Podcasts about new zealand tv

In today's episode, National has announced it is stepping up its commitment to pursue a ban on social media for under-16s, The New Zealand TV series, After the Party, has missed out on a BAFTA, at the awards which took place in London, and we cross the Tasman to get the latest from Kerry-Anne Walsh.

Chris Parker is an award winning comedian, actor, writer, show-runner and podcaster.  This past year Chris hosted the New Zealand Comedy Festival Gala, and toured his latest show, Give Me One Good Reason Why I Shouldn't Throw My Phone Off This Bridge, to full houses throughout Australia and New Zealand. He also made his prime-time Australian TV debut on Thank God You're Here (where he won the episode) and released the highly anticipated second season of Double Parked. Chris Parker is most commonly known for his funny Instagram and TikTok videos which built him a huge social media audience over the last few years. His legendary win on the hit New Zealand TV show Celebrity Treasure Island made history! His 2018 New Zealand International Comedy Festival show Camp Binch, was awarded the prestigious Fred Award for Best Show in the Festival and went on to play to 5-star reviews and sell-out crowds at the Edinburgh Fringe Festival. Fun fact, the felt hat he made during the 2020 nationwide lockdown was acquired by and is on display at The Auckland Museum and Te Papa the National Museum of New Zealand. Kinda dramatic – don't you agree? Chris is a theatre graduate from the renowned drama school Toi Whakaari O Aotearoa and he has appeared in and written multiple theatre shows across New Zealand, most notably Hudson and Halls Live! Where Chris played one-half of the famous gay cooking duo, David Halls and won best actor at the 2017 Wellington Theatre Awards. Chris has appeared in feature films such as Baby Done, The Breaker Upperers and Nude Tuesday and has two feature films of his own currently in development. As a comedian and writer Chris is a regular face on New Zealand television appearing on 7 Days, Have You Been Paying Attention NZ, Jono and Ben, Funny Girls, Season 3 of Taskmaster New Zealand and the sitcom Golden Boy. Chris also co-hosts the podcast The Male Gays with fellow comedian Eli Matthewson, which has an upcoming digital video series in production. Chris was listed as The Herald's top 5 Entertainment Heroes of 2020 and in 2021, was nominated for Television Personality of the Year. In 2022, Chris was the recipient of the inaugural Topp Prize awarded by the New Zealand Comedy Trust for Aotearoa's most generous and gifted comedian. That same year released the comedy/documentary special Chris Parker: Back To School, about all boy schools in Christchurch. Chris embarked on an Australian and New Zealand national tour of his show Gentle Man to sold-out crowds and 5-star reviews and his debut novel Here for a Good Time was released through Allen & Unwin. In 2023, Chris toured his new show, Lots of Love, Chris Parker, to sold-out audiences in Australia and New Zealand. Chris's new comedy series, Double Parked, premiered in June and was created and written with Alice Snedden. He was the show runner and writer for the narrative comedy series Double Parked and is currently touring his live stand up (Stop Being So Dramatic) shows across New Zealand and Australia. Stop Being So Dramatic are four words the self-proclaimed People's Princess of Aotearoa Chris Parker has heard his whole life. Now those words also happen to be the name of his show touring Australia and New Zealand in 2025. At the culturally relevant age of 34, Chris is ready to address the drama queen allegations head-on. Stop Being So Dramatic promises to be an hour of high-intensity, feverishly paced and dizzyingly expressive comedy, it's a one-man variety spectacle, chill, stand-up hour of laughs. That doesn't sound dramatic at all – does it? Chris admits, there is some merit to the accusations, such as crying in every speech he's ever delivered publicly, and there may have been a situation this year where he slept on his neck weirdly resulting in a neck brace. Still, Chris is sure he's just a chilled guy, down to Earth and he's ready to prove it to you in Stop Being So Dramatic.   We chat about his evolving voice, performing on a broken foot (multiple times), being an improv king and his 10 hour improv day, being the felting guy, his upcoming tour, being a show runner and leadership, thriving on celebrity treasure island plus plenty more! Check Chris out on: Instagram: https://www.instagram.com/chrisparker11 Tiktok: https://www.tiktok.com/@chrisparkernz Facebook: https://www.facebook.com/itschrisparker Website: https://www.chrisparkercomedy.com Melbourne comedy tickets: https://www.comedyfestival.com.au/browse-shows/stop-being-so-dramatic/ ------------------------------------------- Follow @Funny in Failure on Instagram and Facebook https://www.instagram.com/funnyinfailure/ https://www.facebook.com/funnyinfailure/ and @Michael_Kahan on Insta & Twitter to keep up to date with the latest info. https://www.instagram.com/michael_kahan/ https://twitter.com/Michael_Kahan

Last week, The Spinoff unveiled its top 100 New Zealand TV shows of the 21st century, sparking plenty of debate about what truly deserved the top spot. This week, The Spinoff senior writer and Top 100 listmaster Alex Casey is joined by a panel of TV fanatics – Kura Forrester, Rhiannon McCall, Stewart Sowman-Lund and Lyric Waiwiri-Smith – for a special Behind The Story recorded live event at Q Theatre in Auckland. Together, they'll unearth some beloved TV gems and make their cases for their all-time favourite local TV show, with the live audience helping choose a new winner. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Spinoff has slowly published their critic' picks for the best New Zealand TV shows since the turn of the century. Senior writer Alex Casey joins Jesse to break it down.

