Podcast appearances and mentions of Murphy Brown

William Thomas Sadler was born on April 13, 1950 in Buffalo, New York, to Jane and William Sadler. He began his acting career in New York theaters, appearing in more than 75 productions over the course of 12 years. His roles included that of Sgt. Merwin J. Toomey in Neil Simon's Tony Award winning play "Biloxi Blues". He is best remembered for his roles in Die Hard 2, Bill & Ted's Bogus Journey, The Shawshank Redemption and Tales from the Crypt: Demon Knight. He is also a television star, appearing in such sitcoms as Roseanne and Murphy Brown and such movies-of-the weeks as Charlie and the Great Balloon Chase. Sadler also starred as Sheriff Jim Valenti on the WB science fiction television series Roswell.

Today we're diving deep into the TV landscape of 1992. Murphy Brown clashed with Vice President Dan Quayle, while comedian Dennis Miller debuted his first talk show. Plus, The Cosby Show came to an end. Join us as we explore these and many other memorable TV moments from that year. What were you watching in 1992? Share your favorite shows with us in the comments! #1992 #television #MurphyBrown #DanQuayle #DennisMiller #TheCosbyShow #TVhistory See show notes: https://inlet.fm/weird-history/episodes/67e06ce34763ac116f9fc1ee Learn more about your ad choices. Visit podcastchoices.com/adchoices

William Thomas Sadler was born on April 13, 1950 in Buffalo, New York, to Jane and William Sadler. He began his acting career in New York theaters, appearing in more than 75 productions over the course of 12 years. His roles included that of Sgt. Merwin J. Toomey in Neil Simon's Tony Award winning play "Biloxi Blues". He is best remembered for his roles in Die Hard 2, The Bill & Ted movies, The Shawshank Redemption and Tales from the Crypt: Demon Knight. He is also a television star, appearing in such sitcoms as Roseanne and Murphy Brown and such movies-of-the weeks as Charlie and the Great Balloon Chase.   Sadler also starred as Sheriff Jim Valenti on the WB science fiction television series Roswell. In addition he is known for his work on Salem's Lot, The Rookie, Fringe, Star Trek Deep Space Nine and the Jesse Stone movies.   Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

MJ welcomes Alan Oppenheimer, a legendary actor with a career spanning over 70 years. The conversation explores their deep friendship, Alan's vibrant spirit, and his remarkable journey through Hollywood. They share laughter, stories of love, and insights into the entertainment industry, highlighting Alan's experiences and the importance of positivity and romance in life. In this engaging conversation, Alan Oppenheimer and MJ delve into personal stories about relationships, career milestones, and the lessons learned throughout their lives. They reflect on the beauty of aging, the importance of living in the moment, and the value of communication and honesty in relationships. Alan shares anecdotes from his Broadway career and discusses the unexpected turns in his life that led to significant opportunities. The conversation is filled with humor, wisdom, and a deep appreciation for the journey of life. More about Alan Oppenheimer: Alan Oppenheimer is recognized as the voice of many characters, often for Filmation in the 1970s and 1980s, such as Mighty Mouse, Ming the Merciless on Flash Gordon, the Overlord on BlackStar, and Skeletor, Man-At-Arms and Mer-Man from Filmation's 1980s cartoon He-Man and the Masters of the Universe. Other notable voice roles include Thundarr the Barbarian, Vanity on The Smurfs, Rhinokey and Crock from The Wuzzles and Falkor, Gmork, Rockbiter, and the Narrator from 1984's The NeverEnding Story. In the early 1990s, Oppenheimer was the voice of Merlin in The Legend of Prince Valiant. He also performed various supporting roles in various incarnations of Scooby Doo. He took over the voice of Roger Smith's butler Norman Burg in the second season of The Big O. Oppenheimer also worked on The Transformers, most notably as two contrasting characters, the pacifist Beachcomber and the bellicose Warpath.. He was the voice of Alistair Crane on the soap opera Passions. Oppenheimer recently provided the voice of the Scientist for the film “9.” Oppenheimer's repertoire also includes video games, voicing Dr. Piotr Ivanovich in Soldier of Fortune II: Double Helix, Prometheus in God of War II and Jandor the Airship Captain in Nox. In Fallout: Brotherhood of Steel, he spoke the part of Harold, an ancient mutated survivor of nuclear holocaust who has appeared in four of the Fallout series games. Oppenheimer was Dr. Rudy Wells in the Six Million Dollar Man. He was nominated for an Emmy for ‘MURPHY BROWN' and starred in many TV shows and films, including LITTLE BIG MAN, THE HINDENBURG, FREAKY FRIDAY. He also co-starred on Broadway as Cecil B. DeMille in SUNSET BOULEVARD.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Met Vier jaar in de top 10 van de VS, meer dan 50 Emmy`s en een looptijd van 10 seizoenen was Murphy Brown met recht een megahit in de 90s. Annu nu is de serie verdwenen uit ons collectieve geheugen, in tegenstelling tot bijvoorbeeld Friends en Seinfeld. Hoe kan dit? Mark neemt je mee naar Washington en zoekt het uit! De serie schuwde politiek commentaar niet en kreeg zelfs te maken met een onbedoelde, maar beruchte aanvaring met vicepresident Dan Quayle, waarop de schrijvers op briljante wijze reageerden. Murphy Brown was zijn tijd ver vooruit, maar ook ontzettend 90s. Is de show nog steeds relevant?  Luister nu en laat ons weten of Murphy Brown volgens jou een vergeten parel is of nog altijd een must-watch!Volg ons op:Instagram https://www.instagram.com/desitcomcast/ Facebook: https://www.facebook.com/profile.php?id=100088431939984Of mail naar: desitcomcast@gmail.comHosts: Mark van Lier en Joost de KruijterProductie: Dejos Media https://dejosmedia.nl

We are honored to welcome back Emmy-winning writer Marilyn Suzanne Miller to the podcast. A vital creative force behind Saturday Night Live's original era, she is a three-time Emmy recipient for her work on both SNL and The Tracey Ullman Show (as well as earning the Humanitas Prize for her episode of Murphy Brown).From initially turning down SNL to becoming one of its defining voices, Marilyn shares her extraordinary journey that led to the creation of some of the show's most beloved characters, including The Festrunk Brothers and Judy Miller. She also discusses her significant contributions to the musical sketches of the show's original era and the importance of a character like Rhonda Weiss being showcased on television. Marilyn also delves into her subsequent returns to SNL, including writing for the 25th Anniversary Special that earned her a Writers Guild of America Award, and touches on her impressive work beyond the show.---------------------------------Subscribe today!Follow us on social media: X (Twitter): NR4PTProjectBluesky: nr4ptproject.bsky.socialInstagram: nr4ptprojectFacebook: The Not Ready for Prime Time ProjectContact Us: Website: https://www.nr4project.comEmail: nr4ptproject@gmail.com

