delved into. They find their identity from their own thought structure and systematic beliefs. Brandi describes the dangers for that division when they are questioned on what they think. The influences around us can be a bigger part of us than we realize. Getting overly caught up in your own mind can trick you and create delusions. You think you have things handled and figured out when you really don't. Brandi shares how spiritual warfare can potentially have more of an impact on them. She also introduces the first archetype, "The Inverted Thinker" Please let us know if this episode helped you! You can contact us and check us out through our social media platforms from our linktr.ee site here. Or you can contact us directly through the Anchor app or by email at partnershipvisionpodcast@gmail.com If you would like to donate to our podcast and ministry, you can do so easily through our DonorBox site (more of the money gets to us that way) or through PayPal here -Music Credits- Intro song: Song: My Everything by Dj Quads Music provided by: Music for Creators Outro song: Title: Rattlesnake Railroad Artist: Brett Van Donsel Source: Soundcloud License: Creative Commons Promoted by Music Library: http://bit.ly/MusicLibraryYouTube Background Music Credits: Music provided by Lofi Geek Check them out here: Spotify - https://spoti.fi/3dTH2FN and on YouTube - https://www.youtube.com/channel/UCyD59CI7beJDU493glZpxgA --- Send in a voice message: https://podcasters.spotify.com/pod/show/pvm/message

In the 133rd episode of Supernatural, An estranged Sam and Dean reunite to solve a curious case in the most psychic town in America, but it's far from happy families for the Winchester brothers. Support Ghostfacers: A Supernatural Rewatch https://www.patreon.com/Ghostfacers Brought to you By: The Sonar Network https://thesonarnetwork.com/

In the 133rd episode of Supernatural, An estranged Sam and Dean reunite to solve a curious case in the most psychic town in America, but it's far from happy families for the Winchester brothers.   Intro/Outro performed by Aaron Barry Follow us on Twitter, Instagram, and Facebook! Or send us an email: ghostfacerspodcast@gmail.com! Part of the Brain Freeze Podcast Network! And now...support us on Patreon!

Welcome back guys. We are looking at the skills of Mentalists from The Mentalist Taha Mansour! How the psychology of connection can be used to influence those around you and we always avoid flat earthers!Taha's Links - https://www.youtube.com/watch?v=QSGHKNX65_whttps://podcasts.apple.com/fr/podcast/lart-du-mentaliste/id1636385581instagram.com/tahamentalismetahamansour.comMERCH -- https://the-deductionist.myspreadshop...E-SCAPE GAME -- / @thedeductionistteam Everything else you need -- https://linktr.ee/bencardallMusic from - http://www.robertjohncollins.comDon't be strangersBen and Adam#psychology #bencardall #thementalist Hosted on Acast. See acast.com/privacy for more information.

All our Unity Bookings & Projects will be dedicated to the beautiful soul of Daniel Burrell BDH (cover pic Uman 2017)- check out a special dedication made by the Boys Clubhouse London - https://youtu.be/t9C80hNdlWk Let's go UnityInspireProjects.com for exciting updates and how our Artists, Speakers, Creatives, and Mentalists can bring your community the inspired role models we can also become. This Passover 2023 let us not Passover the opportunity to get the renewal to lead & inspire our community & loved ones. Partner with our Unity Projects - especially with Pesach almost here - https://www.paypal.me/GoldsmithEli - also check out Rivkala's new videos - https://www.youtube.com/@rivkala/featured - Real Inspiration Beyond... For #UnityBookings & #UnitedSouls Projects - please email - Unityinspiresprojects@gmail.com to bring more unity to our lives - Unity Bookings New Site in Development – https://unityinspireprojects.com/musicians/ – https://unityinspireprojects.com/speakers-mentalist-creatives/ - Book Now! Listen to our updated #RelationshipFlow podcast feat. Masha Goldsmith aka @tinipops613 - https://relationshipflow.wordpress.com/ United Souls - Extracts from New Book TBA - by @EliGoldsmith - Part 28 - Dealing with Tragedy Soulfully - Preps to not Passover! All our latest content links Subscribe here - https://open.substack.com/pub/eligoldsmith/p/united-souls-extracts-from-new-book-5b7?r=oyu71&utm_campaign=post&utm_medium=web – Share your #unityflow unityinspiresprojects@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/eligoldsmith/support

Welcome back to Word of God! We are: Ash (the old-time fan), Emma (the latecomer), and Wyatt (the newbie). We're digesting this show in chunks of about two episodes a week. Today we talk about Show Notes (also here on tumblr): Content warnings for this episode are here. Sources for references made this episode: the Bens Acker & Blacker's interview the Thrilling Adventure Hour's TV Tropes page "salmon is for desire" tumblr post by @nelladee with relevant addition from @delianisnotonfire Garth being the world's littlest guy baseball fatality + bloodspray (CW: fake blood) Lion King 1.5 "Sunrise, Sunset" clip Check our Listen page or go to our Pinned post on tumblr to find a list of platforms you can find us on - don't forget to rate and review if you can! The music for Word of God is The Last Ones by Jahzzar from freemusicarchive.org, licensed under Attribution share-alike 3.0 international license. Find the song HERE Have any questions or comments? Email us at wordofgodcast@gmail.com, tweet us, or send us an ask on tumblr!

