Podcast appearances and mentions of Michael Patrick King

Executive producers Michael Patrick King and Elisa Zuritsky sit down with co-executive producer Samantha Irby and executive story editor Rachel Palmer to discuss Carrie's tumultuous stay at Aidan's farm and digging into extended family stories in this episode. They cover everything from how they tried to get comedy out of clothes to the idea that Aidan is a secret narcissist. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Send us a textThis week on Mummy Dearest Podcast we're unwrapping Season 3, Episode 3 of "And Just Like That...". Ya'll, I don't know how much we have left in us for this show. And we're using the word show loosely. Between Harry wetting his raw selvedge Japanese denim, Charlotte's traumatic brain injury, and Carrie's truly demonic relationship with Aiden it's beginning to feel like we jumped the shark. Or the laptop. How much longer are we going to have to wait for Carrie to be invited into Aiden's house? Who is the Adderall really for? Will the hot guys bread company survive this recession? Honestly, who cares. All that and not much more on this week's episode of Mummy Dearest Podcast!Support the showVisit MummyDearestPodcast.com for merch and more!Follow the podcast on Instagram!Follow Sloane on Instagram!Follow Zach on Instagram!And most importantly, become a Patron and unlock hundreds of bonus episodes!

Executive producers Michael Patrick King and Elisa Zuritsky are joined by co-executive producer Samantha Irby and executive story editor Lucas Froehlich to break down Carrie's attempt at an easy-breezy trip to Virginia. They delve into everything from that awkward phone call with Aidan's ex-wife to the risk of filming episodes out of town. Plus, they explain the back-and-forth in the writing room over Charlotte's return to clubbing and why the writers decided they wanted more of Lisa Todd Wexley's editor, Grace. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Executive producers Michael Patrick King, Elisa Zuritsky, and Julie Rottenberg are joined once again by co-executive producer Samantha Irby to discuss the return of Lizette and Joy, and the roles they play in this episode, along with Aidan's romantic surprise. Behind-the-scenes stories include on-set misadventures with rats and the real-life appeal of the Hotfellas faux bakery. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Send us a textWow you guys and gays and girls, we're back! It's been a long month since we've given you any free content but here we are, feeding you with the sweet mana from heaven that is "And Just Like That...". We dive deep into episodes 1 and 2 and discuss everything from lesbian nuns to secret rendezvous at the M&Ms store to the vile feeling of table side guacamole being prepared while you maintain eye contact with the waiter. It's an absolute blast and we're so happy to be back with you all during this very emotionally trying time (a new season of "And Just Like That..." is something very intense and draining and we must stick together now more than ever!) Enjoy this week's episode! New episodes every Friday!Support the showVisit MummyDearestPodcast.com for merch and more!Follow the podcast on Instagram!Follow Sloane on Instagram!Follow Zach on Instagram!And most importantly, become a Patron and unlock hundreds of bonus episodes!

On this week's episode of You Are What You Read, we are joined by Michael Patrick King., award-winning writer, director and executive producer of HBO's SEX AND THE CITY and the franchise follow-up series, AND JUST LIKE THAT, which is in its third season and available to stream on HBO MAX now. This is a conversation about Michael's rise in Hollywood, from his start in the New York City theater circuit as a playwright and standup comedian, to his illustrious work in film and television.  Learn more about your ad choices. Visit megaphone.fm/adchoices

We watched Jesse Armstrong's new film, 'Mountainhead'. Twice: Once on our sofa, and once at a glittering event (which was also the site of the least comfortable convo in history - between your correspondent Sara H. Barron and the Emmy-winning Tony Roche. Coincidentally, the second-least comfortable convo in history was happening nearby.)Also, has Geoff found a new TV gang? And Sara is euphoric because 'Sex and The City' spinoff, 'And Just Like That' is back for another season. Michael Patrick King and Jesse David Armstrong, both dropping new material in the same week! She's like a pig in sh*t and deluxe sh*t at the same time.Maslow's hierarchy of needs: Tier 3: fuckoff@firecrotchandnormcore.comTiers 1 and 2: https://www.patreon.com/THEYLIKETOWATCH Hosted on Acast. See acast.com/privacy for more information.

Georgie chats to Michael Patrick King about season 3 of 'And Just Like That...', his work on 'Sex and the City' and more! Georgie was so excited to chat to Michael. She also finds out what he likes to watch when he's not working. Season 3 of 'And Just Like That...' is available to watch on Sky and NOW. 

And Just Like That...We're Disgusted, upset, angry, and simply...thrilled! Season 3 is finally here and we break it all down. Carrie's new apartment, M&Ms, dog park hijinks, Marvel directors, and political spouses. Oh My! What's going on in the mind of Michael Patrick King? We may never know! But we are SO back!This week's bonus episode will dig into Anthony's role on And Just Like That & queer representation in this universe, as well as other things. Join us at patreon.com/shortcomingspodcast

Writer, director, and executive producer Michael Patrick King kicks off season 3 alongside executive producers Elisa Zuritsky and Julie Rottenberg, and co-executive producer Samantha Irby. Together, they debate the big question: what on earth has Carrie agreed to with Aidan? They also delve into the return of single Miranda, Seema's failed-yet-fiery FaceTime, and the Hindenburg of hats. Plus, how writing a season of television is like a road trip. Buckle up— And Just Like That... The Writers Room is back! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Get ready to dive into the latest twists and turns of And Just Like That... with the people behind it all. Join writer, director, and executive producer Michael Patrick King as he breaks down the juicy details packed into every episode with the help of fellow writers Julie Rottenberg, Elisa Zuritsky, Susan Fales-Hill, and Samantha Irby. Plus, get to know newer voices in the writers' room like Lucas Froehlich and Rachel Palmer. Stream new episodes of And Just Like That— and the companion podcast— starting May 29th on Max. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jess is joined by writer/performer Justin Elizabeth Sayre on the eve of the 13th Annual Night of a Thousand Judys, celebrating JUDY GARLAND at Joe's Pub! Topics — what is the best Judy entry point, working for MICHAEL PATRICK KING, Radical Faeries gatherings, learning the NYC subway via hookups, John Waters and the live immersive experience of JOHN CAMERON MITCHELL's film Shortbus.  IG: @jessxnyc Night of A Thousand Judys — June 2nd @ Joe's Pub

Jess is joined by LIZ FELDMAN — writer/creator of Netflix's DEAD TO ME & NO GOOD DEED! Topics: Liz's seminal lezzie YouTube show “This Just Out,” becoming friends with THE L WORD cast, harassment from TV mega producer Dan Schneider while writing Nickelodeon's ALL THAT, manifesting writing for ELLEN, working for MICHAEL PATRICK KING, auditioning for SNL, the DEAD TO ME & NO GOOD DEAD origin stories, briefly “not-dating” KATE MOENNIG & more!  IG: @jessxnyc | @thelizfeldman Jess' docu-series on the history, mystique & lore of Fire Island: Finding Fire Island

Source: https://ew.com/and-just-like-that-season-3-cast-loves-voiceover-exclusive-8754709 Black Bi Reality podcast host Nicole Weaver and Aramide Tinubu talk about And Just Like That Season 3 and Michael Patrick King's interview with Entertainment Weekly's Nick Romano. Carrie Bradshaw and Aidan Shaw's agreement needs to be explained. Miranda Hobbes will be moving to a new place. There is a new picture of Charlotte and LTW together. Carrie's narration will return! Follow Aramide Tinubu: https://www.instagram.com/awordwitharamide Follow Nicole Weaver: https://www.instagram.com/nikkibernice Follow us on Twitter: https://twitter.com/blackbireality Follow on IG: https://www.instagram.com/blackbireality Follow on TikTok: https://www.tiktok.com/@blackbireality/ Photo Credit: Craig Blankenhorn / Max Branding by Jordan Scruggs https://www.jordanponders.com/

YIKES! Los Angeles is on fire, but we still managed to record an episode before fleeing to local hotels. Please note that this was recorded on Wednesday morning, before we understood the scope of the devastation. In this episode, we discuss Michael Patrick King's new interview with Entertainment Weekly, the big wins and fashions of the Golden Globes, the deeply bizarre cinematic tour de force that is Emilia Pérez, and Nicole Kidman's lactose kink in Babygirl.  We're sorry we can't embed the red carpet photos, but you can see what we're talking about HERE.

Cabaret star, actor and producer Bridget Everett joins the show. Over some deliciously hot griddle cakes, Everett tells me about the special connection she has to her HBO show “Somebody Somewhere,” why “Sex and the City” co-creator Michael Patrick King is such an important person to her, and the interesting place she put her late mother's ashes. This episode was recorded at Salt's Cure in Hollywood, CA. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's the end of 2024 (a truly ICONIC year for better or for worse) and we are here to break down our journey through our first year of podcasting about this mess of a show, and this documentary was a PERFECT way to bridge the gap between the old GOOD SATC, and this new...whatever this new AJLT is, and to give us all those nostalgic feels. It also proves that even 20 years later, Michael Patrick King refuses to get out of his own stubborn way, and also: WE MISS SAMANTHA MORE THAN EVER. Also: predictions on what we think/want/expect for the upcoming season 3 (premiere date still TBA

We have left our cocoon of the safety of SATC Season 2 and have arrived back in the unknown zone of AND JUST LIKE THAT! We join these characters just as we left them, if hornier than ever! If you thought we WOULDNT get a full frontal shot of Cynthia Nixon, then you are underestimating the weather of Michael Patrick King. Enjoy!!!Check us out on Youtube! Like and subscribe, and join our LIVE Weekly Roundups!EMAIL us with any thoughts, questions, or your most salacious sex stories at patcpod@gmail.comThis month on Patreon:The Golden Girls S1 E11 "Stan's Return"Broad City S2 E1 "In Heat"Girls S2 E1 "It's About Time"Pillow Talk Hosted on Acast. See acast.com/privacy for more information.