Today on another encore edition of The Rarified Heir Podcast, we are talking to Eric Bonerz, son of actor and director Peter Bonerz. Host Josh Mills goes way back with Eric, who, while slightly older, attended the same Oakwood School that has become somewhat synonymous with this podcast. Like Josh, Oakwood was a Petri dish of children of celebrities and it's partially the impetus for this podcast. Our conversation with Eric was full of humor, pop culture references, lost LA lore and bizarre interactions with the film, TV, music and the world of animation if you can believe it. Eric recounts his father's career as a comedic actor coming up in theater in San Francisco in the 60s and takes us on a journey through television in the 70s, 80s and 90s. Best known to fans as Jerry the Dentist on The Bob Newhart Show, Peter Bonerz moved behind the camera and became an in-demand television director with more than 350 credits to his name. So while we discuss shows like Wings and Murphy Brown, we also hear about Eric's time on the set of the film Catch-22 as well as an evening spent in the Manson house with Nine Inch Nail's Trent Reznor. Whoa. Somehow on this episode we discuss AMC Jeeps, the Beastie Boys, the band Primus, actor Chuck McCann, actor Keir Dullea, the Jerry Lewis film, The Day The Clown Cried and much more. Eric is a touchstone to so many things, it just feels like he's in the DNA of the Rarified Heir Podcast. Listen and find out for yourself, right now.

Host of FYI: The Murphy Brown Podcast, writer, playwright, actor, and screenwriter, Lauren Milberger joins Joss to talk about Season 4 Episode 6: The Lifesaver! Together, they praise the beloved sitcom, unpack whether Jack and Janet should've ended up together, and share what their real thoughts are on the surprising ending of the episode.  Follow us on Instagram : @threescompanyrewatchpodFollow us on TikTok: @threescompanyrewatchpodFollow us on Twitter: @tcrewatchpodFollow Joss: @joss.richardFollow Lauren: @laurenmilberger

July 21-27, 1990 This week Ken welcomes film producer and host of the Hollywood Gold podcast, Daniela Taplin Lundberg. Ken and Daniela discuss growing up in show business with an actress mother and producer father, producing Mean Streets, La Bamba, hating Coach, Murphy Brown, Action Jackson, the teen TV stars of the 80s and 90s, Hollywood poor, going to events for the food, Doogie Howser PI, the movie guide in the back of TV Guide, Premiere Magazine, Entertainment Weekly, Tom Hanks, Bosom Buddies, telling stories you think make you look good that don't actually make you look good, Different World, Wonder Years, Square Pegs, Northern Exposure, Beauty and the Beast, The Facts of Life, backdoor pilots, Ken's trivia weak points, TV Horror Hosts, NBC Pictures, target audiences, SNL's best cast, Life Goes On, Our House, Newhart, The Elliot comedy legacy (Bob, Chris, Abbey, Bridey), loving thirtysomething and Sisters, Battle of the Network Stars, Who's the Boss, Living Dolls, Mona, Charmed, Head of the Class, Hollywood it couples, Brad Pit, not connecting with Neil Patrick Harris, Silver Spoons, Jason Bateman, Ricky Schroeder being mean to you, Cosby, Grand, mid-season replacements, loving Bonnie Hunt, disliking Full House, being social on Friday Nights, Miami Vice, the beauty of Crime Story, before they were stars, the greatness of not binging shows, and My So-Called Life. 

Victoria Sturtevant's It's All in the Delivery: Pregnancy in American Film and Television Comedy (University of Texas Press, 2024) is about how changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women's work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Victoria Sturtevant's It's All in the Delivery: Pregnancy in American Film and Television Comedy (University of Texas Press, 2024) is about how changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women's work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Victoria Sturtevant's It's All in the Delivery: Pregnancy in American Film and Television Comedy (University of Texas Press, 2024) is about how changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women's work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Victoria Sturtevant's It's All in the Delivery: Pregnancy in American Film and Television Comedy (University of Texas Press, 2024) is about how changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women's work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices

Victoria Sturtevant's It's All in the Delivery: Pregnancy in American Film and Television Comedy (University of Texas Press, 2024) is about how changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women's work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Victoria Sturtevant's It's All in the Delivery: Pregnancy in American Film and Television Comedy (University of Texas Press, 2024) is about how changing depictions of pregnancy in comedy from the start of the twentieth century to the present show an evolution in attitudes toward women's reproductive roles and rights. Some of the most groundbreaking moments in American film and TV comedy have centered on pregnancy, from Lucille Ball's real-life pregnancy on I Love Lucy, to the abortion plot on Maude; Murphy Brown's controversial single motherhood; Arnold Schwarzenegger's pregnancy in Junior; or the third-trimester stand-up special Ali Wong: Baby Cobra. In the first book-length study of pregnancy in popular comedy, Victoria Sturtevant examines the slow evolution of pregnancy tropes during the years of the Production Code; the sexual revolution and changing norms around nonmarital pregnancy in the 1960s and ‘70s; and the emphasis on biological clocks, infertility, adoption, and abortion from the 1980s to now. Across this history, popular media have offered polite evasions and sentimentality instead of real candor about the physical and social complexities of pregnancy. But comedy has often led the way in puncturing these clichés, pointing an irreverent and satiric lens at the messy and sometimes absurd work of gestation. Ultimately, Sturtevant argues that comedy can reveal the distortions and lies that treat pregnancy as simple and natural “women's work,” misrepresentations that rest at the heart of contemporary attacks on reproductive rights in the US. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