Jonny is joined by The Spinoff's senior writer Alex Casey and staff writer Tara Ward to countdown the remaining 20 of the Top 100 New Zealand TV shows. Alex and Tara have been covering television for The Spinoff for a decade now, and detail some of the tribulations the faced in curating the list such as a lack of proper archival of NZ's film media. If your favourite show didn't make the list you should head along to The Spinoff's live event on Thursday 31 October at Q Theatre, where Casey will be joined by Kura Forrester, Rhiannon McCall and other Spinoff writers to delve into the weird and wonderful (or forgotten) shows that missed out. 

Jonny is joined by The Spinoff's senior writer Alex Casey and staff writer Tara Ward to countdown the remaining 20 of the Top 100 New Zealand TV shows. Alex and Tara have been covering television for The Spinoff for a decade now, and detail some of the tribulations the faced in curating the list such as a lack of proper archival of NZ's film media. If your favourite show didn't make the list you should head along to The Spinoff's live event on Thursday 31 October at Q Theatre, where Casey will be joined by Kura Forrester, Rhiannon McCall and other Spinoff writers to delve into the weird and wonderful (or forgotten) shows that missed out. 

Episode 352 of Boss Hog of Liberty is out!  Dakota Davis and Zach Burcham are your hosts. The big guest this week is Jeff Woo Watterson! By day, Jeff is our local High School Cross Country coach and works as a machinist locally. He stars on the USA/Peacock TV reality TV show, Race to Survive: New Zealand. He and 8 other teams were in a mega competition for 40 days, hiking, kayaking, mountain climbing, and surviving in the wilderness. Competing for a half million dollars and a grand adventure. Great conversation! Worth the listen today. Our program is community supported on Patreon. Do your part by chipping into the cause by donating monthly at any level at www.patreon.com/bosshogofliberty and receive even more BONUS coverage and content. Learn more about your ad choices. Visit megaphone.fm/adchoices

Us guuu-uuys were very lucky to be joined by a New Zealand TV legend.  We had a lovely chat with the one and only Jason Gunn about his choice: THE GOONIES.END CREDITS- Presented by Robert Johnson and Christopher Webb- Produced/edited by Christopher Webb- "Still Any Good?" logo designed by Graham Wood & Robert Johnson- Crap poster mock-up by Christopher Webb- Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission(c) 2023 Tiger Feet ProductionsFind us:Twitter @stillanygoodpodInstagram @stillanygoodpodEmail stillanygood@gmail.comFind Jason:Instagram @jasegunnSupport the Show.

If you've watched Australian or New Zealand TV in the last little while, you know this week's guest, it's Guy Montgomery! Chloe and Guy talk about what it's like dying to be liked, trying to fit in and how to drag your friends into creative projects. Go see Guy live!Watch Guy's SpecialGo see Chloe live! Hosted on Acast. See acast.com/privacy for more information.

Jay and Hayes travel around the globe and land in New Zealand to connect with actress Grace Palmer. The star of Animal Control shares the stories of how she auditioned for different American TV shows while living in New Zealand, the cultural differences from around the world and how it is life starring on a Fox Hit TV-Show.