This week we continue our special look back at the Homophilia guest interview that started it all, with part 2 of that conversation.  And introducing... Michael Patrick King! The Executive Producer/Writer/Director of "Sex And The City" & "And Just Like That" graces Dave and Matt for the first half of an incredible two-part interview. Dave and Matt ask MPK about growing up Catholic (and the backyard religious epics he staged with his sisters) and his experiences with acting, stand-up, writing, and directing. And, of course, they reflect on the growth of our most cherished friends: Carrie, Charlotte, and Miranda. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we take a special look back at the Homophilia guest interview that started it all. And introducing... Michael Patrick King! The Executive Producer/Writer/Director of "Sex And The City" & "And Just Like That" graces Dave and Matt for the first half of an incredible two-part interview. Dave and Matt ask MPK about growing up Catholic (and the backyard religious epics he staged with his sisters) and his experiences with acting, stand-up, writing, and directing. And, of course, they reflect on the growth of our most cherished friends: Carrie, Charlotte, and Miranda. Don't miss Part 2 next week! Learn more about your ad choices. Visit megaphone.fm/adchoices

"Ravivez la flamme!", "Éveillez le désir!" ou "Osez le gingembre" : pour les magazines féminins, une libido en berne est un problème à régler d'urgence dans un couple. Pourtant, une enquête IFOP de février 2024 révèle que les Françaises et Français n'ont jamais fait aussi peu l'amour depuis quinze ans. En cause, l'étude cite notamment la normalisation de l'asexualité et la "révolution du consentement". Mais au lit avec son ou sa partenaire, pas toujours facile de différencier “Je n'ai pas envie de faire l'amour” et “Je n'ai pas envie de toi”. La journaliste Barbara Pucheu confie qu'elle en vient parfois à culpabiliser de dire "non" à son amoureux et à s'inquiéter quand c'est lui qui refuse un rapport.Laurie, en couple depuis 14 ans avec "Flo'", raconte au micro de Barbara qu'elle observe depuis le tout début de sa relation avec Florent un décalage au niveau de leurs libidos respectives. Elle a toujours eu "plus envie" que lui et s'est longtemps demandé si elle était bien “normale”. Pour mieux comprendre les mécanismes de la culpabilité au lit, Barbara interroge Margaux Terrou, sexologue clinicienne, qui critique la vision comptable de la sexualité. Le désir pourrait bien être une affaire de genre. C'est du moins ce que défend la sociologue Rébecca Lévy-Guillain. Elle explique à Barbara en quoi l'expérience du désir est un privilège masculin, et comment se réapproprier son corps et son plaisir.Barbara Pucheu a tourné et écrit cet épisode. La réalisation sonore est signée Clémence Reliat. Le générique est réalisé par Clémence Reliat, à partir d'un extrait d'En Sommeil de Jaune. Lena Coutrot est la productrice d'Émotions.Suivez Louie Media sur Instagram, Facebook, Twitter.Si vous aussi vous voulez nous raconter votre histoire, écrivez-nous en remplissant ce formulaire. Et si vous souhaitez soutenir Louie, n'hésitez pas à vous abonner au Club.Pour aller plus loin Publications :-Sex Recession : les Français font-ils moins l'amour ?, étude Ifop pour LELO réalisée par questionnaire auto-administré en ligne du 29 décembre 2023 au 2 janvier 2024 auprès d'un échantillon de 1 911 personnes, représentatif de la population française âgée de 18 ans et plus.-La fabrique du privilège du désir, Rébecca Lévy-Guillain, Revue française de Sociologie, 2022.-Le désir est un sport de combat, Rébecca Lévy-Guillain, Editions Archê, 2024-Le regard féminin : Une révolution à l'écran, Iris Brey, Editions Points, 2021Films :-Titanic, James Cameron, 1997-Sex and the City, Michael Patrick King, 2008-Le Journal de Bridget Jones, Sharon Maguire, 2001Instagram : -Orgasme et Moi, compte de Charline Vermont, éducation à la sexualité et au consentement Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Well, we have put it off long enough. THAT EPISODE has arrived, and Jodie Hough (Total Request Podcast, We Love to Hate Tv,, and We Love to Hate Everything) is here to help break down every juicy detail. This is the episode where the audience turned on Che Diaz according to Michael Patrick King, but we think the main issue continues to be the fact that the entire writers' room has never seen an episode of Sex and the City!!!Charlotte learns from a zoom meeting that her child now has changed their name to “Rock”, and Carrie has hip surgery which apparantly has affecting her hearing and memory. Miranda continues to “struggle” with her alcoholism, and Che Diaz brings over some spicy Mexican food, tequila, and a blunt for a post-surgery Carrie. WORST. FRIEND. EVER. Enjoy!!! EMAIL us with any thoughts, questions, or your most salacious sex stories at patcpod@gmail.comThis month on Patreon:*VIDEO of our episodes is now available at the "FAAAABULOUS!" level!*The Golden Girls S1 E5 "The Triangle"Broad City S1 E5 "Fattest Asses"Girls S1 E5 "Hard Being Easy"Designing Women S1 E3 "A Big Affair" Hosted on Acast. See acast.com/privacy for more information.