For most of the 1980s, there were only THREE networks airing primetime comedies. And yet, some of those shows were so strong, with writing and acting so sharp, that they continue to influence TV even four decades later. It's time we gave them their due. So join the Great Pop Culture Debate as we determine the Best 80s Sitcom. Shows discussed: “The Golden Girls,” “Happy Days,” “The Facts of Life,” “Growing Pains,” “Murphy Brown,” “The Jeffersons,” “M.A.S.H.,” “Who's the Boss?,” “Cheers,” “The Simpsons,” “The Cosby Show,” “Night Court,” “Family Ties,” “Perfect Strangers,” “Roseanne,” “Designing Women.” Join host Eric Rezsnyak, GPCD panelists Amma Marfo and Brendan Hay, and special guest panelist comedian/voice artist/actor James Adomian as they discuss and debate 16 of the most iconic TV comedies to air new episodes on American channels between January 1, 1980, and December 31, 1989. Great Pop Culture Debate is brought to you by Factor Meals. Visit factormeals.com/greatpop50 and use the code greatpop50 for 50% off your first box plus 20% off your next month. Check out James Adomian's comedy special “Path of Most Resistance” right here: https://youtu.be/pJ5DFrdOyig?si=H_yyZcMZtHChqjhM Want to play along at home? Download the Listener Bracket and see if your picks match up with ours! Sign up for our weekly newsletter! Subscribe to find out what's new in pop culture each week right in your inbox! Vote in more pop culture polls! Check out our Open Polls. Your votes determine our future debates! Then, vote in our Future Topic Polls to have a say in what episodes we tackle next. Episode Credits Host: Eric Rezsnyak Panel: Amma Marfo, Brendan Hay Special Guest: James Adomian (watch “Path of Most Resistance” here) Producer: Bob Erlenback Editor:  Eric Rezsnyak Theme Music: “Dance to My Tune” by Marc Torch #1980s #1980s #80s #80stv #goldengirls #cheers #thecosbyshow #perfectstrangers #thefactsoflife #familyties #growingpains #whostheboss #roseanne #thejeffersons #happydays #mash #murphybrown #podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Matt Walsh's new film “Am I A Racist” has sparked a controversy about if and when it is ok to deceive. Mainstream media outlets continue to use a tragic death in Georgia to claim pro-life laws are causing women to die. John and Maria discuss why this story is actually about the harms of chemical abortion. And the Emmys send us back to the 90's and a debate between a sitting Vice President and tv actress.   Recommendations Stay tuned for the latest Breakpoint Forum recordings. Pro-Child Politics: Why Every Cultural, Economic, and National Issue Is a Matter of Justice for Children by Katy Faust   Segment 1 - Is Deception Ever Ok? Am I Racist? movie What Is a Woman? movie Breakpoint: David Daleiden's Courage, Planned Parenthood's Deceit Segment 2 - Are Pro Life Laws Hurting Women? Media Mislead on Tragic Death of Amber Thurman What Would You Say? website Breakpoint: New York AG Wrong About Abortion Pill Reversal Segment 3 - Murphy Brown Returns Candice Bergen Calls Out JD Vance at the Emmys Brookings: Twenty Years Later, It Turns Out Dan Quayle Was Right About Murphy Brown and Unmarried Moms TIME: Is There Hope for the American Marriage? Do Fathers Matter? by Paul Raeburn John Stonestreet on Culture Friday: Family as the foundation __________ Give today at colsoncenter.org/september to receive your copy of After Humanity by Michael Ward or Strange New Worldby Carl Trueman, along with exclusive accompanying digital content. Register for the 2025 Colson Center National Conference May 30 - June 1 in Louisville, Kentucky at colsonconference.org. 

The Democratic National Convention Dance Party has come to a close. Now that they've had time to overcome the disappointment that Beyonce didn't show, Steve, James, and Rob are left wondering: can the left pull off the continuity/new path forward message they've settled on?Plus, with Rob back, we're treated to a story about his attempt to win the '92 election with the help of Murphy Brown and Rush Limbaugh; along with a few tips on making it out of the Amazon fully intact.

I love to talk TV and I really enjoy every exchange with Susan and Sharon, otherwise known as the 80s TV Ladies. When their podcast, 80s TV Ladies, launched, they invited me to be a guest. It was a blast and over the last two years, the two podcasts have furthered a shared exploration of how women have been represented on television and the impact that representation has had on society as a whole and females, of all ages, in particular. Like Advanced TV Herstory, their show features interviews and analyzes the work of women both in front of and behind the camera. Our podcasts aim to help listeners understand how our culture shapes the television shows we watch and, in turn, how those shows shape our culture. Listen in on this engaging and informative look behind the scenes as we discuss the motivations, joys, and challenges of creating podcasts that highlight the contributions of women in television. 80s TV LADIES   Contacts Website – 80s TV Ladies - https://www.80stvladies.com/  Website – 134 West - https://134west.biz/  Facebook - https://www.facebook.com/80sTVLadies/ Instagram - https://www.instagram.com/80stvladies/ YouTube - https://www.youtube.com/@80stvladies  Patreon - https://www.patreon.com/80sTVLadies   Awards 2024 Women in Podcasting, Nominee in Entertainment – VOTE at https://womeninpodcasting.net/80s-tv-ladies/     2024 Webby Award – Best Indie Podcast   2023 People's Choice Podcast Awards - Best Art, Best TV & Film, Best Female Hosted    MENTIONS   Podcast Episodes 80s TV Ladies (24 May 2023) – Advanced TV Herstory w/ Cynthia Bemis Abrams, Part One - https://www.80stvladies.com/episode/episode-201-welcome-to-season-2-advanced-tv-herstory-w-cynthia-bemis-abram-part-1   80s TV Ladies (31 May 2023) – Advanced TV Herstory w/ Cynthia Bemis Abrams, Part Two - https://www.80stvladies.com/episode/episode-202-advanced-tv-herstory-aw-cynthia-bemis-abrams-part-two   Wiser Than Me with Julia Louis-Dreyfus (11 Apr 2023) – Jane Fonda on Female Friendships - https://podcasts.apple.com/us/podcast/jane-fonda-on-female-friendships/id1678559416?i=1000608248297   Shows Buffy the Vampire Slayer, Cagney and Lacey, China Beach, Designing Women, Extraordinary Attorney Woo, Grey's Anatomy, Lou Grant, My So-Called Life, Murphy Brown, Remington Steele, and Scarecrow and Mrs. King    People Annie Potts, Barney Rosenzweig, Diane English, Eilish Zebrasky, Eugenie Ross-Leming, Geena Davis, Jean Smart, Juanita Bartlett, Julia Louis-Dreyfus, Linda Bloodworth-Thomason, Melissa Roth, Neema Barnette, Sergio Perez, Sharon Gless, Shonda Rhimes, Stephanie Zimbalist, and Tyne Daly    Books  Backlash: The Undeclared War Against American Women by Susan Faludi - https://en.wikipedia.org/wiki/Backlash:_The_Undeclared_War_Against_American_Women    Lou Grant: The Making of TV's Top Newspaper Drama by Douglass K. Daniel – https://www.goodreads.com/author/list/288376.Douglass_K_Daniel    CYNTHIA BEMIS ABRAMS AND ATVH ATVH Newsletter – tvherstory.com Website - https://cynthiabemisabrams.com/  Podcast Archive - tvherstory.com Email - advancedtvherstory@gmail.com Instagram - https://www.instagram.com/advancedtvherstory/ YouTube - https://www.youtube.com/@advancedtvherstory X (Twitter) - https://twitter.com/tvherstory Facebook - https://www.facebook.com/Media.Cynthia Bluesky Social - https://bsky.app/profile/cynthiabemisabrams.bsky.social PRODUCTION Video - Nivia Lopez - https://nivialopez.com/ Audio - Marilou Marosz - https://www.linkedin.com/in/mariloumarosz/ Music - https://freemusicarchive.org/music/Jahzzar/  