This week on Talk Magic, Craig gets the incredible opportunity to talk to Michael Murray, one of the most impactful mentalists in the magic world. Releasing a ton of incredible tricks starting with his release of Beyond ESP at the age of 16 years old, a book that was voted book of the year by The Magic Cafe and so much more. This is an interview you do not want to miss!

In this weeks' episode of Hypnotic Healers Podcast, Nicole & Anthony are pleased to welcome Adrian & Suzy from Transcendent Mentalism to the show. Wait for it..... this episode has an EXCLUSIVE reveal of Transcendent's newest, most amazing feat which goes live on YouTube on 17th January. Adrian & Suzy are fun, dedicated and masters of their craft. Mentalists and hypnotists, these lovely people put on a brilliant show and have lots more to come as they further develop their act. Join the conversation! http://www.transcendentmentalism.com https://www.facebook.com/TranscendentMentalism https://www.instagram.com/transcendent_mentalism/ Stop Smoking | Clockwise Hypnotherapy | Hypnosis Welcome to Hypnotic Healers, the podcast where both practitioners of change work and people who have an interest in knowing more about this awesome profession, can get insider knowledge and find tips, tricks, advice and support. Nicole Mazzucato & Anthony Gitch have joined forces from across the globe to bring you insights from ourselves and other change workers worldwide. www.nicolemazzucato.com www.excelhypnosis.com Don't miss out!

Do you love my beautiful voice and my harsh mental capabilities? Follow us on twitter @DeadEnsigns Email your Star Trek opinions/questions/stories to deadensigns@gmail.com

go to www.swagpoop.com/shows to buy tickets for portland and seattle

(5/18/2022) Mike and co-host Matteo Molinari were excited to welcome Magician Naathan Phan aka 'The Magic Asian Man' to ConversationsRadio Ep.124 Naathan Phan creates memories for those seeking wonder by combining his skills for comedy, magic, acting, improv, singing, writing, impressions, and storytelling into one unforgettable performance. A true Showman, His multitude of talents have been featured at theaters, casinos, corporate events, private events, on stages and cruise ships around the world as well as on Penn & Teller: Fool Us, Superbad, Celebrity Name Game, Tosh.0, The Hollywood Christmas Parade, Wizard Wars, America's Got Talent, and more! Naathan Phan also holds the distinction of being one of only five magicians in the world who have appeared in the Masters of Illusion national tour, recent Las Vegas residency at Bally's, and international television series (Season 8, which Naathan is also featured on, is currently airing Saturday nights at 9pm/8c on The CW. He is a graduate of the Orange County School of the Arts, a proud Eagle Scout, and member of SAG-AFTRA, the International Brotherhood of Magicians, Global League of Magicians and Mentalists, and the World-Famous Academy of Magical Arts (better known as The Magic Castle in Hollywood), where he is a frequent performer and strolling magic champion. Enjoy the podcast!    

Ben Pridmore is a 3x World Memory Champion, and was the first person to ever memorise a deck of cards in under 30 seconds. He's also an accountant who loves to holiday in Las Vegas.The Human Podcast is a new show that explores the lives and stories of a wide range of individuals. New episodes are released every week - subscribe to stay notified.WATCH all episodes, filmed in person: https://www.youtube.com/channel/UC29JGmLUfv5eUeKzv3cRXGwGUEST LINKS:Ben's World Record: https://www.youtube.com/watch?v=FzcBhIp0cp4Ben in DJ Shadow Music Video: https://www.youtube.com/watch?v=NL9ypNz9-mMBen in ‘The Mentalists' Documentary: https://www.youtube.com/watch?v=NNSMSVy6iiwBen's Incredible Records: http://www.world-memory-statistics.com/competitor.php?id=29ORDER OF CONVERSATION:0:00 - Intro0:41 - World Memory Champion / World Records01:24 - Memory as a child02:23 - Early interests in memorisation05:46 - Why are you interested in memorisation?06:34 - Training to be World Champion07:57 - Different memorisation feats09:21 - Memorisation method: 'Ben System'14:08 - World Record for deck of cards16:16 - Terrible memory in normal life18:44 - Blackjack & Card Counting19:46 - Hobbies & friends/family21:01 - Experience competing30:56 - DJ Shadow music video33:53 - Why are you so talented? / High IQ (159) / Mensa36:40 - Accountancy / Outlook on life39:54 - Making fun of memorisation41:10 - Why should people learn memorisation?41:40 - Advice for beginners45:05 - Las Vegas: favourite holiday47:25 - Wrap upGUEST SUGGESTIONS / FEEDBACK:Know anyone who may like to speak about their life? Or have any feedback? Just message heythehumanpodcast@gmail.com

239 Uncensored, Tim interviews Wayne Hoffman a multi-award winning performer and recognized as one of the top mentalists in the world. Wayne explains what a mentalists actually is? How did he learn his craft/skill? Wayne currently tours the globe with his stage show Mind Candy. Wayne explains how different cultures open up (or close) their minds to his bending skills and techniques. How has COVID changed his show, can shows like this be successful virtually?  Also, Wayne is the author of the best-selling motivational book, Mind Candy. Wayne demonstrates his skills with Tim. Get tickets to Wayne's show at Hertz Area March 11, 2022 at 7:00pm at www.ticketmaster.com    

Paul Brook is widely acknowledged as one of the best and most prolific mentalists on the planet.  His creations have been used by magicians and mentalists throughout the world. He has literally written the book when it comes to books on mentalism.  Then he has written the book again and again and again. He has spent his entire career performing at a very high level and specialises in performing for large corporations and trade shows.  However outside of performing he has lectured throughout the world teaching magicians and mentalists how to perform mentalism effectively.