On this week's episode, I have actor Chris Gorham, (Out of Practice, The Lincoln Lawyer, NCIS: Los Angeles and many many more) and we dive into the origins of his career. We also discuss the work-life balance he has with his family and some of the things he wishes more actors were aware of while filming. There is so much more, so tune in.Show NotesChris Gorham on Instagram: https://www.instagram.com/chrisgorham/Chris Gorham IMDB: https://www.imdb.com/name/nm0330913/Chris Gorham on Wikipedia: https://en.wikipedia.org/wiki/Christopher_GorhamMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptChris Gorham:But in getting to know them and talking to them, Almost all of them had day jobs, like worked for the city, Worked, worked for construction crews. They had full-on-day Jobs. Some of them were Entrepreneurs, some of them worked in government. And that was a New idea to me because that hadn't been my experience here. But as the income and equality has increased so dramatically, It feels like that's where our business has been going, where everybody has to have another,Michael Jamin:You are 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.Chris Gorham:Like my backdrop, this is my, oh, I love it. Official SAG after LA delegate backdrop that we used him during the convention.Michael Jamin:I know you're a big show. We're starting already. I'm here with Chris Gorham, and he is an actor I worked with many years ago on a show called Out of Practice. He's one of the stars that was a show with starting Henry Winkler, stocker Channing, Ty Burrell, Chris Gorham, and Paul Marshall. It was a great show on CBS and only lasted a season. But Chris, Chris is about as successful working actors as you can, short of being like someone like Brad Pitt, who's known across the world. You've done a ton of TV shows, and I'm going to blow through them real fast here.Chris Gorham:Okay. You can, I can't talk about them still, but your strike is over so you can,Michael Jamin:Yeah, right, because Chris is, I guess he's in sag and actually you're one of the members, you're one of the, what do you call yourself, the king? SoChris Gorham:I'm the king of SAG aftra. No, I was elected to be on the LA local board and also elected as a delegate. So that's what this background was. Our official LA delegate background forMichael Jamin:The research delegate for for the model. What does that meanChris Gorham:For the convention? Yeah. It's kind of reminiscent of Model un. So it's the convention that happens every two years where all the delegates get together and we elect the executive vice president, and there's certain offices that get elected by the delegate membership.Michael Jamin:I don't think we have that in the Writer's Guild. I think we have a direct democracy. You, I guess have a representative democracy.Chris Gorham:Yeah. Yeah. It's a much bigger union. How bigMichael Jamin:Is it? How big do you know? AboutChris Gorham:160,000 members.Michael Jamin:Wow. Okay. Members, but that's active members. And what do you have to be to be an active member?Chris Gorham:What do you have to be? DoMichael Jamin:You have to sell? You have to work a certain amount or something?Chris Gorham:No, once you're in, you can stay in as long as you pay your duesMichael Jamin:Every year. Oh, okay. But then that doesn't mean you get health. You have to qualify for health insurance and stuff like that. Correct.Chris Gorham:Well, it's a big part of the strike. It's one of our big talking points really is only about 13% and just under 13% earn enough to qualify for our healthcare plan. And I mean, that's only about $26,700 a year to qualify for healthcare.Michael Jamin:That's a big deal. I mean, healthcare, healthcare. So most people don't realize this, and it seems so naive to say this, but I get so many comments when on social media, all these actors are millionaires. Dude, what are you talking about? You can be a working actor and book two gig. You're lucky if you do two gigs a year. AndChris Gorham:Well listen, it goes to the heart of what this strike is about is that it's worse than people even think because just to what's the best way to talk about it? So a big part of our asked during this negotiation is a big increase in the contributions to our health and pension plan by the producers. And the reason is that they haven't increased it in a long, long, long, long time. So for instance, one person could work, let's say you got hired to do an episode and got paid very well, right? For one episode. Let's say you're getting it, it's an anthology show. They're paying the top two people like series regulars, and you're getting a hundred grand for one episode. So you would think a hundred thousand dollars. That is a lot of money for one episode. If I'm doing that, I am clear. Definitely qualify. You do not qualify for healthcare because you've only done one episode and the producers only have to contribute up to a certain amount. So even though you've made a hundred grand in one episode, you still have to book another job, at least one moreMichael Jamin:And clear,Chris Gorham:Not going to qualify for healthcare.Michael Jamin:I've produced a lot of shows. I don't recall ever paying a guest star anywhere close to a hundred thousand an episode. No, not even close.Chris Gorham:No, no. And the minimums have, right now, I think for a drama, the minimum's around $9,000, maybe a little more than that for an episode for top of Show guest start like the top paid guest shows on those shows. Yeah, you can't. And it's become almost impossible to negotiate a rate higher than the minimums.Michael Jamin:You can have a quote and they go, well, that's