This is a must listen to episode!Derek interviews 2018 Songwriter Hall of Fame Inductee, Steve Dorff. Steve talks with Derek about his personal journey, legendary career, dealing with personal tragedy, what success looks like, and stories of writing and working with the top musical artists of all time.Steve also shares highlights from his new book "I wrote That One Too...A Life In Songwriting From Whitney To Willie". Order Steve's book here: https://www.amazon.com/Wrote-That-One-Too-Songwriting/dp/1495077292 3 time Grammy and 6 time Emmy nominated Steve Dorff has written songs sung by the likes of Barbra Streisand, Kenny Rogers, Celine Dion, Whitney Houston, Anne Murray, George Strait, Garth Brooks and countless others, while also establishing himself as a gifted film and television composer. He's tallied over 40 BMI awards with hits like Rogers' “Through the Years,” Murray's “I Just Fall in Love Again” (Billboard's top country hit of 1979), Strait's “I Cross My Heart,” Lee Greenwood's “Don't Underestimate My Love for You,” and Eddie Rabbitt's “Every Which Way But Loose”—the title track from Clint Eastwood's 1978 film. His songs have charted in 5 successive decades, with #1 records across 4 decades.Dorff has also composed TV music for Spenser: For Hire, Murphy Brown, The Singing Bee, Just the 10 of Us, Growing Pains, Murder She Wrote, Columbo and Reba; his other film contributions include songs and scores for Bronco Billy, Rocky IV, Pure Country, Tin Cup and Honky Tonk Man.Key songs in the Dorff catalog include: * Through The Years * I Just Fall In Love Again * Heartland * Every Which Way But Loose * Hypnotize The Moon * I Cross My Heart, and countless others recorded by over 250 Artists from all genres of music.His many TV and cable movie credits include the Emmy nominated CBS mini-series "Elvis", the Hallmark Hall of Fame "Rose Hill", the animated Christmas classic "Annabelle's Wish", "Babe Ruth", "The Quick and The Dead", "Moonshine Highway" and "The Defiant Ones". Dorff's many movie songs and scores have been featured in "Bronco Billy", "Blast From The Past", "Rocky IV", "Pure Country", "Tin Cup", "Michael", "Dudley Do-Right", "Dancer, Texas", "The Last Boy Scout", "Curly Sue" and "Honky Tonk Man".Perhaps Dorff's most ambitious move to date has been a giant leap into his first love, musical theater. He currently has two projects making their way to the stage: "Josephine" (The Josephine Baker Story) and "Pure Country" (The Musical).

This week Sara is joined by actor, musician, and nap ninja Charles Esten. The two discuss Sara's short lived acting career as a guest star on the show Nashville with Charles and how Charles embraces his characters as an actor. Charles not only shares stories about his acting career, but he also dives into how music was always a dream of his. Charles proves that he is not just another actor who wants to sing.   About Charles: Born in Pittsburgh, PA, Charles "Chip" Esten was raised in Alexandria, VA and attended T.C. Williams High School (made famous in the film "Remember the Titans.") He then attended The College of William and Mary in Williamsburg, where he graduated with a degree in economics and met his wife, Patty. While in Williamsburg, he was lead singer/songwriter in a popular local band. Esten made his theatrical debut in London when he portrayed Buddy Holly, singing, acting and playing guitar in the hit West End musical "Buddy." In that role he was honored to perform for Her Majesty Queen Elizabeth and Prince Philip, and eventually President and Mrs. George H.W. Bush at The White House. He was also very honored to perform with Jerry Allison and Joe B. Mauldin, Buddy's original hitmaking bandmates, the Crickets. It was during his run as Buddy that Esten first appeared on the original British version of "Whose Line Is It Anyway?," with Ryan Stiles and Greg Proops. When "Whose Line" came to ABC, he became a recurring cast member and frequent song improvisor. Since then he has appeared on Drew Carey's Improvaganza and toured frequently, performing live improv shows with Stiles, Proops and Jeff B. Davis. Esten's many early television credits include recurring roles on "Big Love," "Enlightened," "The Office" and "ER." Besides being the father on Disney Channel's "Jessie," he has been a Klingon on "Star Trek: The Next Generation," a secretary on "Murphy Brown" and Kelly Bundy's fiance on the series finale of "Married with Children." His film credits include "Swing Vote," "Thirteen Days," "61*" and "The Postman." Surpassing 21 million streams for his music to date, Esten is a 2018 Guinness World Records title holder for the "Most consecutive weeks to release an original digital single by a music act" after delivering 54 original songs once a week for 54 straight weeks.   Pre-order Sara's new album, Unbroke out 6/7: https://ffm.to/seunbroke   LET'S BE SOCIAL: Follow Charles Esten: Insta: (@charlesesten) Twitter: @CharlesEsten) TikTok: @charlesesten) Youtube: (@CharlesEstenOfficial) Spotify: (@Charles Esten) Apple Music: (@Charles Esten) Facebook: (https://www.facebook.com/officialcharlesesten?mibextid=LQQJ4d) Website: (https://www.charlesesten.com)   Follow Diving in Deep Podcast: Instagram -(@divingindeeppod) TikTok - (@divingindeeppod) Twitter - (@divingindeeppod) Facebook - (@divingindeeppod)   Follow Sara Evans: Instagram - (@saraevansmusic) TikTok - (@saraevansmusic) Twitter - (@saraevansmusic) Facebook - (@saraevansmusic)   Produced and Edited by: The Cast Collective (Nashville, TN) YouTube -  @TheCastCollective ) Instagram - (@TheCastCollective) Twitter - (@TheCastCollective)   Directed by: Erin Dugan Edited By: Sean Dugan, Corey Williams, Tara Down, & Michaela Dolph https://www.thecastcollective.com

This week Sara is joined by actor, musician, and nap ninja Charles Esten. The two discuss Sara's short lived acting career as a guest star on the show Nashville with Charles and how Charles embraces his characters as an actor. Charles not only shares stories about his acting career, but he also dives into how music was always a dream of his. Charles proves that he is not just another actor who wants to sing.   About Charles: Born in Pittsburgh, PA, Charles “Chip” Esten was raised in Alexandria, VA and attended T.C. Williams High School (made famous in the film “Remember the Titans.”) He then attended The College of William and Mary in Williamsburg, where he graduated with a degree in economics and met his wife, Patty. While in Williamsburg, he was lead singer/songwriter in a popular local band. Esten made his theatrical debut in London when he portrayed Buddy Holly, singing, acting and playing guitar in the hit West End musical “Buddy.” In that role he was honored to perform for Her Majesty Queen Elizabeth and Prince Philip, and eventually President and Mrs. George H.W. Bush at The White House. He was also very honored to perform with Jerry Allison and Joe B. Mauldin, Buddy's original hitmaking bandmates, the Crickets. It was during his run as Buddy that Esten first appeared on the original British version of “Whose Line Is It Anyway?,” with Ryan Stiles and Greg Proops. When “Whose Line” came to ABC, he became a recurring cast member and frequent song improvisor. Since then he has appeared on Drew Carey's Improvaganza and toured frequently, performing live improv shows with Stiles, Proops and Jeff B. Davis. Esten's many early television credits include recurring roles on “Big Love,” “Enlightened,” “The Office” and “ER.” Besides being the father on Disney Channel's “Jessie,” he has been a Klingon on “Star Trek: The Next Generation,” a secretary on “Murphy Brown” and Kelly Bundy's fiance on the series finale of “Married with Children.” His film credits include “Swing Vote,” “Thirteen Days,” “61*” and “The Postman.” Surpassing 21 million streams for his music to date, Esten is a 2018 Guinness World Records title holder for the “Most consecutive weeks to release an original digital single by a music act” after delivering 54 original songs once a week for 54 straight weeks.   Pre-order Sara's new album, Unbroke out 6/7: https://ffm.to/seunbroke   LET'S BE SOCIAL: Follow Charles Esten: Insta: (@charlesesten) Twitter: @CharlesEsten) TikTok: @charlesesten) Youtube: (@CharlesEstenOfficial) Spotify: (@Charles Esten) Apple Music: (@Charles Esten) Facebook: (https://www.facebook.com/officialcharlesesten?mibextid=LQQJ4d) Website: (https://www.charlesesten.com)   Follow Diving in Deep Podcast: Instagram –(@divingindeeppod) TikTok – (@divingindeeppod) Twitter – (@divingindeeppod) Facebook – (@divingindeeppod)   Follow Sara Evans: Instagram – (@saraevansmusic) TikTok – (@saraevansmusic) Twitter – (@saraevansmusic) Facebook – (@saraevansmusic)   Produced and Edited by: The Cast Collective (Nashville, TN) YouTube –  @TheCastCollective ) Instagram – (@TheCastCollective) Twitter – (@TheCastCollective)   Directed by: Erin Dugan Edited By: Sean Dugan, Corey Williams, Tara Down, & Michaela Dolph https://www.thecastcollective.com