O mam fach! Actor a seren ffilm a theledu (yn ogystal â theatr) sydd ar y podlediad wythnos hon. Harry Potter, Wonder woman, Gavin & Stacey, Con Passionata, The Mentalists, Pobl y Cwm a nifer o bethau eraill......neb llai na Steffan Rhodri!!! Dwi'n lwcus iawn i fod wedi cyfarwyddo llais gyda Steffan nifer o weithiau dros y blynyddoedd ac o ni mor lwcus i gael cyfweld â'r actor o Dreforys yn ddiweddar. Sgwrs ddiddorol am ei fagwraeth, ei yrfa, actio, ffilmiau, Gavin & Stacey, 10 cwestiwn chwim a mwy. Ac unwaith eto, diolch yn fawr IAWN i'r gantores a'r gyflwynwraig Elin Fflur am y sgwrs ar y bennod ddiwethaf.

Sam and Dean happen to both work the same case, agree to put their differences aside, and have to find a real psychic in a town full of fake ones. We incorrectly label two characters as married (whoops) and Matt quotes Superman, PG giggles at the names of the writers, and Jess gets excited about the title of the next episode. Patreon Twitter Instagram Tumblr Facebook

Now that we've covered the story essentials of the strange case of Mary Lurancy Vennum, known as "The Watseka Wonder," it's time to take a look at the possible causes and mechanics of this apparent miracle. Suppose Lurancy's possession was merely the imaginative prank of an attention-seeking impressionable teenager. How then did she know intimate, inscrutable details of her possessor Mary Roff and that of her family, when Mary had died over ten years before she was born and the Roff family were vague acquaintances? It's perhaps possible that this naive fourteen-year-old had mastered the manipulation techniques employed by experienced Mentalists and charlatan psychic mediums to fool desperate parents, but how likely is that? In Part Two of our series, we consider the investigation of a noted psychical researcher at the time, Dr. Richard Hodgson, who interviewed witnesses and studied case notes about thirteen years after the significant events in light of contemporary hypotheses. In a historical line between 1877 and 1908, we then look at the analysis of a psychology journalist, H. Addington Bruce, through the lens of his evolved understanding of that field 30 years later. In the greater context surrounding this case are the history of psychical research and a brief overview of some of the prominent figures involved in the Spiritist movement. We then round out the series with a more modern-day interpretation and our own conclusions. Even saddled with an antiquated title like The Watseka Wonder and recognizing the significant advancements in the field of abnormal psychology, this case remains wonderous indeed. Visit our website for a lot more information on this episode.

Oh no! The psychics are croaking! Quick! Someone bend my spoon!

Trouble is in Carrie McFarland's future. Carrie McFarland, the protagonist of Carolyn Marie Wilkins' book, Death at a Séance, isn't looking for trouble, but she finds it at her new job in 1920 Indiana. Carolyn is a woman with a wide range of interests, passions, and professions. She has been a Jazz Ambassador for the United States (I had to ask her what that is and she answers in the interview portion of the show), a music professor, a Reiki healer, a writer, and a medium, among other things. The dialogue and character voices that Carolyn performs while she reads her excerpt are amazing and she pointed out that this is due to her musical background. She has an ear for voices. This week's mystery author Carolyn Marie Wilkins is an author, a musician and a psychic medium.  She is the author of three mystery novels:  Death at a Séance, Melody for Murder and Mojo for Murder. She has performed with the Pittsburgh Symphony and represented her country as a Jazz Ambassador for the U.S. State Department.  In addition, Carolyn maintains an active private practice as a psychic medium and Reiki healer.  To learn more about Carolyn and all her books visit CarolynWilkins.com Press play (above) to listen to the show, or read the excerpt below. Remember you can also listen on Apple Podcasts,Stitcher, Android, Google Podcasts, TuneIn, and Spotify. Excerpt from Death at a Séance The offices of Gaylord Wilson Entertainment were located on the third floor of a seedy walkup in the heart of Claxton’s red-light district. It was just before noon, and the streets were still quiet. No doubt the ladies of the evening were still recuperating from the previous night’s endeavors. This was my first time away from Aronsville since leaving Blockport. Claxton wasn’t much bigger, but it did feel more alive. The few people out on the streets at this early hour bustled with a sense of greater self-importance. The buildings were taller; the traffic more intense, the sense of danger somehow heightened. Maybe this impression was colored by the fact that I was about to meet the partner of the man who may have murdered Miss Parker. Whatever the reason, my heart was pounding a mile a minute as I knocked on the Gaylord Wilson’s office door. “Don’t just stand there,” a gruff voice of indeterminate sex barked in response. “Come in. It’s unlocked.” The small reception area had a large black desk facing the door. Once inside, I could see that the voice I’d heard belonged to a colossus of a woman wearing what appeared to be full stage makeup – enormous circles had been painted around her eyes, and her lips were smeared with a shade of crimson that reminded me of an animal having just ripped apart a bloody carcass. Completing the ensemble was a foot-high pile of platinum blonde hair that could only have come from a bottle. “Good morning,” I said. Slowly, the gigantic woman raised her head and studied me, her beady kohl-enhanced eyes inspecting me from top to bottom. “If you’re looking for work on the cleaning crew, we’re not hiring,” she said, and returned to the work on her desk. So much for my plan to find work with Wilson’s company as a maid. My only choice was to bluff my way into being hired as a performer. “How dare you,” I said in my most regal voice. “I am no mere cleaning woman. My name is Bright Feather. I am a psychic and I have come to perform in your show.” The woman’s face brightened. “An Injun? Why didn’t you say so in the first place. What did you say your name was?” “Bright Feather,” I said. “I can talk to the dead, tell the fortunes of the living and cross between the two worlds at will.” The look on the receptionist’s face told me she had heard this kind of show-business puffery many times before. “We’ve already got a mental act on this revue, honey. Name’s Miss Cora. Reads minds, sees the future – all that stuff. We don’t need another one.”