too bad. This is what we're paying you.Chris Gorham:Correct. This is what we're paying you.Michael Jamin:Let me just run through some of yours so people know who we're talking about because some people are listening to it. So Chris is, I'm going to blow some of his bigger parts, but he works so much. So let's start with Party of Five where you did four episodes, which I love that show. I just had to mention that, but of course, popular. You did a ton of those. Felicity, remember that? Odyssey five, Jake 2.0, which you started in medical investigation out of practice, which I mentioned Harper's Island Ugly Betty, Betty Laa, which I loved, of course, covert Affairs and what else? I'm going through your list here. Full Circle two Broke Girls. You worked with two of the broke girls and insatiable the Lincoln lawyer, and that doesn't include any of your guest chart. So you are incredibly successful actor and you've strung, actually, I want to hit on something. Sure. So this is a little embarrassing on my part. We had a technical, this is our second interview because I had technical errors on my point. I'm not that good with technology, even though I've done well over a hundred episodes of this, and Chris graciously allowed me to do this over. But one of the things that you said, the thing that struck me the most during our last talk, which I found incredibly interesting and humble, I said to you, Chris, how do you choose your roles? And do you remember what you said to me?Chris Gorham:Yeah, yeah, of course. Yeah. I said, I should be so lucky. Yeah. The reality is, it's like actors like me. I've had a lot of conversations with actors like me who star on television shows, multiple television shows, and we all joke about how many times we've been asked in interviews. The questionMichael Jamin:Really,Chris Gorham:Why did you choose this to be your next project?Michael Jamin:Right. Well, I wanted to eat. That's why.Chris Gorham:Yeah, yeah. Because I think journalists sometimes forget, and they think that we're all to use your example, Brad Pitt, and that we're being sent scripts and we get to choose what our next project is, but in reality, that is not at all. What happens, what happens for the vast majority of us is we are sent auditions. Sometimes we get the scripts, sometimes we don't. And we put ourselves now what used to be going to the casting office. Now we put ourselves on tape and we send it off into the void, and we hope that we get hired.Michael Jamin:And you'll work on a part. When you do get the script, how long will you spend preparing for that before you submit your tape?Chris Gorham:Oh, it depends mostly on two things. One, how many pages it is, and then it depends on how well written it's, to be honest. You've heard this before.Michael Jamin:Go ahead. Tell me.Chris Gorham:The better the writing, the easier it is to memorize.Michael Jamin:Right. And explain why that is.Chris Gorham:Well, the reason is is because it makes sense. If it's written like a human being talks, then the next sentence follows from the sentence before. If you understand the emotion of what's going on, then it just makes sense and the dialogue flows and it's just so much easier to memorize. The stuff that's always the hardest is when you're the character that's laying pipe and you're just spewing out exposition and it's not really coming. Listen, the good writers are always trying to tie it down to that emotional reality, but sometimes you got to lay pipe, and that's stuff's always the hardest, particularly if it's a bunch of medical jargon or legal jargon. That kind of stuff is crazy.Michael Jamin:And what people don't also realize, I think, is when you're starting out an actor, oh, I could play everything. I could play a villain. I could play a teacher, I could play a biker, I could play a doctor. That's fine when you're in your high school play, but in Hollywood, you're going to be cast the part that you are closest to because if not, we will cast someone who looks like a biker or who was a biker, and we'll cast someone who looks like a doctor. Right? Yeah. So you have to figure out who you are, basically.Chris Gorham:Yeah. Well, it's one of the, I went to theater school at UCLA and I was very lucky because during my freshman year, they decided to start a conservatory program within the theater program there. So we all auditioned and I got into this conservatory program. So for my last three years, it was conservatory training, and I still got my bachelor of arts degree from UCLA. It was the best of both worlds. One of the things that I felt like a few years out after having it is I wished they had spent a little bit more time helping us learn how to act like ourselves. You spend so much time in theater school, learning how to stretch your creativity, working on your voice, working on your body movement, body awareness, vocal awareness, and then learning how to play all these different kinds of parts and all the plays you're doing. All the parts are filled from college students. So sometimes you're playing an old man, sometimes you're playing a young woman who knows. But the second you start auditioning for roles professionally, you're only going to be seen for roles that you physically look like. And so it's really important to quickly learn if you haven't already, how to be you. Right. How do you do that version of you?Michael Jamin:Where do you begin with that?Chris Gorham:Well, it takes practice. We used to do an exercise. It was in one of the very beginning acting classes. In fact, I didn't even take this acting class. I was observing, I think my senior year, one of the grad students