If you turn back the clocks to the early 90s, it would be impossible to avoid all the late night jokes about Vice President Dan Quayle. Likewise, if you followed the 90s TV scene, you couldn't miss the fact that Candice Bergen was raking in the Emmys for her role as the titular Murphy Brown on CBS. So when two media behemoths like that unexpectedly went head-to-head, it was bound to be a battle for the ages...Rob teaches Ray about Dan Quayle's life and career, and his sudden rise to prominence as the running mate of George H. Dubya Bush; how the Republican decision to focus more heavily on "traditional family values" emerged partly as an attack against Bill and Hillary Clinton; when spelling really does matter; why the V.P.'s condemnation of single mother families in general, and Murphy Brown in particular, brought him such a backlash; and how the outrage stirred up by this clash of cultural titans continues to this day.If you turn back the clocks to the early 90s, it would be impossible to avoid all the late night jokes about Vice President Dan Quayle. Likewise, if you followed the 90s TV scene, you couldn't miss the fact that Candice Bergen was raking in the Emmys for her role as the titular Murphy Brown on CBS. So when two media behemoths like that unexpectedly went head-to-head, it was bound to be a battle for the ages...Rob teaches Ray about Dan Quayle's life and career, and his sudden rise to prominence as the running mate of George H. Dubya Bush; how the Republican decision to focus more heavily on "traditional family values" emerged partly as an attack against Bill and Hillary Clinton; when spelling really does matter; why the V.P.'s condemnation of single mother families in general, and Murphy Brown in particular, brought him such a backlash; and how the outrage stirred up by this clash of cultural titans continues to this day.If you like what we're doing, please support us on Patreon, or you can subscribe to our bonus content on Apple Podcasts. And we'd love to find even more listeners, so if you have time, please leave us a rating or review on Apple Podcasts, Spotify, or wherever you listen to podcasts. And if you have any other thoughts or feedback you'd like to share with us, we'd love to hear from you - feel free to email us or send us a message on social media.TEAMRay HebelRobert W. SchneiderMark SchroederBilly RecceDaniel SchwartzbergNatalie DeSaviaEPISODE CLIPS“You're No Jack Kennedy” Clip From...

In a new interview segment on the podcast, Jesi and Lauren welcome talented casting director, Jodi Angstreich ("Fleishman Is In Trouble", "Eric", "The Girl From Plainview", & many more), to talk about the casting process today in contrast to how it was in the 1990s. Plus, a little "Murphy Brown" and pop culture faves!

Welcome to the Instant Trivia podcast episode 1248, where we ask the best trivia on the Internet. Round 1. Category: Manimals 1: In 1883 he opened his Wild West Show in Omaha, Nebraska. Buffalo Bill Cody. 2: In 1997 he broke Jack Nicklaus' 32-year-old Masters record of 17 under par. Tiger Woods. 3: In the victory column, this Alabamian has 4 more than Pop Warner. Bear Bryant. 4: On "Another Saturday Night" you'll find him "Sitting" on a "Peace Train" until "Morning Has Broken". Cat Stevens. 5: This "Good Morning, Vietnam" star once studied drama with John Houseman. Robin Williams. Round 2. Category: C In Music. With C in quotes 1: It's defined as a traditional song of joy; the "Christmas" type is the most popular. a carol. 2: Isaac Stern led the fight to save this NYC concert hall while Lincoln Center was being built. Carnegie Hall. 3: To play the hi-hat type of this percussion instrument, you clash the metal plates together with a pedal. cymbal. 4: This symbol found at the start of a line of music can be treble or bass. a clef. 5: Mozart introduced this single reed wind instrument to the symphony orchestra. a clarinet. Round 3. Category: Tough Tv 1: Arte Johnson was the only performer to win an Emmy for his work on this comedy-variety series. Rowan and Martin's Laugh-In. 2: First name of the character played by Faith Ford on "Murphy Brown". Corky. 3: Jon Provost, who played this dog's second owner 1957-1964, returned for a "new" 1989-1991 series. Lassie. 4: Nickname of the character played by Chris Burke on "Life Goes On". Corky. 5: Nantucket Memorial Airport doubled for the fictional Tom Nevers Field on this sitcom. Wings. Round 4. Category: I Stand Before The Country 1: Before "Timor". East. 2: Before "Verde". Cape. 3: Before "Sudan". South. 4: Before "Islands"--1 of the 2 U.N. members. Marshall (or Solomon). 5: Before "Darussalam". Brunei. Round 5. Category: Best Actor Oscar Winners 1: 1971:As "Popeye" Doyle. Gene Hackman. 2: 1986:As a slower "Fast Eddie" Felson. Paul Newman. 3: 1994:Tom Hanks for this modern parable. Forrest Gump. 4: 1964 for "My Fair Lady". Rex Harrison. 5: 1987:As Gordon Gekko. Michael Douglas. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

It's group project time, as Jesi and Lauren break down this episode of Murphy Brown, based on a true story! Jesi and Lauren discuss the inspirational history of the guest star characters, the history of corporate retreats, and the complicated and fascinating history of the phrase “Yes, We Can” - beyond election tag lines!