Hey Babe! is a podcast where comedians Chris Distefano and Sal Vulcano share stories and have fun. Let your hair down & come hang out with the BABES! This episode the Babes talk Mentalists blown the guys balls off, A zoom mentalist show is AMAZING, what are mentalists? Are you allowed to give away a magic trick?, Sal had to pretend to be a psychic on Impractical Jokers, shout out Dan White for being magical as f, ever make jokes just for yourself?, TRY THE JALAPENO POPPERS, Sal talks about a LONG time prank he did to Murr, Sal’s bad Santa Christmas tradition is WILD, ever give someone a gift thats a pet?, Chris has finally started eating Chinese food and added it to his cuisines……egg rolls are most underrated food in the world, Chinese food or pizza?! Chris has never seen Seinfeld, Chris commits to the jacket on the pod bit and is gettin HOT, can you really use chop sticks?, Sal can’t eat Chinese food with a fork, the babes plan out a night of Saki BOMBS, a feel good story, is sheen a fake name? Martin Sheen’s real name?, shout out Rodney Dangerfield, getting famous when youre old is wild, stage names are cool, Chris talks possible baby names, who’s the weirdest named person you have ever met?, shout out Rizwand!,SHOUT OUT Cherry Chevapravatdumrong, Sal talks about the time he went to seth macfarlane big holiday party, family guy is the best, life is life even for famous people, CHRIS HAS A BIG SECRET! Rate us on iTunes! Follow us on social media @HeyBabePod https://linktr.ee/Nopreshnetwork    

In this exclusive episode, Magic Oracle listeners are privy to the very FIRST revelation of Max Maven's "7 Deadly Sins". This valuable information for Mentalists and Magicians can be tweaked for nearly any type of performance artist.

In which we completely neglect the plot to rant about the things we care about: Amy, the brothers' relationship, and bathrobes. SPOILERS for ALL seasons! Looking for earlier episodes?  You can find our back catalogue here. We would love to hear from you!  You can email us at theplaidcast@gmail.com.  You can leave a review on iTunes or Stitcher.  Or you can comment on our Facebook page.

In this week's special episode, Aidan and Ashley were joined by not only a great friend, but a talented thinker of all things magic, mentalism and theatre; Taha Mansour. In This Episode You Will Learn: Who Is Taha Mansour? [01:20] What Are 'Soft Skills'? [07:13] Engineering vs Improvisation - The Similarities [09:30] The Importance Of Empathy [11:40] The Foundations Of Improvisation [14:10] Handling Hecklers Through Clever Improvisation [17:00] STORY: How Taha Handled A Heckler [21:15] Understanding the Improv Mindset [28:30] The Group Psychology when Handling Hecklers [33:40] '12 Angry Men' and Understanding Group Dynamics [40:32] What Taha HATES about Mentalism & Mentalists [43:25] Where To Find Taha: Taha's Instagram - https://www.instagram.com/tahamentalisme/ (@tahamentalisme) Watch Taha's Show - (English Subtitles) - https://youtu.be/zfdMoKDNMl8?fbclid=IwAR1548WpQRCO92ORgdQIJrieF1zEO1N07DEaa75PdfjpB4t9nLkztBxHE9I (https://youtu.be/zfdMoKDNMl8) BONUS RESOURCES Join This Month's LIVE Lecture (thesuccessfulmentalist.com/lectures) '10 Tips to Improve Your Mentalism' (FREE PDF) (https://my.captivate.fm/thesuccessfulmentalist.com/free (thesuccessfulmentalist.com/free)) 'C.O.V.I.D-19' (FREE PDF) (https://my.captivate.fm/thesuccessfulmentalist.com/free (thesuccessfulmentalist.com/free)) 12 Angry Men - 1954 Movie (https://www.youtube.com/watch?v=1myfrzrS5O4 (https://www.youtube.com/watch?v=1myfrzrS5O4)) Did you enjoy this podcast? If so, don't forget to SUBSCRIBE on https://podcasts.apple.com/gb/podcast/the-successful-mentalist/id1512659543 (Apple Podcasts) or https://open.spotify.com/show/41CivTlicy4DWUkDGoQh5n (Spotify) so you never miss an episode! Share and tag us on Social Media (http://facebook.com/thesuccessfulmentalist (@TheSuccessfulMentalist)) or use the hashtag #thesuccessfulmentalist