was teaching it. And it was just as simple as everybody got in circle and instead of being crazy and dancing like a tree or whatever, it was literally, it was just walk across. Just walk from point A to point B. Just you just don't do anything. Just walk from what, and you would be surprised how difficult that can be becauseMichael Jamin:You become self-conscious of what you'reChris Gorham:Exactly right. You become and you feel like you should do something mean. And especially for a bunch of theater kids who've kind of grown up in their theater school, all high schools and stuff all over, it's all about being big, and it's all about the jokes and getting attention and to let all of that go and just be in the market is a very difficult thing for a lot of people. But it's super, super important. And that carries through forever. Just being just be there. You don't have to do anything, particularly when you have a camera on you, and particularly when it's time for your closeup, you don't have to do a lot. You just have to be there and be present and alive in the scene.Michael Jamin:But so much, I think some people, they greatly underestimate how difficult acting is because it looks like make-believe and whatever. We're just, you're having fun on the camera, but to be in the moment, especially when the cameras are on you and everyone's watching in, go hurry up and go, because we've set up the scene for half hour and we want you to shoot it now. And it's so hard to stay in the moment, I think. So how do you stay in the moment when you become conscious that you're actingChris Gorham:Now? If I become conscious that I'm acting now, I'll just stop.Michael Jamin:You willChris Gorham:Often I'll just stop and say, can we start over? Can we just go back to the top because for whatever reason, and then go again. Because if I'm conscious, then I'm not in a scene, then it's not going to work and they're not going to be able to use it. So I would just stop and go back. I mean, it's the great advantage of film, right?Michael Jamin:But you do much theater anymore, because that's different when you're on stage.Chris Gorham:I only feel like benefits and things for years. We're rehearsing for one this weekend, we're doing the Girls Benefit to raise money for breast cancer research.Michael Jamin:So it's one show.Chris Gorham:It's one show. I mean, for me, I've been a single income family of five for almost 23 years. So with that, I haven't able to afford to go and do theater, but I miss it. I love it. I did two weeks, 14 years ago, I did two weeks in Spalding Gray Stories left to Tell in New York off Broadway.Michael Jamin:Really? So you were Spalding Gray, I mean, it's a one man show,Chris Gorham:Right? Yeah, yeah. Well, it's a one man show split into five different personalities. So it's different parts of him. And so the business part, they would swap out celebrities every two weeks. And so I came in and did that for two weeks, and it was the best.Michael Jamin:And this was in New York?Chris Gorham:Yeah.Michael Jamin:That's amazing. How did something like that come up? How do you get that?Chris Gorham:I don't know. I don't remember. I don't mean it must've come through my agents or my manager. I don't remember. I don't remember.Michael Jamin:Wow. How interesting.Chris Gorham:Because now, I was just going to say now, it's been so long since I've done, I've become, I'm so out of the loop of LA theater in particular, which is kind of more feasible for me at this point, just because it's close and easy. I don't even really know how to get back in. In fact, one of my youngest was doing a summer theater camp at Annoys Within, and it's close to where we are. So I was trying to figure out, I reached out to my manager, I was like, Hey, is really close. Is there, are they doing anything that would make sense for me to do something with them over there? They were like, yeah, that's a great idea. And they never heard anything. So I just emailed them my photo and resume with a letter, and I never heard anything back. So I literally, I don't even know how to approach getting cast in theater anymore,Michael Jamin:Because your agent, there's not enough money for your agent to work on it.Chris Gorham:They couldn't be less interested.Michael Jamin:I'm always curious how that works. We just saw a show at the Pasadena Playhouse and I was like, well, how do these actors, how do they, yeah, ifChris Gorham:You find out, let me know the Playhouse also write down the street. It'd be amazing.Michael Jamin:Yeah, there's always some, but then again, you would have to commit to something. And during that time period, let's say it was two months, you can't take other work you've committed and something big could come along, who knows? IChris Gorham:Mean, maybe. But also that is, you live with that fear all the time, no matter whatMichael Jamin:Do you mean even if you're on a show, you mean?Chris Gorham:Well, not if you're on a show, then you're working well, then you worry about the show being canceled and then that you're never going to work again. But when you're not working, well, this brings up two thoughts. One is there's a fear of taking something that's not the big thing, because you are afraid that if you do this smaller thing that it's going to conflict with the big thing that might be just around the court. And the other thought that it brings up is I talked with so many actors over the years who are not working and are really struggling and feel paralyzed about going to try and do anything else because there's this intense peer pressure that, well, you can't quit. You can't quit now that your moment, it might