On this week's episode, I have Writer/Showrunner Max Mutchnick from Will & Grace, The Wonder Years, and many many more. Tune in as we talk about his journey as a writer and what some of his creative goals and hopes are for the future.Show NotesMax Mutchnick on IMDB: https://www.imdb.com/name/nm0616083/Max Mutchnick on Instagram: https://www.instagram.com/maxmutchnick/?hl=enMax Mutchnick on Twitter: https://twitter.com/MaxMutchnickMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptMax Mutchnick:By the way, I think Miley Cyrus is the only sitcom actor who is able to move the needle. They push you during sweeps. Can you get a Shatner? If we could get Shatner on Big Bang. I know we'll write, that's probably not a good example because it probably worked. But for the most part, shows just get what they get. They always get what they get. It doesn't matter. These co-stars and these, none of that mattered,Michael Jamin:Right?Max Mutchnick:Is it funny? And do you like the people? Do you like the people? Do you like what? They like the world of it?Michael Jamin:You're listening to, what the Hell is Michael Jamin talking about? I'll tell you what I'm talking about. I'm talking about creativity. I'm talking about writing, and I'm talking about reinventing yourself through the arts.Hey everyone, welcome back to another episode. Today, I have a wonderful guest that no one deserves to hear. And yet, as a gift, if you're driving your car, pull over, you're going to want to hear this guy, this man and his writing partner, they are responsible for literally one of the biggest hits in the modern era. I'm talking about Will and Grace. This is the co-creator of Will and Grace Max. Much Nick, but lemme tell you what else he's done. All right. It's not just that. I'm going to run through his profile for a second and then I promise I'll let him get a word in edgewise. One word's Dennis Miller show. He was right around the Dennis Miller Show, the Wonder Years Good advice, the single Guy Dream on co-creator of Boston Common Co-creator of Good Morning, Miami Co-creator of Twins, co-creator of Four Kings. This guy's got a lot of work done. Shit, my dad says. Co-creator, partners co-Creator clipped, co-creator, and of course Will and Grace Max, welcome to the show. And let me tell you why this is so meaningful to me to have you hereMax Mutchnick:And me too, just to get an award in.Michael Jamin:Okay? I wonder if,Max Mutchnick:And by the way, those credits were in no particular order.Michael Jamin:Well, it is the IMDB order.Max Mutchnick:It's a weird order, but I'm still thrilled to be here. So I'm going to let you keep going because I like all this.Michael Jamin:Everyone loves having smoked Blunt.Max Mutchnick:It's fantastic.Michael Jamin:Let me tell you why it's so meaningful, because one of the very first jobs I had in Hollywood, I was a PA on a show called Hearts of Fire a max, and his partner writing partner David, were, I don't know if you guys were staff writers or story editors,Max Mutchnick:I think on Hearts of Fire, we were staff writers. I think we were staff writers. Yeah.Michael Jamin:So I'd get you lunch. That's basically it. But you guys were, you guys were so kind. You always let me in. I come into your office, you'd invite me into your office, which to me felt like a big deal. And you guys were both, to me, you were the epitome of what a comedy writer is supposed to be like larger than life, charismatic, funny, ball busting, but also just, I don't know, just energetic and enthusiastic and bursting with creativity and to be around you guys threeMax Mutchnick:Seconds away from tears at all times.Michael Jamin:Yeah. Oh yeah, thatMax Mutchnick:Too. But I mean, we maybe didn't show that to you, but again, I hate to interrupt you when you're saying all this nice stuff.Michael Jamin:Well, I do remember one time, David, I was sitting with you and he's like, what have you heard? I'm like, what have I heard? What do you hear? I'm like, dude, you guys are the only people who talk to me. What have I heard? Nothing.Max Mutchnick:That's so good. What have I heard? And I was listening to you, and by the way, it gives me nothing but joy to be here, and I have to do full disclosure. So I start watching you and listening to you, and this is what happens when you get to be 40 57. I said, I'm like, I know him. I have a feeling of love for him. I do not know how we know each other. It's so funny. I couldn't remember the show that we worked on. I couldn't remember the show we worked on. And then I heard you talking about Mike and Maddie. Yes. The other day. And it was, which isn't on my IMDB page.Michael Jamin:It is. I skipped over it. I didn't want to embarrassMax Mutchnick:You. Yeah, no, I'm glad that we can talk about that too. But it all started at Hearts of Fire.I mean, it's just unbelievable. And that was such an incredibly formative time, and it's so interesting to me that you had this experience of us is mean, and by and large, that's what we are. I mean, I always look back on life and I reflect on it, and I'm always happy when I look back on the things that I've done and where I've been and where I'm going and all that stuff. But today, not so much. What do you mean? Well, it's like I'm saying, when I'm in the moment of today, a lot of times I really can get wrapped up in being depressed about the business and where things are. And I am starting to say things that like old people say, and I don't want to, because I always thought I would never do that. I would never say the business isn't like it used to be. But I'mMichael Jamin:Surprised you even feel that way. You've already accomplished so much. I don't think I would ever get to your level of success. I would've stopped long before.Max Mutchnick:I mean, that's nice. And I know that there are people who are in my position who feel like they've done it. And definitely the collision of a career and social justice, which kind of took place with Will and Grace, the idea that we did this thing and that it had a reverberation on another level should be enough. But I am still a guy with ambition and drive, and I still feel like I have more to say, and I'm not spoiled in that sense. I really don't want to be done at this age. And if anything, my ego is in a better place because I can even fantasize about the idea of being in a room that I wasn't running, which is crazy because that's in the middle of my career when it's at that really hot space. It's like, oh no, I could never be in a room that I wasn't in charge of. But that's not how I feel so much. But theMichael Jamin:Hours are so long and exhausting and you're like, sure, I'll work till two in the morning every night. Well,Max Mutchnick:I couldn't. That's the one thing I would don't feel like that is something that ever needs to be the case. I'm way into having dinner with my family, and I feel like it's after 10:00 PM it's diminishing returns. I actually think after 8:00 PM it's diminishing returns because emotionally you get so your skin starts to break out. You're eating out of styrofoam, and it's just not, it's so bad for where you are. You have to just love the fucking show you're on. Can I say bad word? YouMichael Jamin:Can say, sure. You can say show.Max Mutchnick:You have to love where you are so much to be working late or own. ButMichael Jamin:How did you keep, were the hours good on Will and Grace?Max Mutchnick:Yes. Because we've run a meritocracy and we always have, and that is the best idea will out. So I don't care if it comes from a LB like Michael Jamin or if it comes from John Acquaintance, wherever the best idea and wherever the most honest idea that's organic to the characters comes, and that's the one we're going with. And I'm very, I think one of the things you master or you have to master to be a showrunner that works well and runs a tight ship is the ability to say no quickly and without a lot of ting. So I'm going to say no, and I'm going to say it quickly, and it's going to feel like it hits you hard, and maybe it does. But in order for us to run a tight ship, that's just the way that it has to go. Famously, one of the best showrunners of all time, David Crane, I guess really, it was very democratic and everybody got to talk and pitch, and he didn't cut things off fast. I mean, sometimes there's a German there and you've got to find it and tease it out and stuff like that. But for the most part, immediately, no, that's not the way that we're going. And no, that's not the way the character.Michael Jamin:And they had long hours in that show,Max Mutchnick:Very, very long hours. They famously worked really late. And I was also listening to you the other day talk about those schools of,Michael Jamin:And that's what I was going to get to.Max Mutchnick:Yeah. And you could say that you talked about, there's the Friends school. I think there's also the Diane English strain. Did you mention that one?Michael Jamin:No, I did. I only really mentioned the one that I thought I came from, I think I came from, which was Frazier. Cheers Taxi. Right.Max Mutchnick:And I call that that's the David Lloyd's, I mean,Michael Jamin:And Chris Lloyd, yeah. Okay. What would you say your lineage would be then? And do you agree with that?Max Mutchnick:Yes, I did. I agreed with everything you said. I mean, my lineage is actually, it's a must see TV sound. It's an NBC, it comes down, but that's really the friend sound. And I come from that because my first real job was on Dream on which Martin David created. And then I came in late. David and I came in late on that show, but I also come from the Diane English School because Michael Patrick King was such a giant influence in my sound,Michael Jamin:And that was good advice or whatMax Mutchnick:Good advice. But he had come from Murphy Brown. Right, of course. So if you worked at Murphy Brown, you prayed at the altar and English. I mean, but those friends people, they just spawned so much, soMichael Jamin:Much. But you don't run the show the way they did, though.Max Mutchnick:Not at all. No, not at all. Yeah. We learned as much on shows from what not to do than from what to do. The benefit of being on shows where there, it's just, and I'm not using David Crane as an example because I've never been in a room with him, but we have been in rooms where either we weren't used or there was just endless talk that went absolutely nowhere and the decisions weren't made to just, that's good. That's it. Put it up on the board. You can get there very fast and not like there is a famous school that I don't want to talk about that it's good enough. It's good enough. It's good. Enough's not what I'm talking about. I don't do, it's good enough. But there is a world of shows that's run with that ethos.Michael Jamin:See, I thought one of the first, the advice that we got when we started running shows was I think it was Steve Levitan who said, just pick away, even if it's wrong, pick away. Yes. Or you lose the room.Max Mutchnick:Yes. I mean, it's like you can fu around forever about, oh, what you want to do with your life. I don't necessarily know that this was what I was going to do, but it happened and I went for it, and I got rewarded at a certain point. I feel like if you get rewarded in something that you're doing within six months to 12 months, stay there.Michael Jamin:Were you running a show that wasn't your own, it was your first job at, or No,Max Mutchnick:I'm I'm rare. I'm rare in that regard that I was at Emerson in college, and my dear friend was a comic named Anthony Clark. And Anthony called me and said, they're making shows now in la and there's a company that's very focused on writers who have strong relationships with standup comics. And the company was Castle Rock. And Larry David was just making Seinfeld at that time. And the guy that ran the company with Rob Reiner was a wonderful man named Glenn Paddick. And he gave us our first break, but we had to go into Warren Littlefields office as these young guys and argue for why would I ever give a show on this golden network to two guys that have never done the job before? You've never run a show.Excuse me. I was on single guy. So I mean, I had worked, but I had never run a show. The first time I ran a show and I wasn't even close to running a show. I was a co-producer. And I went in there and I said to him after I got David Cohan a white shirt with a collar like, you have no idea. The Prince of a collar and a what? The difference that it makes put on a goddamn buttoned up shirt. And we go and we sit in there and I say to Mr. Littlefield, who I owe a great deal to, if you give me the keys to the car, I promise not to scratch the car. And if I scratch the car, you can take the keys away. You can bring in whoever you want. They can oversee me, but just give me, literally give me a week, give me a show, and I already know what to do and not to do, and I'll run this thing the right way.Michael Jamin:Wait, this was before you wrote the pilot? This was just to get the chance to,Max Mutchnick:We had written the pilot and they wanted to make it. Oh, okay. And then they said to our agents, or they said to Glenn Pad, Nick, these guys have no experience. You've got to go get showrunners. And I was just so anti the idea that someone was going to creatively be open, and I asked for the meeting and I begged him, and I kind of tell that story. And the whole truth of that story is a day or two before he went to our agent and said, I want someone at that table read who runs a show. I want an experienced showrunner in case at the pilot table read, they fall apart. And God bless the writing team of Roberto, Roberto Bebe and Carl Fink, even Fink, I think. And I could be getting that wrong, and I hope someone calls us out on it. But anyway, those guys were so cool. And they sat at the table read, and we got our notes, and then they walked up to us on the stage where we were shooting the show on Radford, and they were like, you got this boys, we'll see you later. And we never saw again. Really. And then we were show running.Michael Jamin:Did you bring top heavy writers to the firstMax Mutchnick:David's sister who wasn't the superstar,Michael Jamin:Right. That she's nowMax Mutchnick:WasMichael Jamin:I'm talking about your first staff I'm talking about.Max Mutchnick:Yes, I know. Yes. Really. And I don't know who the third one was. I remember there being, it was a mini room before. It was self-imposed before it was imposed on us. And it was just this very tiny group because David and I didn't know how to ate and do all that. And we figured we would do all of the heavy lifting, which was not possible. And we eventually brought in Carrie Lizer, but we started with a very, very tiny group of writers and just crawled our way through.Michael Jamin:Wow. Yes. It's cool. Should we spend the next 59 minutes talking about the single guy, or should we continue talking aboutMax Mutchnick:Your No, no. Can't talk about that show. But it was really cool to work with Ernest Borgne, and I'll just put it to you. Yes. What is the, I'm going to ask you a trivia question.Michael Jamin:JohnnyMax Mutchnick:What?Michael Jamin:Johnny was his name?Max Mutchnick:Yes. Wasn't it? Yes. I went to high school with him, so that's not, and his dad was Johnny Silverman's father was David Cohen's rabbi in real life. Oh, wow. But I mean, we lived in an industry town. That's what it was. But no, Ernest Borg nine, in addition to having a wife that was a cosmetics had of cosmetics Dynasty, Tova nine was the name of all the lotions and potions. Earnest Hemmingway, little known Borg. What?Michael Jamin:Borgnine, not Hemmingway. Not Hemmingway.Max Mutchnick:Shit, that would be so bad. Ernest Borgne had the best collection of what? Does anybody knowMichael Jamin:Doug?Max Mutchnick:No, no, no. He had a good one though.But moving on, he had the best collection of Abraham Lincoln memorabilia because on the weekends, he used to go to Beacons moving and he would sell off the dregs of whatever was left in a truck that people didn't pick up. And one time he went and he bought a painting, and it was of Abraham Lincoln, and he takes it to wherever, Sotheby's or Heritage, whatever he did. And it turns out to be one of only two portraits ever painted of Abraham Lincoln while he was in office. Wow. That started this epic collection. We've digressed into such boring stuff. And I blame you. IMichael Jamin:Blame you. I brought up,Max Mutchnick:You're running this room. You could cut me off at any point.Michael Jamin:No, I could not. But let me ask you this, though. You've created so many shows, and obviously the writers are the same. So what is it, why was Will