Scammers and con artists are unavoidable facts of life, but only a select few manage to take the art of deception to the next level. All of the unscrupulous scumbags in this episode reached the pinnacle of scumminess, and perfected the art of the con.  In this episode:International Sleazebag Uri GellerDisgraced Televangelist Peter PopoffUnlikely Shaman Juliette D'SouzaInfomercial Psychic Miss Cleo Join the Midnight Masses! Become an Insomniac by dropping a review, adding us on social media, and contacting us with episode ideas. And we now have Midnight Merch! Show your Insomniac pride and pick up a tee shirt or coffee mug to spread the word! https://teespring.com/stores/midnight-merch-6 ~CONTACT:Leave a voicemail or shoot us a text with comments, suggestions, or feedback:+1 (408) 596-4603Email with topic suggestions etc:mailto:midnightfactsforinsomniacs@gmail.com~ Instagram:https://www.instagram.com/midnightfactsforinsomniacs/ ~Shane's Comedy Schedule and Info:www.shanerogers.net ~Website: www.midnightfactsforinsomniacs.com~ Episode Transcript:https://mcdn.podbean.com/mf/web/geuhri/Transcript_Mentalists_Faith_Healers_and_Frauds.pdf ~ KNOWLEDGE IS POWER, AND SLEEP IS OVERRATED ~

The Amazing Kreskin is one of America’s foremost mentalists and joined the show to talk about his craft.

Mentalists know a lot about audience experience and event entertainment. Jonathan is no exception to this. Listen to hear how you can prepare and equip your virtual audience for engagement.

In this episode, Leigh investigates crows and ravens through the lens of Edgar Allan Poe, while Lori tackles the infamous spiritualist town of Lily Dale through the Supernatural episode "The Mentalists".Support the show (https://www.patreon.com/unclebobsmagiccabinet)

HYPNOTHERAPISTS & ENTERTAINERS CORONAVIRUS COVID-19 SAFETY & LEGAL ISSUES FOR HYPNOTISTS.. HYPNOSIS WEEK - STUART CASSELS. In this edition recorded on Monday 22nd June 2020, I interview Stuart "Harrizon" Cassels, an experienced Health & Safety Consultant (Now turned Professional Hypnotherapist & Stage Hypnosis and Mind Magic Entertainer) for Major Large Scale Potentially Dangerous Events about how both Hypnotherapists and also Comedy Stage Hypnotists, Magicians and Mentalists can become and remain COVID-19 SAFE, LEGAL, LAWFUL, ETHICAL, MORAL, LICENSED (if Relevant in your Country) & INSURED... JUST OVER 2 HOURS & 30 MINUTES OF PURE GOLD WHICH EVERY MIND PRACTITIONER SHOULD WATCH And then when you have watched the video (or listened to the Audio Podcast Version) below, be sure to check out all of the additional informational links given below... WATCH THE INTERVIEW - https://youtu.be/w39BUUShIq8 MORE ON HEALTH & SAFETY & RISK ASSESSMENTS ETC AT: https://www.hse.gov.uk/ TO WATCH THE LAST INTERVIEW WITH STUART CASSEL'S VISIT https://youtu.be/nBdLtVDozaY MORE DETAILS ON THE TRANSPARENCY TEMPLATE PROJECT https://klearthoughtsmentalismhypnosis.wordpress.com/2014/05/09/the-transparency-template-the-revolutionary-guide-for-hypnotists-learn-safe-legal-ethical-insured-comedy-stage-hypnotism-street-hypnosis-and-hypnotic-hypno-tricks-to-combine-with-your-magi/ ROYLE'S STAGE HYPNOSIS TRAINING TESTIMONIALS https://klearthoughtsmentalismhypnosis.wordpress.com/2020/01/06/stage-hypnosis-street-hypnotism-exposed-unique-two-day-live-course-the-true-insider-success-secrets-of-comedy-stage-hypnosis-street-hypnotist-hypnotic-entertainment-for-hypnother BEWARE THE HYPNOTIST FRAUDS & CON -MEN https://klearthoughtsmentalismhypnosis.wordpress.com/2020/04/17/warning-do-not-waste-your-money-on-inferior-hypnosis-courses-from-frauds-liars/ STUART CASSELS PRINTING & GRAPHIC DESIGN WEBSITE http://www.hypnotic-consultants.co.uk/ Grab 50% off Stuarts Secrets of Fortune Telling Course https://sellfy.com/p/mrsszw/ Use Voucher code in block capitals of CASTLES to get 50% off. FOR CUSTOM WEBSITE DESIGNS VISIT: http://www.elitehypnosiswebsites.co.uk/ STUARTS FACEBOOK PAGE CONTACT IS: https://www.facebook.com/potstu MORE HYPNOSIS WEEK INTERVIEWS LOCATED AT: http://www.hypnosisweek.com/ VIDEO INTERVIEWS LOCATED AT: https://www.youtube.com/playlist?list=PLDhI8Pk4O_4BKGbm2Rybtfkk0f_6WZ-pk AUDIO PODCAST VERSIONS LOCATED HERE: https://anchor.fm/jonathan-royle ROYLES CAREER RESUME TO DATE LOCATED AT: https://klearthoughtsmentalismhypnosis.wordpress.com/2020/06/17/resume-for-alex-william-smith-aka-jonathan-royle-hypnotist-in-support-of-membership-application-to-the-royal-society-of-medicine-rsm/ #Covid19 #Coronavirus #HealthAndSafety #DutyofCare #Legal #Lawful #1952HypnotismAct #Hypnotherapy #Hypnotherapist #Hypnotist #Hypnotism #Hypnosis #NLP #Mentalism #Mentalist #Magician #Magic #Therspy #Therapist #Entertainer