Marta Kristen was born Birgit Annalisa Rusanen, on February 26, 1945, in Oslo, Norway, to a Finnish mother and a German soldier who was killed towards the end of World War II in Europe. Marta was only two months old when she was left in an orphanage. In 1949, Dr. and Mrs. Harold Soderquist of Detroit, Michigan adopted her, and brought her to America; she was renamed Martha Soderquist. In 1959, the family moved to L.A. and she attended Santa Monica High School for a year; she later graduated from Hollywood Professional School. Producer/director James B. Harris discovered the pretty, petite aspiring actress; he arranged for her to get an agent, and she was quickly booked for TV programs, such as Alfred Hitchcock Presents and The Loretta Young Show (aka "The New Loretta Young Show"). In 1963, Marta met a graduate student and, 6 months later, they got married. Her career took off and she made a splash as the mermaid "Lorelei" in Beach Blanket Bingo. She would be best-known and remembered, however, for her signature role of "Judy Robinson" in Lost in Space.  Marta is also known for her work in Battle Beyond the Stars, Murphy Brown, Fame and Trapper John.    Want to watch: YouTube Meisterkhan Pod (Please Subscribe)

Zachary James is currently starring as Hades in the West End production of Hadestown at the Lyric Theatre. Zachary James' work in theatre and opera includes the original production of Akhnaten (English National Opera), Lurch in the original cast of The Addams Family (Broadway), Spain (Second Stage), The Perfect American (Teatro Real Madrid), Breaking the Waves (Opera Philadelphia), Il Sogno (Teatro Citta Della Pieve), Edward Tulane (Minnesota Opera) and South Pacific, Coram Boy, Sweeney Todd, The Most Happy Fella, Irma la Douce, The Pirates of Penzance and Wozzeck (New York). Zachary has performed around the globe, at venues including The Metropolitan Opera, Opera Queensland, Lincoln Center Theater, Carnegie Hall, New York Philharmonic, NHK Symphony Orchestra Tokyo and Philadelphia Orchestra. His TV work includes 30 Rock, Law & Order, The Blacklist, Succession, Saturday Night Live and Murphy Brown. Zachary has released multiple solo albums which can be streamed. In this episode, Zachary discusses why he was determined to be in Hadestown, how he has balanced a career between theatre and opera, his path into performing and lots more. Check out Zachary's website www.zachjames.com and for more information about Hadestown visit www.uk.hadestown.comHosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  Past Present FeatureA filmmaker appreciation podcast hosted by Emmy-winning director...Listen on: Apple Podcasts Spotify

Harvey Brownstone conducts an in-depth Interview with Jenny O'Hara, Renowned Stage, Screen and TV Star About Harvey's guest: Today's guest, Jenny O'Hara, is a renowned and highly popular actress who's brought us many memorable performances on stage, screen and television in a career that spans over 6 decades.   On Broadway, she appeared in “Dylan”, “Promises, Promises”, “The Fig Leaves are Falling”, “The Iceman Cometh” and “The Odd Couple”.  On the big screen, she's appeared in “Career Opportunities”, “Angie”, “Mystic River”, “Matchstick Men”, “Forty Shades of Blue”, “Two Weeks”, “Extract”, “Killing Eleanor”, “Devil”, “We are Gathered Here Today”, and many more.  And on television, she is perhaps best remembered for 5 iconic roles: “Dixie Randazzo” in “My Sister Sam”, “Janet Heffernan” in “The King of Queens”, “Nita” in “Big Love”, “Dot” in “The Mindy Project” and “Bryna” in “Transparent”.  But beyond those shows, she has appeared in dozens of classic TV series including “The Rockford Files”, “Barnaby Jones”, “St. Elsewhere”, “The Facts of Life”, “Murphy Brown”, “Beverly Hills 90210”, “Big Love” and many more.  She's also starred in some great TV movies including “Good Against Evil”, “Black Beauty”, “Blind Ambition”, “The Women's Room”, “Blinded by the Light”, “Another Woman's Child”, “A Mother's Prayer”, “An Unexpected Life”, and so much more.   For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To learn more about Jenny O'Hara, go to:https://www.imdb.com/name/nm0641266/  #JennyOHara    #harveybrownstoneinterviews

It's time for another edition of Playing with Power. We've covered a lot of really exciting magazines with interesting features. This isn't exactly one of the more exciting magazines we've covered. The most interesting part of this magazine is a cool feature on Metroid (which was a pretty old game by that point) and a celebrity profile for a cast member from Murphy Brown who doesn't actually seem all that interested in video games (not more than the average adult at that time). They can't all be winners, but we're going to try to make the most of it anyway.

Feb 15-21, 1997 This week Ken welcomes writer, comedian and man behind the new YouTube Comedy Special "Wallpaper", Adam Cayton-Holland. Ken and Adam discuss climate change, Colorado, David Letterman, Letterman's "I'm David F*&king Letterman" phase, serialized comedy, how Letterman invented Impractical Jokers, having nostalgia for 1997, the FINAL episode of The Monkees that was made in 1997, Tanya Harding, celebrity boxing, ice skating, Nancy Kerrigan, Hepcat, Sabado Gigante, Columbia House, buying things off TV, mail order, Those Who Can't, being replaced with Young Sheldon, Fast Times, the misnomer that is The Mandela Effect, Murphy Brown, Chicago Hope, how sometimes something isn't an "effect" you're just stupid, Singled Out, Tom Rhodes, Ren & Stimpy, Roseanne, Mad About You, Fraiser, Beverly Hills 90210, Party of Five, Friends, Martin Seinfeld, Living Single, A Different World, Comic Justice, Stormy Justice, Cheers, Ellen, too many hostage episodes, offending Roseanne, not understanding what "normal" means, and HBO's Monkey Business. 

Actor William Sadler Full Interview! Film | Stage | Music! Kathy and Burk sit down with William Sadler, a talented prolific actor and musician. We talk about his role in the film A Stage of Twilight, an intimate, real drama that follows Barry (William Sadler, Deep Space 9), his wife of decades, Cora (Karen Allen, Raiders of the Lost Arc) and their extended family friends after he learns he has about a month of increasingly failing health left.#williamsadler #actor #acting #marvel Check out William Sadler's music and new release The Kitchen Tapes: https://therealwilliamsadler.com/Sadler's roles included that of Sgt. Merwin J. Toomey in Neil Simon's Tony Award winning play "Biloxi Blues". He is best remembered for his roles in Die Hard 2 (1990), Bill & Ted's Bogus Journey (1991), The Shawshank Redemption (1994) and Tales from the Crypt: Demon Knight (1995). He is also a television star, appearing in such sitcoms as Roseanne (1988) and Murphy Brown (1988) and such movies-of-the weeks as Charlie and the Great Balloon Chase (1981). Sadler also starred as Sheriff Jim Valenti on the WB science fiction television series Roswell (1999).Get early access to these reviews by joining Patreon or our YouTube channel! YouTube Membershiphttps://www.youtube.com/channel/UCvt8UhKoTahIIRGIwxzUVVA/joinSupport the Show.

Jesi and Lauren are excited to talk to H. Alan Scott ("Out On The Lanai: A Golden Girls Podcast" & "Newsweek's Parting Shot") to talk about the connection between "Golden Girls" and "Murphy Brown", TV in the 90s vs today

It's Murphy's birthday, and she's celebrating it with a two-time Tony Winner! The theme is sisterly love as Lauren and Jesi talk about Murphy's birthday (what sign do you think Murphy is?), what never having a sister means to her, and answer the question, “Why does 'Designing Women' owe their success to "Murphy Brown"?