Grace, why that one not the other ones? Why was that one that blew up?Max Mutchnick:Well, I think I have a glitch in my casting programming. I didn't know to second guess myself in the way that I did after Will and Grace. I mean, it's a great question because it is the thing that, if anything, it could be a regret in my life. It's that I haven't made great decisions at crunch time andMichael Jamin:Wait, so you think it was casting decisions, you think, but you don't get to catch.Max Mutchnick:You put it on the page, and then it's these brilliant actors that have to operate in a medium that's not respected, but possibly the hardest form of acting. And there are very, very few people that can do it as well as the ones that we know. And Jim Burrows always says it's lightning in a bottle.Michael Jamin:Yeah, it is.Max Mutchnick:So it's that, and it's less Moonves also being not great to me.Michael Jamin:Well, I mean, I was going to say, every casting decision has been approved by a million other people. It's not like you could, right?Max Mutchnick:I know. And you want to believe it at the time, and you get in there and you sell, and you do your thing. And then sometimes you don't believe in a person that's going into a cast, but Les has got a thing for that person, so they go in there. But by the way, that man gave me a lot of breaks, and he was good to me for a period in my life, but I also think he did some super fucked up things to our shows too. Partners should have stayed on the air, and he took partners off the air too quickly, and no one had done anything like that. And they should have explored a gay guy and a straight guy being best friends. That's an interesting area.Michael Jamin:What is it? But you guys mostly work in sitcom. I know you did some movie work, but is that just the form you wanted to be in? Is there any other itch you have?Max Mutchnick:No, not really. It just kept, I mean, we kept every few years when they say it's back, we want them, let's go to people that know how to make on that list. And I mean, I'm doing it again, by the way, since this strike is over, and I hope that they work.Michael Jamin:What you're taking outMax Mutchnick:Multicam Ideas couple. Yeah. Yeah. We're working on a couple of Multicam right now that I'm really excited about, but I would love to not do it anymore. I would love to not do it anymore.Michael Jamin:What do you mean you'd love to not do it? I don't understand. IMax Mutchnick:Would love to write what I think single camera comedies are, which is a beautiful, when it's done exquisitely. I think it's, if you write Fleabag, that's like the masterpiece.Michael Jamin:It was a masterpiece, but it was a play. I remember watching you go, this is a play.Max Mutchnick:Yeah, but you can't, I don't know. You can't knock it like that. It doesn't, oh,Michael Jamin:It's not a knock. I mean, it's a compliment. I mean, these long monologues, and it's just not done. ButMax Mutchnick:She still was so brilliant that she figured out, she figured something out about how to make great fuckingMichael Jamin:Episodes. Oh, listen, we're on the same page. I was a masterpiece fricking masterpiece. And what I like about it is that it does feel like a play to me. It's really, it's conversational and it's intimate and brave. It's courageous, man. Man.Max Mutchnick:I think it's the final 20 minutes of the second season. I think that it, it'd be hard pressed to find a better single camera comedy ever written. Yeah, I agree. From the moment the priest shows up at her apartment to sleep with her. And I think that goes straight to the end. I don't know. Beat for beat where I've ever seen it, where I've ever watched a better script.Michael Jamin:How do you feel when you watch something like that? What does that do to you? Because you're a professional writer with a huge, great track record. How does that make you feel?Max Mutchnick:I only have that attitude of the more, the merrier. It's only good to me if you're asking me in a coded way, am I ever jealous of somethingMichael Jamin:A little? Yeah.Max Mutchnick:I mean, yeah. Would I like to have created the bear? Sure. Yes. But I'm more proud of Chris store and impressed that I know him, and I love, and I love that that happens. I mean, I get more offended by the bad stuff. I just can't stand the bad stuff, the good stuff. I'm like, God damn, that's exciting. That got made, and somebody left that writer alone and their vision was carried through to the end.Michael Jamin:Hey, it's Michael. If you like my content, and I know you do because listening to me, I will email it to you for free. Just join my watch list. Every Friday I send out my top three videos of the week. These are for writers, actors, creative types, people like you can unsubscribe whenever you want. I'm not going to spam you, and the price is free. You got no excuse to join. Go to michael jamin.com and now back to What the hell is Michael Jamin talking aboutWill and Grace, you could tune in an episode, and you knew you were in for some big, big laughs every episode. And I don't know, you were inviting these friends into your home every week. That's what it felt like. You were inviting your friends over. And there's an art to that.Max Mutchnick:Yes. And there's an art to picking the best writers that money can buy, which is what Will and Grace always had. I mean, the star power in the writing room at Will and Grace was spectacular. And I mean, to a person, it had the best run of writers, but the only time it went off the rails is if the heart got taken out of a story. And if the heart wasn't there, then the thing didn't hold up. That's right. And so you have to lay a foundation in the first act and make sure that all that stuff is true and real at the beginning. And then you can go kind of wherever you want in the second act. Then you can get nuts and then resolve in a very real way. But if you don't actually start from a true place of, oh my God, I cannot believe you are sleeping with my brother, that hurts me so much. Why? Because you're mine. Whatever that story is, you want to just hit those notes that everybody understands.Michael Jamin:Now, when you rebooted Will and Grace, did you bring back the entire writing stuff?Max Mutchnick:We didn't bring back everybody, but brought back most everybody.Michael Jamin:And what's shocking about that you had this amazing writing staff and that they were available.Max Mutchnick:We had to be patient. We had to work a little bit of magic. And I also think, I mean, it's embarrassing for NBC, but David and I had out of pocket some fees.Michael Jamin:Oh, really? You wanted them that bad?Max Mutchnick:But it's worth it. It's worth it. It's like, oh, you, you're going to stop at 25 k an episode for this wildly talented person and for their integrity, and they need it to be 27 5. It's like, take it out of mine.Michael Jamin:Right.Max Mutchnick:And we had to give you the full truth on that. It was more with crew. With Crew that we did that.Michael Jamin:Did you want your old crew?Max Mutchnick:Yeah. I mean, there are people that you want, you want the show to sound the same and you want,Michael Jamin:What was it like bringing it back though, for you as a creator? ItMax Mutchnick:Was incredible, honestly. It was such an incredible thing. I mean, we brought it back thinking that Hillary Clinton was going to be president. And the twisted irony is that the game show host won the office, but it ended up really giving us stuff to write to, because if you're just preaching to the third that you have, it's like, what's fun about that? ButMichael Jamin:To me, I guess I'm interested in your characters are now much older. And now I wouldn't have thought when Will Grace ended? I'm not really thinking about where they're going to be years from now. I'm just done thinking about them.Max Mutchnick:I know, and it kind of did have a finality to it, but I mean, I've told the story, but the set was at Emerson. How was it? And it was done, and they were done with the installation, and it was getting moved back on a flatbed to la. And my husband and I were in London, and I was bereft about the way the election was going and sitting in the back of a cab, I said to him, if I had the show, I would have Karen training Rosario on a rock climbing wall. I would do a story about, you're going to go back to Mexico, but then you're going to climb back in after you go back. Right. And I just wanted that to see that visual of Shelly Morrison on a rock climbing wall and caring training her, and in response to him, those horrible policies. And Eric said to me, well, honey, why don't you just go do something about it and make it the set's where it is? All the actors are where they are, and they were amenable. Thank God, God bless them for doing that, because it didn't have to go that way. It wasMichael Jamin:Easy.Max Mutchnick:It was much easier than you would think to bring it all back together.Michael Jamin:Right. That's with the rebuilding. That's so interesting. When you guys are coming up with show ideas, I mean, are they just coming to you? Are you always coming up with ideas or is it like, okay, we got to come up with an idea?Max Mutchnick:No, I mean, I'm coming up with ideas all the time until someone pays me and then all of a suddenMichael Jamin:Nothing. Can't thinkMax Mutchnick:Of anything. Yeah. It's like, I don't know. I can't sleep. I mean, do you sleep? I don't turn. My brain doesn't shut off. And so I'm always kind of thinking about stuff. And by the way, we've written some of the things that I love the most that we've ever done. They've never seen the light of day. And I think that one of the little twisted crimes of our industry is the fact that agents and studios, if they have any sense that you've written something ago, that you wrote it back when they don't want to, it's like a loaf of bread or something like that, as opposed to a piece of art that it is still relevant. It still makes sense. These characters are vibrant and exist, but it feels like used goods even if it's never anywhere.Michael Jamin:And so you guys, your partner, you meet every day and you're coming up with ideas, or even when you're not,Max Mutchnick:I'm very good that way. I don't feel like I can stop and I don't want to stop. Dave is arguably a happier person, and he doesn't feel the same desire to beat himself to death. That's what it's, yeah. But we've had a dynamic for mean our daughters are very, very close, which Oh, really? A gift of life for both of us. But always, I mean, I say this in front of him and behind his back, our relationship has that lovely Jerry Lewis and Dean Martin, sort of one of us is in love with the other one, and one of us doesn't care. And Dave's just like, but he's my brother. So he's not like he's going anywhere. But it's just like, stop trying so fucking hard. I get a little sweaty when I don't need to.Michael Jamin:Well, yeah, you've had so much success. It occurred to me. I just remember one time I was over at your place once, I don't remember where you were living, but I remember you had Enya on.Max Mutchnick:It's so crazy. So wait, I'm going to make my relationship to Enya. I'm going to bring it back to writing sitcoms because Okay. My anxiety has always been a present part of who I am and what you referred to as the fun of coming into my office. Yeah, you're right. But it's driven by a kind of anxiety and on, I guess it would've been good advice for Michael Patrick King. I was having such heavy, crazy anxiety. Anxiety to the point of passing out anxiety that I had to go every time we had a break down to my car and listen to Anya on AC cd.Michael Jamin:Is it because you're worried you're going to be fired? Is that whyMax Mutchnick:I just didn't have that? There's a, that very scary moment of existing in a writing room of what your output is. Like Jeff Astrof, by the way, such an incredible writer in a room, such a good room person. But he lives by the thing. If I don't put a joke into that script today, I can't go to bed tonight. And that drives a person. And I just was in these, so you have to get, but Michael Petra king got me a little bit more comfortable with, I listen to you sometimes and I watch you construct comedy on the fly, and I am impressed with it. And I think, what the fuck? Can't I still do that? But I tap into something different. I tap into a different thing because I think life just across the board, other than rape and cancer and Israel is pretty much, everything is funny. And I feel really good about exploring the most uncomfortable truths of my life, and that's where I get the stuff from. But I wasn't there. I wasn't there, and certainly not at the beginning. And Dave Cohan comes from such a pedigree family that it was second nature to him to just construct really clever wordplay and stuff like that. And I was really panicked about that at the beginning.Michael Jamin:Interesting. Because you know that in the room of writers, if I'm going to choose a team of writers and I have eight picks, the first eight are story people, not joke people.Max Mutchnick:And that's that generic question you ask a writer when you interview them. So what do you think you're best at story or, well, really good at story, right? They're really good at story.Michael Jamin:You're good at stories.Max Mutchnick:You can tell a fucking story.Michael Jamin:None of you'reMax Mutchnick:Good. It's crazy. It's crazy how many people can't tell a story or the joke thing of you want to say to people and you don't. It's like, okay, close your eyes. Go to the table, put that joke in the actor's mouth and tell me the response that you hear. Do you actually hear people laughing at those words? Because that's how I always do it. I'm like, and then it becomes second nature. Yeah, that sounds right. They will make ew. She'll make ew funny. That will get a laugh. That will get a laugh. But it's always shocking to me like the clunkiness sometimes that's pitched and it's like, that's not going toMichael Jamin:Work. Yeah. Yeah. How funny. How funny.Max Mutchnick:And if I'm calm and you got time, it's like you can try to get it, but you want a Michael Jamin in your room to just give it to you. Done.Michael Jamin:Oh, give it to me. Done. It's so interesting. Go starting out. I was just a joke guy. And then you won't keep your job long if that's all you understand, right?Max Mutchnick:No, you have to be able to, because you go to that run through and the entire back half of that story falls apart. So you have to be a technician to say, if you do this and you do that, the back half will, as we say, it's an F 12, it will write itself. It never does that, unfortunately. But I will tell you this, speaking of that, during all of this AI and the strike, and my writer's assistant that's been with me for a very long time, and I won't say his name because he hates that he's a writer's assistant, but he's incredible. A friend gave him a Will and Grace, an AI written Will and Grace.Michael Jamin:Oh, andMax Mutchnick:I mean, this is the upsetting part.Michael Jamin:No, don't go there. Don't say any of this. What isMax Mutchnick:It? I know. I mean, but the truth is, it's like, well, if this is what came to me, if I sent a team off, if I sent a group off and I said, Karen and Jack are going to have a garage sale, bring me back that story. I want two, I mean, I'd break the scenes with them, but two scenes of the first act, two scenes in the second act, it's AB story. Bring that back to me. It wasn't like it was so far off.Michael Jamin:Wasn't so far off. So better than staff writer.Max Mutchnick:This isMichael Jamin:Scary.Max Mutchnick:Yeah, no, I know. I mean, I don't know. It's like if it was in front of me, we could even read it, but I don't have it. I don't want to give any credit to that, but I'm going to name drop. But I told that story to Norman Lear at dinner not too long ago, and he told me that someone had done it for him too on, I think it was on all of the Family. And I believe that we agreed that it wasn't an abomination.Michael Jamin:This makes me sick a little bit.Max Mutchnick:Oh, it's sickening. Yeah, completely sickening. Because it calls 246 episodes of Will and Grace. It figures out what those people sound like. I mean, look, if I delivered, I wouldn't deliver it at a table read. It would still, it would be that thing that I was talking about. There wouldn't be laughs. It didn't have, it didn't have heart construction. Yeah, but good enough. Yeah, but it could go right. That's a callback number 56 onMichael Jamin:Callback. Good enough. I posted about James Burrows yesterday about what he said. I dunno if you saw,Max