TekWars 2.0 featuring John and I is a chilled-out escape from the hellscape of Modernity in which we live and traverse daily. Available on Apple Podcasts, Gumroad, and http://Patreon.com/TekWars - An exploration into the madness that is Web 3.0. Jonathan Pritchard is the founder of the Hellstrom Group; an international consulting company. He is also an author, trainer, mentor, and one of the most effective Mentalists in the world. His work is used by clients like BP, State Farm, United Airlines, and other Fortune 500 companies. Here in this episode he reveals the secrets he's used to achieving success. Jonathan joins the TekWars 2.0 hot seat to discuss his work as a mentalist, how mentalism relates to Freud's psychology and modern business consultation. We also discuss aesthetics and Schiller. As well as Urbit. 

Ever have a story you just can’t seem to wrap your head around? For me it’s TTSA, and Robert Bigelow. Luckily, I called in the Dr. for a 2nd opinion. This week Dr. Chris Cogswell returns to the lower 4th Dimension to talk Remote Viewing, Hal Puthoff, Scientology, Mentalists, TTSA, Robert Bigelow, Politics of Science, Jeffrey Epstein, NIDS, Harry Reid, Richard Doty, Skinwalker Ranch, Tom Delonge, and on and on… I got dizzy just typing that out! Plus, we find out Cbot has a collection (it’s blood), Steve Harvey has low standards, and robots CAN shut up…. If you turn them off. All that and more on the podcast that will never ever again use the term ole leather cheerio, Hysteria 51.Special thanks to this week’s research sources:Research Assistant – Raymond Walden IVBooksHunt for the Skinwalker: Science Confronts the Unexplained at a Remote Ranch in Utah | Colm A. Kelleher Ph.DWebsitesTTSA - https://dpo.tothestarsacademy.com/Bigelow Aeorspace - https://bigelowaerospace.com/Robert Bigelow - https://en.wikipedia.org/wiki/Robert_BigelowVICE - https://bit.ly/33ZVh78VICE - https://bit.ly/2XnHswSAdamantium Group - https://www.adamantiumgroup.com/real-estateNewsweek - https://bit.ly/37fSAQV60 Minutes - https://cbsn.ws/33YREP0The Mad Scientist - https://www.themadscientistpodcast.com/Find More Great PodcastsForthHand Media - http://forthhand.com/shows/

The post Card Tricks And The Way They Are Performed by Si Stebbins eBook (Download) appeared first on Modern Magicians.

Magician and author Alex Stone joins host Lynn Vartan in the studio to talk about magic, its history, and its effect on the mind and psyche. They also discuss some of the characters and research for his book “Fooling Houdini: Magicians, Mentalists, Math Geeks, and the Hidden Powers of the Mind.” Enjoy!

Today's podcast examines the satisfying pull of secrets. Why do we engage in them? How do we justify seeking out other people's secrets for our enjoyment? Listen in as Michelle discusses her experience as a therapist and some of the insights she gleaned from working with people who carry seductive secrets. Book Mentioned: Fooling Houdini: Magicians, Mentalists, Math Geeks, and the Hidden Powers of the Mind by Alex Stone: http://michellespiva.com/Amz-AlexStone-FoolingHoudini _____________________________ Don't forget to like, comment, and subscribe. Follow Michelle here: Facebook: facebook.com/FollowMichelleSpiva Twitter: @mspiva IG: @MichelleSpiva If you'd like to further support this podcast, please do so by using any of these methods: All your Amazon shopping: http://michellespiva.com/Amz Venmo: @MichelleSpiva1 PayPal: http://bit.ly/Donate2Michelle Patreon: https://Patreon.com/MichelleSpiva --- Send in a voice message: https://anchor.fm/michelle-spiva/message Support this podcast: https://anchor.fm/michelle-spiva/support