May 25-31, 1991 This week Ken welcomes author Jason Brant and his wife and co-host of the EXCELLENT YouTube show, "So Bad It's Good", Erin Brant to the show. Ken, Jason and Erin discuss the risk of Erin and Jason wrecking the show forever, loving bad movies, how horrible a person Steven Segal is, vanity project, Neil Breen, how 1991 was the hangover of the 1980s, being barred from watching South Park, growing up in rural Western PA, Hershey, Pittsburgh, cigarettes, Robin Hood Prince of Thieves, Kevin Costner, Waterworld, T2, Transformers, childhood movie trauma, Space Camp, National Geographic, Boston mobsters, vomit bags, how amazing Steven Webber is, Wings, the wonder of Roy Biggins, America's Funniest People, Kidney Magazine, Prog Rock, Goblin, surgery on TV, Blossom, Joey Lawrence's music career, MacGyver, Murphy Brown, how great Hunter is, Collector's Plates, renting movies, Unsolved Mysteries, Sightings, Skullets, Hooker's Girls, The Hulkster, field trips, Cheers, bad investments, American Ninja, Totem Poles, traveling to Boston, Silence of the Lambs, The Mothman Prophecies, George Romero, understanding a minute, Wes Craven's Made for TV Movies, Babes, TGIF, The Naked Gun, Alexander Graham Bell, Babygirl Scott, the horrors of Testament, the cancelation of Hunter, and complaining about Manhunter. 

They say charity begins at home, and this week Sean & Eric put that to the test when they review an episode infamously disliked by cast & crew, “Sweet And Sour Charity.” They talk about the great energy of the A-scene, the genius of the set for Karen's closet, try to pinpoint exactly where it went awry, and maybe, just maybe, find some things they like about it. Then, they welcome future Spy Kid and former Murphy Brown baby Daryl Sabara to the show to talk about playing Broccoli Boy at age 6. You don't want to mess with the almighty, Grace, you don't want to go to he-ell. You know what heat and sulfur does to your ha-air.Have a question about Will & Grace, especially Season 2? 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.

US-born Zachary James is a Grammy award winning actor and musician, who has had a lustrous career across stage and screen, having originated several iconic Broadway roles and sung with the world's greatest orchestras and opera companies, including The New York Philharmonic, Philadelphia Orchestra and NHK Symphony Tokyo to name a few.   He will be returning to the West End as ‘Hades' in the Tony and Grammy winning musical, HADESTOWN. The Broadway musical is making its long-awaited London premiere, and follows the entwining mythic tale of two love stories between Orpheus and Eurydice and that of King Hades of the Underworld and his wife Persephone. The show will open at the Lyric Theatre on 10th February, described by Vogue as ‘your next musical theatre obsession'.   After majoring in Musical Theatre at Ithaca College, James made his Broadway debut in CORAM BOY at the Imperial Theatre before playing ‘Thomas Hassinger' in the original cast of the Tony Award winning production of SOUTH PACIFIC (Lincoln Center). He then originated the role of ‘Lurch' in the Broadway musical of THE ADDAMS FAMILY (Lunt-Fontanne Theatre), followed by his professional operatic debut as ‘Abraham Lincoln' in THE PERFECT AMERICAN (Teatro Real) in Madrid, which was written specifically for Zachary by renowned composer, Philip Glass. He then revived the role on the West End for English National Opera and in Brisbane for Opera Queensland.   Following this, Zachary created the role of ‘Amenhotep' in the Olivier Award winning production of AKHNATEN on the West End for English National Opera, later reprising the role for The Metropolitan Opera and Los Angeles Opera. Other theatre highlights include the role of ‘John Claggart' in the Emmy Award winning PBS broadcast of BILLY BUDD (Des Moines Metro Opera), ‘Sweeney Todd' in SWEENEY TODD (Opera Omaha) and more.   Zachary made his first television debut alongside Tina Fey and Steve Martin as ‘Carl', a Federal Agent, on beloved American sitcom 30 ROCK before appearing on a number of series including MURPHY BROWN, LAW & ORDER: ORGANIZED CRIME, and THE BLACKLIST.

A globally renowned actor known for his iconic roles in shows like "Quantum Leap", “Star Trek: Enterprise” and "NCIS: New Orleans," Scott Bakula looks back on his fruitful and diverse career, including his time as Dr. Sam Beckett (Becket?), and some interesting behind-the-scenes details including whether or not that final end screen of the series actually has a typo! With so many changes that occurred post-pandemic, he shares his thoughts on doing self-tapes for auditions, why he thinks it's become an empty experience, and why it can be limiting and isolating. He talks about his current role in the new Jason Robert Brown musical “The Connector”, his view on journalism after doing the show, and the reason behind their incredibly designed double-raked stage. With his family and the joy of connecting with people as his driving forces, Scott advocates theater as a foundational learning ground for aspiring actors. Scott Bakula is an actor who commanded the leading role of Dr. Sam Beckett in “Quantum Leap” from 1989 to 1993 and has earned him a Golden Globe Award and multiple Emmy Nominations. His other TV and film credits include “Star Trek: Enterprise” where played Captain Jonathan Archer, “American Beauty”, “Necessary Roughness”, “Murphy Brown”, and Ray Romano's “Men of a Certain Age”. Aside from lending his voice to animated series such as “American Dad”, “The Simpsons”, and “Archer”, he also has a Tony Award nomination for his performance in the 1988 Broadway production of “Romance/Romance”. His additional stage credits include “Is There Life After High School” in 1982, “Marilyn” in 1983, and “Three Guys Naked from the Waste Down” in 1985 for which he received a Drama Desk Award nomination. Apart from acting, he's now showing off his dancing and singing skills eight times a week as Conrad O'Brien in “The Connector”, extended through March 17th at MCC Theater in New York. Connect with Scott: Instagram: @scottbakula Connect with The Theatre Podcast: Support the podcast on Patreon: Patreon.com/TheTheatrePodcast YouTube: YouTube.com/TheTheatrePodcast Threads, Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com My personal Instagram: @alanseales Learn more about your ad choices. Visit megaphone.fm/adchoices

For this special episode about Selma Bouvier, we have a big-time returning guest, the creator of Steven Universe, Rebecca Sugar! (Check out her new album, Spiral Bound, now!) After discussing her history with the show, we dig into this story of parenthood, theme parks, funerals, and lizards that all have something to do with the fourth season of Murphy Brown. Learn about all of that and whether grocery employees wear belts in this week's podcast! Support this podcast and get over 150 bonus episodes by visiting Patreon.com/TalkingSimpsons and becoming a patron! And please follow the official Twitter, @TalkSimpsonsPod!