Mutchnick:Oh, I did. And we should talk about that.Michael Jamin:Yeah. What's, because he basically said, and I think it was misinterpreted a little, that there are, there's only about 30 great writers to do sitcoms. And what I think he meant was 30 great showrunners or potential showrunners, not writers. ButMax Mutchnick:Yeah, I absolutely didn't agree with him. And you started to talk about it, and then always, I kind of turn you off about five minutes, but I will say this, it's like you hit on exactly what it is. The reason why we like it is because Multicam are the comfort Food of America. I mean, that is the show. You want your kid, when they come home from school, turn on an episode of friends and watch that thing, and then dinner will be ready and it goes down easy and you love it. You even can know where it's going, and it's still satisfying. But I didn't agree with Jim, and I hope that he was misquoted because I am not sure that it's over because of how much it's actually liked by Go ahead and create. Everybody loves Raymond and I dare America to not want to watch it.Michael Jamin:Well, okay, growing up, there was a show called Small Wonder. It was one of these syndicated whatever. And I would watch that. And I said to my partner recently, I was like, how come we can't get on small wonder? Where are those shows put on Small wonder? I'd rather be happy working on Small Wonder. But they don't exist.Max Mutchnick:Well, no one programs that way anymore. I still believe if someone made the commitment, I mean, they must have papered this out somewhere, but I always think, shit, if I ran a network, I would ask the higher ups. Can I please develop sitcoms from eight to 10, put them on the air, and will you give me a guarantee that I get to put them on the air for two years straight, all four of them? Because it doesn't happen like a movie. It doesn't happen. I mean, you try really hard, but it's a fluke to get anybody to get a pilot off the ground in that a scene. They don't know anybody. Right. It's the hardest thing in the world. But I believe that if Multicam, I believe that they weren't driven by star casting because star casting always fucks up a multicam. Of course, there are examples of big stars that have made shows work like Charlie and Julia even. But I mean, there's that list of names that if we weren't being recorded, I would just say it's all these fucking famous people that aren't funny. AndMichael Jamin:Wait, is it because you think they get executive producer and they give notes and they change it? They make the show what they want it to be, you mean?Max Mutchnick:Yeah. I mean, I don't give a shit about that, but that's all bad. Jim Burrows, though, won't allow that, which is a gift, though. The world is so changed that if Miley Cyrus wants to do a sitcom, by the way, I think Miley Cyrus is the only sitcom actor who is able to move the needle. They push you during sweeps. Can you get a Shatner? If we could get Shatner on Big Bang, I know we'll write, that's probably not a good example because it probably worked. But for the most part, shows just get what they get. They always get what they get. It doesn't matter. These co-stars and these, none of that matters,Michael Jamin:Right? No.Max Mutchnick:Is it funny? And do you like the people? Do you like the people? And do you like the world that they're in?Michael Jamin:That's what actually, and that is a good segue to what I wanted to talk about as well. Shit, my dad says, you guys were on the forefront. That was a Twitter popular What? ItMax Mutchnick:Was the first one.Michael Jamin:Right? The first ones. So I'm saying you were on the forefront. You were the first ones who did that. And I remembering because it was based on the Twitter feed, I remember thinking, is this what's going on now? And yes. Yes, it is.Max Mutchnick:I know. I mean, it's funny. I remember when I was a kid and all of a sudden in the music scene, there was punk rock. And I remember being a worried Jewish boy saying to my mother, ma, I think punk rock's going to ruin the world. I think punk rock's going to ruin the world. And it was like all of a sudden, Twitter, a Twitter account, a tweet for Justin Alper. Brilliant. I mean, creator Elementary with Pat Schumacher, and this was Justin's, it was his account, but at a beginning, middle to an end, when you heard it, it was just like, shit, my dad says, it's just like, well, inside that line, speaking of Hemmingway, the best story, the shortest story ever written.Michael Jamin:Yeah. What is it?Max Mutchnick:Baby Shoes for Sale, never Worn.Michael Jamin:Right? Right.Max Mutchnick:They might be out of order, but those are the words I think, and shit my dad says was like, oh my God. You know exactly what that is. That's a son with being embarrassed by a father that he loves. So it was all there. It was there. Yeah.Michael Jamin:But if, I don't know, was there ever a moment like now, sure. Oh, this guy, this person has a big Twitter feed. Yes, bring him in. Let's talk with them. Right. But was there a moment when you were doing this? Are we really basing a show on a Twitter feed? I mean, I know you saw more, but I would've been worried.Max Mutchnick:Yeah, yeah. But it was literary. I mean, I don't know. Justin was just so sharp and smart, and there were ideas immediately, so it didn't feel hacky at all. But by the way, I will say this, it was one of the handful of terrible, deadly fatal casting mistakes that I made in giving the job of the Sun to the actor that we did when the actor of the hundreds of people that we read for that part, there was only one guy who came in and he was a slam dunk, and he was the one, and he was the only one of all the 500 men that read for the part that Bill Shatner said, that's the guy. And that guy was David Rum, HoltzMichael Jamin:Rum,Max Mutchnick:David m, it was so there in the room. Yeah. I forgot it was him. He understood everything. And I brought some of my own bullshit to it, and so did everybody else. David didn't, he didn't look like we wanted it. Look, we wanted a cuter person and all kind of stuff.Michael Jamin:Pretty, it's so funny. We did a show with him years later. Crummy Sweet kid, sweet guy. Interesting.Max Mutchnick:Wow. Forgot about that. Yeah. Such a talented guy. Such talentedMichael Jamin:Guy. Yeah. Interesting.Max Mutchnick:And a brother in neurosis.Michael Jamin:Yeah. Yeah. Well, let me talk about that, because you tend to put yourself into the characters you write. And how hard is that is difficult for you? Does everyone know that it's you, IMax Mutchnick:Guess? I think so. I mean, well, I only tell the stories in first person. I mean, I don't say, I have a friend who had sex with a Chauffeur for Music Express. I tell the story about what I did and how embarrassing it was and what I did and what I did to recover from it. And I got very comfortable with that. And it's made it possible to tell a lot of stories because that's what I have.Michael Jamin:But on the flip side, are you sometimes protective of the character when someone else pitches an idea and Well, I wouldn't do that. Well, it's not you. It's,Max Mutchnick:Oh my God. No. If it feels true, and it sounds true, I completely, I mean, I'm not going to go back on what I said. If your story is fantastic and it's not nuts, I mean, I want to tell that I want tell that story. Right? I mean, those are the ones that I, the ones that really like are like, oh, Jesus Christ, that's so uncomfortable. That's so uncomfortable and so awkward. And we have to do that. We have to tell that story.Michael Jamin:Did you start on your shows that you run, do you start every morning with like, Hey, what's everybody up to? Are you trying to pull stories out of people, personal storiesMax Mutchnick:We call a host chat?Michael Jamin:Is that what you called it? Yeah,Max Mutchnick:We call a host chat, because when I first started out, I knew I had a rundown of, I think Regis. Regis and who is Frank ER's wife?Michael Jamin:Kathy Lee.Max Mutchnick:Kathy Lee. Kathy Lee. And it's called Host Chat, by the way. It might've been on,Michael Jamin:Mike Madia was called that as well. Yeah. Yeah.Max Mutchnick:I mean, that's where it comes from. It doesn't come from Regis, it comes from that. And David, and I mean, it's arguably sometimes the best part of the day.Michael Jamin:Well, yeah, it's funny. You guys set up Mike and Maddie, and then you bounced off that show probably in a matter of months. And then I took, I took the job that you vacated and I was thrilled. And with you was, I dunno. For me, it was like, oh my God, this is this giant opportunity. And you guys, this is your temporary gig.Max Mutchnick:Oh, well, it wasn't a temporary gig. It was a fall from Grace. I mean, I think we had already been working, something was going on in our career, either we were in between agents or something, but that was an absolute blight. I mean, it was terrible. That experience.Michael Jamin:And why, what was it For me,Max Mutchnick:We were WGA primetime,Michael Jamin:And that was not all ofMax Mutchnick:Sudden we're writing a strip bullshit show with two hosts that hate each other. And I mean, a great thing came out of it though, the first week of the run of those shows, David Cohan is in all of the sketches.Michael Jamin:Oh, I didn't know that.Max Mutchnick:Yeah, David, we wrote him into the sketches. He played kind of this dumb PA character, and we would do these cold opens that they could never make them work. They could never make work because Maddie couldn't act. And Mike was always frustrated. But Dave's in them, they're online, I believe, and they're pretty funny.Michael Jamin:Oh my God. HowMax Mutchnick:Funny. Yeah, it's incredible.Michael Jamin:And so I guess going forward, as I take up a lot of your time here, what do you see going forward with the industry? I don't know. What does it lookMax Mutchnick:Like to you? That's one thing I won't do. It's the more I realize how little I know kind of thing. I believe this. I believe that good shows always will out. They will always happen. And even in spite of the system. So I think that that can happen. But I don't know. I'll tell you, in six months, I can come back and we'll talk about whether the multicam that I have in the hopper right now, if they work and if they get on the schedule, because things just, it just doesn't happen anymore.Michael Jamin:People think, yeah, people, when you're in it, you're made well, your next job is never guaranteed.Max Mutchnick:I don't like that 50 something year old guy that doesn't work anymore. I don't want to be that. I don't that person and I can be okay. I guess reflecting, looking back on, I tried really hard and I kind of want to, this might be embarrassing, but I really would like to show myself that I have not disconnected from the popular culture that I can tap into the way people feel still. And I'm not just a guy making dad jokes. I mean, I'm not that guy anyway. My daughters, that's not their experience. So it is just a matter of can I get the system to work on my behalf?Michael Jamin:What do you tell young writers trying to break in then giveMax Mutchnick:Advice that there's always room for one more. I mean, I still feel that way, but I feel like you've got to be, if you get on a show, I think the goal is to parrot the showrunner.Yes. Make the sound that he's making. Don't make some other weird Crispin Glover sound. Make the sound that he's making, and then improve upon that act. It's like actors that you hire to do a guest spot on a show, and they kill it, and you hire them, and then they get on the floor and they give you something else. It's like, no, no, no. Do exactly the thing that we hired you for. So a writer, it's like, I read your spec script. I love it. I love your tone. I loved talking to you. And by the way, in that meeting, I'm thinking as much about what's it going to be like to do post chat with this person and do anything else? Because I don't know that I should say this, but I will because I don't stop myself. A lot of times when we meet writers, we read them after we met them,Michael Jamin:You read 'em afterMax Mutchnick:They have a thing. If they're in the system to the point that the studio and the network are saying, oh yeah, we love this person. We think this person is great. This person's just come out of NYU. We think you'll help this person. Right? You've got to meet this guy, or you've got to meet this woman, this human. I sit down with them and then it's like, okay, you are,Michael Jamin:I wouldn't trust anything they say, though. That's the thing. Why? What do you mean? Well, because you got to meet this writer, and they're like, but I don't think they know what I'm looking for in a writer. That's the thing.Max Mutchnick:But it's like both have equal power in the hiring. So it's like you meet them, do I like them? You can read a script and then all of a sudden you imbue all the stuff that, and they're just like, Ugh. They're a drip. And they're not cool. And they're not easy to talk to. I mean, by the way, mean if the script's brilliant, you're going to hire them. But well,Michael Jamin:Also, I imagine we're also intimidated by your success too. It's not easy to sit opposite you guys,Max Mutchnick:But we try really hard to pull that out of the room as fast as we can because it gets in the way. And like I said, it's like I won't really comment on our position in the world and that kind of stuff. I just can't even think about that. If someone's coming in to talk to us, I feel as much want them to. I'm still the same as my husband says, everybody has diarrhea. It's like, I want them to like me.Michael Jamin:You still sob to Enya?Max Mutchnick:Yes. That I don't do anymore. I do. I'm a little bit my spine's illustrator. I don't have one way of doing anything is really the moral of the whole.Michael Jamin:Wow, max, I'm so appreciative that you took the time. I don't know, just to talk because oh my God, you have so much wisdom to share. It's just so interesting to hear your journey, and I don't know.Max Mutchnick:It is a joy to talk to you, and I don't usually enjoy these things as much as I have that says everything about you, andMichael Jamin:It's atMax Mutchnick:Ease. Yeah. I mean, you're just easy and good and smart and everything. A lot. I mean, your commentary throughout the strike was just fantastic and on point. And you were putting yourself out there in a way. AndMichael Jamin:Ballsy is what IMax Mutchnick:Ballsy. Ballsy. Yes, that's right. I mean, one gets scared making things when you have, I guess you don't have that much to lose.Michael Jamin:That's pretty much it. That's pretty much it. Yeah.Max Mutchnick:So can you just tell me before we say goodbye? Yeah. What are you working on?Michael Jamin:Well, we're going to talk more. We're done talking. Okay.Max Mutchnick:Okay. So do you want to wrap it up? Do we sing or what do we do?Michael Jamin:Yeah. We hug virtually and we tell everyone to be their best creative versions of themselves.Max Mutchnick:That's exactly right.Michael Jamin:Encourage people. There's roomMax Mutchnick:For one more.Michael Jamin:I love that. There's room for one more. So if you're listening always. Yeah.Max Mutchnick:No matter what it is. And God damn, I wish I could sing the theme for, I mean, if you have your sound engineer, why don't you just have your sound engineer fade in the theme from the Mike and Maddie show written by Charles Luman.Michael Jamin:MicMax Mutchnick:Shine. It's a beautiful day in America.Michael Jamin:I'm not paying for that needle drop. I got my own music. HeMax Mutchnick:Doesn't need the money.Michael Jamin:I'll talk to him. Okay. All right. Thank you again, max. I really appreciate it, Janet. Yeah. Okay. And don't go anywhere. Alright everyone, we got another more great episodes. Wasn't that interesting talk? He's a great guy. Go watch him. Go watch Will and Grace again. It's ageless. Alright, thanks so much everyone, until next week.So now we all know what the hell Michael Jamin is talking about. If you're interested in learning more about writing, make sure you register for my free monthly webinars @michaeljamin.com /webinar. And if you found this podcast helpful or entertaining, please share it with a friend and consider leaving us a five star review on iTunes that really, really helps. For more of this, whatever the hell this is, follow Michael Jamin on social media @MichaelJaminwriter. And you can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane and music was composed by Anthony Rizzo. And remember, you can have excuses or you can have a creative life, but you can't have both. See you next week.