Overview: In our second episode of Mindreader we further clear up who we are and what we do by explaining some of the things that we are not, and why we don't align with those professions and or “methods”. From psychics to conspiracy theorists, join us on this stroll through fraud and crazy town while we look for some facts.   Jordan Accardo: https://www.youtube.com/channel/UCQmHBqRMVlyO9zTrKVzDWgw?view_as=subscriber   Logan Porteneir: https://www.youtube.com/channel/UCzMvqwt21xqm7Fg5Uo3lsRQ   [00:03:11] Logan talks about how he deals with cognitive biases day to day.   [00:06:01] Jordan talks about how he deals with cognitive biases day to day.   [00:10:00] Logan explains psychics:             Logan's Defrauding Psychics YouTube series: https://www.youtube.com/watch?v=Inmd91KC_B0&list=PLcn33nBS8IKeoWv3lMKzfPvVrffN1Oa7A Tricks of the Mind by Derren Brown:https://www.amazon.com/Tricks-Mind-Paperback-DERREN-BROWN/dp/1905026358/ref=sr_1_1?keywords=tricks+of+the+mind&qid=1551317157&s=gateway&sr=8-1   [00:15:26] Jordan's thoughts on the phenomenon of psychics.   [00:19:56] Logan on tarot card readers and the Barnum effect.   [00:22:49] Jordan talks about the mechanisms of tarot readings.   [00:24:02] The importance of evidence, the subjective efficacy of “supernatural” experiences, and forming opinions.   [00:31:11] Midroll   Mindreader website: http://mindreader.libsyn.com             Itunes: https://itunes.apple.com/us/podcast/mindreader/id1454717716             Stitcher: https://www.stitcher.com/podcast/mindreader?refid=stpr             Tunein: https://tunein.com/podcasts/Education-Podcasts/mindreader-p1208411/              Google Play music: https://mindreader.libsyn.com/gpm             Mindreader is on youtube: https://www.youtube.com/channel/UCfPU6dlEYMngjtjflWGmK9w             Mindreader Patreon: https://www.patreon.com/Mindreader   [00:31:58] Astrology, and how to guess someone's star sign.   [00:34:17] the birthday paradox: https://www.youtube.com/watch?v=ofTb57aZHZs   [00:35:22] Jordan's guilty pleasure…   [00:36:41] Mediums. Can they talk to dead people?... probably not.   [00:42:50] Logan explains ESP:             Blink by Malcolm Gladwell: https://www.amazon.com/Blink-Power-Thinking-Without/dp/0316010669/ref=sr_1_1?crid=TJ608MBHQI16&keywords=blink+malcolm+gladwell&qid=1551318459&s=gateway&sprefix=blink+m%2Caps%2C164&sr=8-1             Psychic Intuition by Nancy du Tertre: https://www.amazon.com/Psychic-Intuition-Everything-Wanted-Afraid-ebook/dp/B008QZT47Q/ref=sr_1_1?crid=3JF3ZT8UK8VNW&keywords=psychic+intuition+book&qid=1551318408&s=gateway&sprefix=psychic+intut%2Caps%2C158&sr=8-1   [00:45:56] Jordan's take on ESP.             Declassified CIA document on ESP:   [00:49:18] The principle of emergence, and different forms of intelligence.   [00:51:23] Mentalists who advertised themselves as fake psychics.   [00:53:11] Jordan on conspiracy theorists.   [01:00:19] Deduction story time.

Eric and Friedo Blow Your Mind

More railing against commie larpers. But talking about environmental hypocrites as well

My Summer Lair Host Sammy Younan interviews Mysterion and Steffi Kay who together are...The Sentimentalists: "Canada's premier corporate two person mind reading show." My Summer Lair Chapter #91: What Am I Thinking? Recorded: October 4, 2018 6:30pm

This week's guest is Steffan Rhodri. Steffan's acting career spans twenty years on stage and screen. His West End theatre credits include Absent Friends, Posh, The Mentalists and This House. On TV he's known for roles in Gavin and Stacey, Apple Tree Yard and Under Milk Wood. He is currently starring in Tracy Letts' Killer Joe, running at Trafalgar Studios until 18 August.

The Amazing Kreskin, professional mentalist, has been thrilling audiences since the late Sixties. He made countless TV appearances with Johnny Carson, Mike Douglas, Merv Griffin and David Letterman. Kreskin was even the subject of his own Milton Bradley board game.These days, the Amazing Kreskin, age 83, makes appearances not only on The Tonight Show with Jimmy Fallon, but all around the world, including an Off-Broadway show called "The Amazing Kreskin - Live" at the Lion Theatre on Theatre Row in New York City.This program was recorded at the carriage house adjacent to Kreskin's New Jersey home.