Harvey Brownstone conducts an in-depth Interview with Morgan Fairchild, Legendary Actress About Harvey's guests: Today's special guest, Morgan Fairchild, is a highly acclaimed and beloved actress, whose many movie credits include “The Initiation of Sarah”, “The Seduction”, “Deadly Illusion”, “Mob Boss”, “Naked Gun 33 and a third”, “Venus Rising”, “The Nana Project”, and “Our Almost Completely True Love Story”, co-starring Mariette Hartley and Jerry Sroka, who recently appeared on our show.    And on TV, she created the iconic roles of “Jennifer Pace Phillips” on “Search for Tomorrow”, “Constance Weldon Carlyle” on “Flamingo Road”, for which she got a Golden Globe Award nomination, “Jordan Roberts” on “Falconcrest”, for which she received a Soap Opera Digest Award nomination, “Julia St. Martin” on “Murphy Brown”, for which she earned a Primetime Emmy Award nomination, “Sydney Chase” on “The City”, “Sophia Blakely” on “Fashion House”, and “Angelica Devereux” on “Days of Our Lives”, for which she received a Daytime Emmy Award nomination.   And let's not forget that she was the original “Jenna Wade” on “Dallas”.    She also guest starred on the most popular TV shows including “Mork & Mindy”, “Roseanne”, “Friends”, “Happy Days”, “The Bob Newhart Show”, “Police Woman”, “Kojak”, “Murder, She Wrote”, and dozens more.  She's appeared in some great miniseries including “The Dream Merchants”, “Too Old to Die Young” and “North and South, Parts 1 and 2”.   And most recently, she co-starred with Donna Mills, Nicolette Sheridan, and 2 of my friends who recently appeared on our show, Loni Anderson and Linda Gray, in a delightful TV movie entitled, “Ladies of the 80s: A Divas Christmas”, co-written by Stan Zimmerman, who appeared on our show last week.    On stage, our guest starred in the off-Broadway play “Geniuses”, which was named by Time Magazine and the New York Times as one of the top 10 plays of 1983.  But our guest is much, much more than a talented, beautiful and glamorous Hollywood star.   She's an extremely dedicated and highly respected humanitarian.  She's been in the forefront as an outspoken and dedicated advocate in the fight against AIDS, the pro-choice movement and many environmental issues.  In fact, she helped found the Environmental Communications Office, which fosters education and activism among entertainment industry professionals.    And somehow, on top of everything else she's done, she found time in the 80's to write a book providing beauty tips, and she's also on the Board of Directors of SAG-AFTRA.   For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Morgan Fairchild, go to:https://www.morganfairchild.com/https://www.facebook.com/MorganFairchildOfficialFanPage https://www.instagram.com/morganfairchild1https://twitter.com/morgfair #MorganFairchild   #harveybrownstoneinterviews

Molly Rogers is a costume designer and image consultant who styles fashion photo shoots, feature films, television, and commercials.Molly has worked in NYC since 1984 and began her illustrious career in costumes working with legendary costume designer Patricia Field on Michael Mann's TV series “CRIME STORY” on location in Las Vegas. Molly has accumulated an impressive list of iconic TV and film credits including the “SEX AND THE CITY” tv series and both movies, “UGLY BETTY,” “THE DEVIL WEARS PRADA,” “STAR,” “MURPHY BROWN” & “CONFESSIONS OF A SHOPAHOLIC” to name a few.Molly has been nominated 6 times for an EMMY, with one win for Season Three of “SEX AND THE CITY”. She is thrilled to be the Costume Designer, along with Co-Costume Designer Danny Santiago, of the reboot of “AND JUST LIKE THAT,” the sequel to “SEX AND THE CITY” which premiered on HBO MAX in December 2021 and returns for a second season in June 2023.Molly's work has been featured in global fashion publications and on-line media and she had a featured role in the HBO MAX “And Just Like That…the Documentary.” Molly has collaborated with many brands and organizations including Cadillac, SoHo House, SAKS, Streets Ahead, Thred Up and The Willie Garson Fund.Molly graduated from the University of North Carolina at Chapel Hill.When not on production, Molly resides in Miami Beach, Florida.Be sure to join Billy and Frank for this fun episode on January 10th.

An ENCORE from 2017: It's that time of year! A TV tradition since the dawn of TV, the Christmas Episode! Jesi and Lauren go deep into Murphy Brown's first Christmas (and Hanukkah) episode. Catch up on more episodes at www.murphybrownpod.com.

Marlo is a trailblazer, her show  "That Girl" was the first to portray a single career woman and paved the way for actresses to follow like Mary Tyler Moore, Murphy Brown and Moore. Hear how Marlo landed the role of "That Girl" and how she parlayed that into an amazing 45 year-career in TV, film and on Broadway. Marlo is incredibly passionate and eloquent about St. Jude's Hospital and its mission to help children stricken with cancer and their families.

Chelsea and Julieanne Smolinski (Grace and Frankie, Home Economics) read Candice Bergen's 2016 celebrity memoir A Fine Romance, so you don't have to. From pages-long descriptions of her tapestries, to her 11 seasons as Murphy Brown, to a willful misunderstanding of nepotism, this book has one of the wildest endings of all time!  Show Notes: One of Candice Bergen's Sprint Commercials Chloe's Vogue Wedding Feature & her Engagement Ring Feature @nightopenings Carrie Fisher episode Where to find our Guest: Julieanne Smolinski Watch Home Economics Instagram For more book recaps & gentle tea, follow Chelsea on Instagram @chelseadevantez Become a member of the Celebrity Book Club Patreon! **** Glamorous Trash: Where we make treasure out of pop culture garbage. Glamorous Trash is all about going high and low at the same time— Glam and Trash. We recap and book club celebrity memoirs, deconstruct pop culture, and sometimes, we cry! If you've ever referenced Mariah Carey in therapy... then this is the podcast for you. Thank you to our sponsors: Tanteo Tequila -- @tanteotequila Natalie's Juice Company -- @nataliesoj Pattern Brands - @patternbrands Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

GGACP celebrates the birthday of the late comedian, radio personality and Emmy-winning actor Jay Thomas (b. July 12, 1948) with this ENCORE of a hilarious interview from way back in 2014. In this episode, Jay talks about playing doomed hockey star Eddie LeBec on “Cheers” and tabloid talker Jerry Gold on “Murphy Brown” and shares some brutally candid anecdotes about everything from stealing Bill Cosby's jokes to getting kicked out of a “West Wing” audition to the world's worst cross-country flight. PLUS: Richard Dreyfuss! Cheech & Chong! Joe Piscopo runs afoul of the mob! Jay runs afoul of Rhea Perlman! Gilbert's opening act steals his material! And the Lone Ranger “rides” again!  Learn more about your ad choices. Visit megaphone.fm/adchoices

In the early 90s, one of the biggest scripted shows on TV was Murphy Brown, starring 40-something Candice Bergen as a product of the 60s whose high-powered career precluded marriage and family. When the character became a single mother, and was criticized for it by vice president Dan Quayle, a massive conversation about “family values” began that would change the culture – and, arguably, American politics. Off-screen, Bergen was married to French filmmaker Louis Malle. While his wife was in the middle of the “family values” maelstrom, Malle was making Damage, one of the most sexually intense films of the 90s, and one which used sexuality to explicitly critique the hypocrisy of politicians. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Amin Elhassan is in studio and has a rant about The Karate Kid, then the young members of the show reveal their ignorance about older celebrities, and the show reacts live to Tom Brady announcing his retirement. Learn more about your ad choices. Visit megaphone.fm/adchoices