TV and Film collide when Devin teams up with one of his favorite podcasts: Movies That Made Us Gay! Scotty Youngbauer and Peter Lozano visit Devin in the studio to discuss a little of Lisa's filmography and other television that molded them into who they are today before checking in with Valerie who is not only seeing red but also seeing green in more ways than one!

This is for the SATC girlies! Fellow Aries, pop cultural enthusiast, and Carrie Bradshaw scholar, Evan Ross Katz sits down this week with Auntie to discuss their Roman Empire: How in the hell did “And Just Like That” get renewed for a season 3?! Katz gives us his take and some inside scoop on why the show is such a disservice to the SATC legacy, along with his thoughts on the new RHONY cast, what it's like to write a book, and whether or not he started “P Valley” yet. Michael Patrick King, call us. And as always, Auntie answers your burning questions and provides advice in “Ask Auntie”, and provides the hottest takes on “This Week's Mess.” This week? I talk about how turning 40 sometimes kind of sucks and how to build out a wardrobe that really reflects who you are.Host: Marjon CarlosProducer: Nerenda EidEditing: We The CoolRecording Studio: Full Court StudiosFollow Auntie On Social!IG: @yourfavoriteauntieshowTikTok: @yourfavoriteauntieshowSubstack: Notes From Auntie's DeskWeb: www.yourfavoriteauntie.com Hosted on Acast. See acast.com/privacy for more information.