What is this podcast and why is the title so damn long. Join Bobby Temps & Dani Hogan as we try to explain just that in under a minute. We hope to entice you to join our growing army of Mentalists (listeners). Together let’s end the stigma ! Here we go! Mental is the brain-child of Bobby Temps, who lives and thrives while managing his own mental health. Every Thursday we delve into a factor or condition that influences the mind and how to better manage it. Petition to 'Get Mental Health Education on the School Curriculum' - Join us at http://bit.ly/MentalPetition Join the movement on: Instagram - http://instagram.com/mentalpodcast Twitter - http://twitter.com/mental_podcast We also have a very blue website with loads of great resources - http://mentalpodcast.co.uk Licensed music: Puppy by Netsky on Lickd / Listen here: https://lnk.to/Netsky2ID

SBP is hyper! On this week's episode, the crew discusses proper sugar intake, things that you buy multiples of, types of magicians, and being bitten.Originally recorded on February 18, 2018LISTEN TO PREVIOUS EPISODESFollow the podcast! https://twitter.com/SpiderPodcast Subscribe! iTunes: http://apple.co/2w1T6PO Google Play: http://bit.ly/2jFD3Fj Ask us questions!SpiderBytesPodcast@gmail.com https://spiderbytespodcast.tumblr.com/ask Website: https://spiderbytes.buzzsprout.com Hosts:Ashley: https://twitter.com/AshleyKate2796 https://shitmogarsays.tumblr.com Bean: https://twitter.com/aliaudnar https://ironmarches.tumblr.com Spider: https://twitter.com/spider826 https://tjspider.tumblr.com

The Boo Crew gathers around the seance table to be possessed by fright flicks that go bump in the night! Join hands as we conjure up world famous mind reading mystics, The Sentimentalists! We predict you’ll listen! Composer of the week: Peter Ricq and his band HUMANS See acast.com/privacy for privacy and opt-out information.

This week, we covered Cluster B! 7×06 Slash Fiction, 7×07 The Mentalists, 7×08 Season Seven, Time for a Wedding!, 7×09 How to Win Friends and Influence Monsters The core podcasters were all on hand, and while we mostly stayed on-topic, you may also hear: Stranger summaries. Cast spoilers? Not from our experts. https://en.wikipedia.org/wiki/S._E._Hinton Another mass…Continue reading →

This week, we covered Cluster B! 7×06 Slash Fiction, 7×07 The Mentalists, 7×08 Season Seven, Time for a Wedding!, 7×09 How to Win Friends and Influence Monsters The core podcasters were all on hand, and while we mostly stayed on-topic, you may also hear: Stranger summaries. Cast spoilers? Not from our experts. https://en.wikipedia.org/wiki/S._E._Hinton Another mass…Continue reading →

This week Malik and Samantha get mental in the Supernatural Season 7 rewatch with Episode 07 “The Mentalists”. Join us for some fake and real whoo-whoo crap, praise for only time writers Ben and Ben, and party as the fight and … Continue reading →

More fun with Atlas, Ken and Looch.

Oz Pearlman is one of the most astonishing Mentalists of all times, Not So Kosher had the wonderful opportunity to catch an interview with Oz!

As Yet Unnamed London Theatre Podcast 26-Jul-2015 With T R P Watson  - PaulInLondon - JohnnyFox - Gareth James - Plays Discussed Songs for a New World - St James’ Theatre  [00:20]   Gathered Leaves - Park Theatre, 200  [15:37]   The Mentalists - Wyndham’s Theatre  [23:14]  

The Full Version Of Episode 2 Is Now Available on iTunes.

In his book Fooling Houdini: Magicians, Mentalists, Math Geeks, and the Hidden Powers of the Mind (reviewed here), Alex Stone starts by recounting his tragically humiliating disqualification at an international magic competition. So ashamed was he by the unceremonious ejection from the stage that he gave up magic and pursued a post-grad degree in physics. Eventually the lure of the conjuring arts called him back, but this time around, Stone got serious. He sought mentors, practiced incessantly, researched magic history, and read up on the psychology of deception and the limits of human perception.

Make sure to listen in as The Amazing Kreskin talks with Susan Wingate and Guest Host, Kerry Hartjen on Wednesday, March 6th! The famous Mentalist will surely entertain you as he has been doing for nearly 4 decades. From The Tonight Show with Johnny Carson and The Phil Donahue Show, Kreskin has been wowing audiences around the world. http://www.amazingkreskin.com 

Ahoy! And a robust August to you. This week brings the return of the HOW WAS YOUR WEEK BOOK CLUB! Woo-hoo! YEAH! Books!!!!!!! The one and only guest on the show is Alex Stone, the author of Fooling Houdini: Magicians, Mentalists, Math Geeks & the Hidden Powers of the Mind. Strap on your nerd helmet, fasten its padded chin-strap, and get ready to learn... Why people STILL play Three Card Monte What the term "in-attentional blindness" means and how it applies to getting your watch stolen The difference between magic and comedy And why there aren't a lot of lady magicians. Plus, Julie posits a disturbing hypothetical about Mr. Rogers, ponders Stephen King extensively, asks after Billy Joel, discloses an embarrassing decision she made in a movie theater recently, condemns ventriloquist dummies, and recaps Puppetry of the Penis, which may or may not have been a dream we all had. Also: why it's sometimes tougher to trick children than adults, who Julie has decided the blind Kenny Rogers of magic is, Jack Black's performance in "Robert" Linklater's BERNIE and what a "Hype" is, in the magic lingo world.There's a lot going on in this week's episode. This is a fascinating show for your face.