Peter gets to tell Michael Patrick King what he thinks of his shows, and Eunji is about to get banned from Uber.

We are back and still holding strong with SAG-AFTRA and the WGA, so no new actress interview, but we are joined by Emmy-winning actor and President of the Los Angeles Local branch of SAG-AFTRA, Jodi Long. You Might Know Her From Shang-Chi, Dash & Lily, All-American Girl, and season 4 of this podcast! Jodi breaks down the SAG strike and spells out what the union is fighting for, the threat to the working class, and what she'll treat herself to when this is all over. Fear not, we're still going deep on Kim Cattrall's :47 cameo on And Just Like That and the menace that is Michael Patrick King. Plus Barbie, Oppenheimer, and just in time for fall, sweet potato pie, sweet pies! Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this week: Jodi Long's full interview: S4 ep116 NYT on why we should keep killing lantern flies We saw Barbie Anne saw Oppenheimer on Labor Day Cillian Murphy and his translucent skin was in Breakfast on Pluto Kim Cattrall's (71 second) cameo in And Just Like That in S2 And Just Like That, The Writer's Room Podcast Kim Cattrall engraved her own name with “Liverpool's Cleopatra” next to it on her gravestone Michael Patrick King is a menace, let's bring back Darren Star Michael Patrick King also helped create one of our favorite shows of all time, The Comeback. But Lisa Kudrow doesn't want to be a mogul like SJP Why are screen actors (SAG-AFTRA) and screen writers (WGA) striking?   AMPTP is the negotiating organization for the Hollywood studios Jodi Long was full-body scanned on Shang Chi and the Legend of the 10 Rings. They own that image in perpetuity.  Reality shows are a different contract and not part of the current SAG-AFTRA  CEO salaries in 2022 for huge networks averaged $32M for 13 CEOas across 12 companies Actors have to make $26k+ in order to qualify for health insurance (only 12% of SAG-AFTRA actors make that every year) Hollywood studio CEOS are tonedeaf: Disney CEO Bob Iger / Warner Brothers CEO, David Zaslav AMPTP hired a new PR person to change the public narrative Movie studio A24 has agreed to all of SAG-AFTRA's terms, so they are currently in production while other studios are not Anne Hathaway,  Matthew McConaughey and others are working on waivers because their production companies have met SAG-AFTRA's demands SAG-AFTRA President Fran Drescher's call to arms We love pie: ALR-key lime, cherry, blueberry / DB-Banana cream, strawberry rhubarb, pumpkin Domino's song “Sweet Potato Pie”  Watch Norma Rae with us! 

Amye is joined by Tess Brigham of Psych, Legal Pop to discuss season 2 of And Just Like ThatAmye and Tess recap some of their favorite and least favorite moments from the second season of And Just Like That. We also talk a bit about Sister Wives, Yellowstone, and Michael Patrick King as a person. You can find Psych, Legal, Pop! Obn any podcast app and follow Tess and Brooke on instagram at: @psychlegalpopWant bonus content and to support the show? Join us on Patreon or Supercast!https://www.patreon.com/littlemissrecaphttps://littlemissrecap.supercast.com/THE SHOW:Get in touch with us:Facebook: https://www.facebook.com/groups/littlemissrecapFacebook group: https://www.facebook.com/groups/littlemissrecapInstagram: @littlemissrecapVoicemail: www.littlemissrecap.comEmail: Info@littlemissrecap.com Hosted on Acast. See acast.com/privacy for more information.

This week on Just Jack & Will, it's all nice on ice as Sean and Eric review an early Will & Grace episode which was inexplicably aired eleventh. They discuss gray chest hairs, Dominican parades, Hot Pot Guy, and the first celebrity who ever appeared as themselves, figure skating legend Rudy Galindo. Then, they welcome Sex And The City/And Just Like That… writer/director/producer Michael Patrick King to talk about writing this episode, his time on the show, and refusing notes from Jimmy Burrows. Don't get too close, you might get sequin blindness.Have a question about Will & Grace, especially Season 1? We want to hear them! Email us at JustJackAndWill@gmail.com, call or text to 818-308-4012, maybe the guys will answer your question on the show! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It looks like it won't be Carrie Bradshaw's last supper after all. On the heels of the news that And Just Like That was renewed by MAX for a third season, Still Watching wraps up its season with a bonus episode featuring an interview with writer, executive producer, and director Michael Patrick King. A fan of the podcast, King has a lively chat with host Chris Murphy about directing the season finale, the return of Samantha Jones, the fan response to Che Diaz, and what might be in store for season three.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

As I rhapsodized about Season 2 of And Just Like That with my all-time #1 BFF, I couldn't help but wonder: What are YOU letting go of? Got a burning question about a relationship or friendship problem (or really anything Sex and the City adjacent)? Just record a voice memo on your phone and email it to AndJustLikeMatt@gmail.com and Matt will answer your question on the show with his very fancy guests. 

And just like that it's the finale of "And Just Like That...". What a wild ride it has been. We've seen non binary stand up, we've seen vet techs, we've seen lots of bald people kissing, we've seen men making love, we've seen Charlotte sell a painting to Sam Smith and we've seen Aiden in a gestapo outfit. We suffered through it all and we arrived at the conclusion of some of the best/ worst television ever made. We love you "And Just Like That" and we hate you. We will miss you dearly, can't wait to see you again. Hope it goes by in a snap. Support the show

Writer, director, and executive producer Michael Patrick King is joined by executive producers Elisa Zuritsky and Julie Rottenberg, consulting producer and writer Susan Fales-Hill, and supervising producer and writer Samantha Irby to break down the season 2 finale of And Just Like That…They talk about their objectives for the season, the exciting challenges that come with bringing so many characters together, and reflect on the highly anticipated return of Samantha. Then, Michael Patrick King shares his experience of writing that final scene.See omnystudio.com/listener for privacy information.

Writer, director, and executive producer Michael Patrick King is joined by executive producers Elisa Zuritsky and Julie Rottenberg, consulting producer and writer Susan Fales-Hill, and supervising producer and writer Samantha Irby to break down the season 2 finale of And Just Like That…They talk about their objectives for the season, the exciting challenges that come with bringing so many characters together, and reflect on the highly anticipated return of Samantha. Then, Michael Patrick King shares his experience of writing that final scene.

This week on Mummy Dearest we recap the penultimate episode of season 2 of "And Just Like That...". We can't believe it's almost over. We never want it to stop even though it remains the best / worst written show of maybe all time? This week we get near death attempts, Shaloin monk hijinks, butt stuff, and Aiden's attempt at crying. It was a juicy episode filled with all the stuff we love to hate but we're really just biding our time until we get the series finale call from SAMANTHA JONES! All that and so much more on this week's episode of Mummy Dearest!Support the show

To discuss the penultimate episode of the season, Michael Patrick King welcomes executive producer and writer Julie Rottenberg, consulting producer and writer Susan Fales-Hill, and supervising producer and writer Samantha Irby. Together, they talk about new career opportunities, Che's new stand-up set, and the true story that inspired Naya's big gesture. Plus, how they set the table for Carrie's dinner party.See omnystudio.com/listener for privacy information.

To discuss the penultimate episode of the season, Michael Patrick King welcomes executive producer and writer Julie Rottenberg, consulting producer and writer Susan Fales-Hill, and supervising producer and writer Samantha Irby. Together, they talk about new career opportunities, Che's new stand-up set, and the true story that inspired Naya's big gesture. Plus, how they set the table for Carrie's dinner party.

This week, writer and executive producer Michael Patrick King discusses is joined by Elisa Zuritsky, Susan Fales-Hill, and Julie Rottenberg, who took the reins as director for this episode. They discuss how they approached blending Carrie and Aiden's worlds, Miranda and Charlotte's unexpected spy caper, and LTW's surprising news. They also explain the intricacies of bringing several stories together for a block scene.See omnystudio.com/listener for privacy information.

Writer, director, and executive producer Michael Patrick King is once again joined by executive producers Elisa Zuritsky and Julie Rottenberg, and consulting producer and writer Susan Fales-Hill. Together, they delve into bringing Carrie and Aiden's relationship to the present, uncovering Seema's vulnerability, and the challenges that come with midlife career changes. Plus, how Giuseppe's presence is bringing out more in Anthony.See omnystudio.com/listener for privacy information.

This week on Mummy Dearest we unwrap Season 2, Episode 7 of "And Just Like That...". This episode shook us to our very core. There are things we cannot get enough of: LTW's luscious décolletage, LTW's hair, LTW's skin, LTW's attitude. And then there are things we never want to see again: Che as a VET TECH, Che as a stand up comic, Che period. There are things we want to see more of: Miranda becoming a high powered lesbian with other high powered beautiful lesbians (maybe we tie in LTW here?) But the main focus of this week's episode is Aiden. He's back and he's...an SS officer? A member of the new nazi party? A WWII collector? What the hell was his outfit about? Aiden would never have worn anything like that! We get to the bottom of how this happened and we discuss the Drew Barrymore of it all on this week's episode of Mummy Dearest. Support the show

Writer and supervising producer Samantha Irby is back to dive into “February 14th” with executive producers and writers Michael Patrick King, Jullie Rottenberg and Elisa Zuritsky. They break down how they mapped out each character's Valentine's Day, the decision to bring on a new character, and how everyone felt about the return of a fan favorite.See omnystudio.com/listener for privacy information.

This week, writer Rachel Palmer joins writer, director, and executive producer Michael Patrick King along with executive producer Julie Rottenberg and writer and supervising producer Samantha Irby to get to the heart of “Bomb Cyclone.” They talk about what goes into creating a blizzard, Lily's big announcement, and LTW's perseverance. Plus how they introduced a piece of Carrie's past and how she is looking to the future. See omnystudio.com/listener for privacy information.

This week on Mummy Dearest we unwrap episode 5 of "And Just Like That...". We are fully in, we love this show, we will watch it forever, it's hot garbage, feed it to us with a spoon and we will slurp it up like the little piggy babies we are. This episode had everything from LTW's hot body shakin it to TLC, Harry wearing a disturbing wig, LTW's husband in sexy George Washington cosplay, Miranda carving pumpkins, and Che potentially getting dumped by ABC. There was a lot to unpack but we tried out best on this week's episode of Mummy Dearest!Support the show

Writers Samantha Irby and Lucas Froehlich join the writers' room with writer, director, and executive producer Michael Patrick King and consulting producer and writer Susan Fales-Hill. Together, they break down the process of choosing the Halloween costumes featured in this week's episode, “Trick or Treat.” They also discuss Carrie and Seema's different approaches to second chances, and the real pressures that inspired Che's focus group experience.See omnystudio.com/listener for privacy information.

This week on Mummy Dearest  we unwrap episode 4 of And Just Like That... . This week we are back to our roots. The gals (plus Anthony) sit around a brunch table and discuss Charlotte's love of cūm and Harry's lack of cūm. The word cūm slūt is thrown around a lot and it felt like we needed Samantha there to really lead the charge. This episode heavily featured all the things we love about the series: elderly people's dick pics, borderline non consensual they/them ex-husband threesomes, half built Ikea furniture and men doing Kegel exercises. It's safe to say we're so f#%king back baby, and we can't wait to see what the insane writers of this show have in store for us next week! All that and so much more on this week's episode of Mummy Dearest!Support the show

Writer, director, and executive producer Michael Patrick King, executive producers Elisa Zuritsky and Julie Rottenberg, and consulting producer and writer Susan Fales-Hill are together again to discuss episode 4: “Alive!”  They give a behind the scenes perspective on working with a living legend, the journey to LTW and Herbert's anniversary party, and how Harry's story allowed the writers to finally bring the ghost of an idea to the screen.See omnystudio.com/listener for privacy information.

Author/professor/policy expert/political strategist and ally for the ages Kate Black is here to talk about the state of American electoral politics, the five steps of getting involved in your own community to advocate for what you believe in, and Kelly Clarkson's Chemistry. Also: becoming a born-again tidy person, donating a kidney and all that that entails, the challenge of triathlons, the quiet bravery of keeping your head down and continuing to swim, the joys of the Midwest, the cost of diapers, June Diane Raphael as life-changer, how to support LGBTQ+ candidates, why we're still stuck with the language of hyper-masculinity, and how we're feeling about the 2024 election. PLUS: the true story of Michael Patrick King on Matt's new podcast And Just Like Matt!  

And just like that it's another episode of "And Just Like That". This week our favorite girls, gays and theys find themselves in all sorts of hijinks! We witness robberies, tattoos, line running, jewelry heists, and a trip to a T-Mobile store. Oh and of course, there's more Tony Danza for all you Danzalions out there! All that and so much more on this week's episode of Mummy Dearest!Support the show

And just like that...Kim Cattrall is back! “Sex and the City” fans were thrilled by the surprise announcement that Kim would be reprising her iconic role as Samantha Jones on the new season of “And Just Like That...” This is extremely shocking to a lot of people because of Kim's epic feud with Carrie Bradshaw herself - Sarah Jessica Parker. Kim has sworn for years that she would never return to the franchise…under any circumstances. But things change, and she's back. For now!Connect with Wonderyhttp://wondery.com/showshttp://facebook.com/WonderyMediahttp://twitter.com/WonderyMediahttp://instagram.com/WonderyMedia#wondery #podcastFollow us on socials: @brookesiffrinn and @ariciaskiddubsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We're so f@#king back baby!! And just like that "And Just Like That" is back. We couldn't be happier. All the things we hated about the first season were dialed up to a 10 in these first two episodes and we have no choice but to applaud the audacity of the writers! They gave us strap-ons, unnecessary racial tensions, budding designers failing to make a simple garment for the MET gala, gay bashing, Hep C, top hats and latex corsets and of course, Tony Danza. Truly, we are right where we belong. Back with our gals as they wear $80,000 outfits to go to lunch in the park. Thank you MAX for bringing us back to our gals. We can't wait to see what this season has in store for us! And remember, season one recap episodes are all available on our Patreon!Support the show