be just around the corner, it might be the next audition.Michael Jamin:You mean quit Hollywood and do something for a different career, youChris Gorham:Mean? Yeah, go do something else. You got to hang in. You got to hang in. And I feel like it's a really difficult balancing act because the truth is that this business is really, really hard to go back to the strike. It's gotten increasingly difficult to the point where it's almost impossible with an actor to make a living, to be able to raise a family, to be able to put your kids through college and those kind of life things that are important to so many of us.Michael Jamin:And I know, and that's why you fight and that's why you fight. And that's why it's so people think, well, so what for actors? But the problem is like you're saying, if actors can't make a living in between or you're starring in a show, that's great, but the show will probably get canceled up to one season. But you still need to keep a healthy talent pool of actors who can continue to keep a living, because if they can't, they're going to leave. And then how are you going to cast as writers and producers? How do you cast this part if there's not a healthy talent pool? That'sChris Gorham:It. That's it. We can't continue paying the stars these massive, massive, massive amounts of money and having everybody else working on these tiny minimums because it's unsustainable. The best and the brightest of us that haven't won the lottery are going to go do other things because there's more to life and life. You can be an actor without pursuing it as a career.Michael Jamin:But I haven't heard those notions come up at all. Maybe I'm not just tuned in, but the idea of, well, maybe we're paying the stars too much, or has that been a discussion at all?Chris Gorham:I mean, I have that discussion. Yeah. Oh, really? Well, yeah, because it's not that, well, certainly for me, and not so much from my personal experience, but just from my kind of bleeding heart observations of this business, when you see movies, it's why, like I've said for a long time, the only way now to make a living in this business is if you're a star or a series regular on a TV show.Michael Jamin:Yeah. Yes, I agree with that. It's theChris Gorham:Only way because all of the supporting cast, none of the supporting cast makes enough money to make a consistent living in this business because your stars get massive amounts of money. Everyone else is working scale, and the minimums have not risen nearly enough to make it enough. And the stars, well, this is the excuse the studios use, is that they're paying the stars so much. There's no money left to pay anybody else over scale, so no one else can negotiate over scale. And in tv it's a similar thing. So it just makes it very difficult.Michael Jamin:And not only that, LA has always been an expensive city to live, but now it's crazy. It's like crazy. I can't afford, if I hadn't bought my house when I did it, I couldn't even come close to affording this house and have a middle class house. It's something special about it. So these are the issues that actors are fighting over. Yeah, it's an important, it's so interesting when you hear your friends or colleagues thinking about leaving, do they tell you what they're going to do or what they want to do? It's such a hard thing when you're middle aged, what are you going to do?Chris Gorham:Right. No, it's true. It's true. No, I have some friends that have gone into teaching.Michael Jamin:Okay.Chris Gorham:Yeah. Most of my actor friends are still around. Have one friend who started the business ages ago and still runs that business while she's worked periodically as an actor throughout all of these years. And she still works frequently, but her main income is from this business that she created. Right.Michael Jamin:She's very, so you got to be entrepreneurial, basically. Yeah.Chris Gorham:Yeah. It's funny. I did a movie early in my career where we shot in Tonga and New Zealand, and we had a lot of New Zealand actors were working on this film and in talk, and some of them were quite famous in New Zealand. They were working on this famous New Zealand TV show, like legitimate celebrities. But in getting to know them and talking to them, almost all of them had day jobs, worked for the city, worked, worked in construction crews. They have full on day jobs. Some of them were entrepreneurs, some of them worked in government. And that was a new idea to me because that hadn't been my experience here. But as the income inequality has increased so dramatically, it feels like that's where our business has been going, where everybody has to have another gig.Michael Jamin:Yeah.Chris Gorham:It didn't used to be that way. And I don't think that it has to be that way.Michael Jamin:Yeah, I agree with you. Yeah. I mean, it's definitely, yeah, it seems very unfair. It doesn't seem, well, I mean, I guess all things is fair about being an actor. Being an actor has always been a pursuit of like, well, is there anything else you could do? Then choose that? But true, it seems like now it's like, I don't know. What do you do? What recommend then for people, young kids or kids, whatever, 20 year olds who considering getting into the business?Chris Gorham:Yeah, I mean, that advice I think is evergreen. That if you can go do something else as a career, absolutely do something else as a career. Oftentimes the advice I give is when you're young, spend a lot less time thinking about what you want to be when you grow up and spend a lot more time thinking about what kind of life you want to live when you grow up, what kind of things do you want to do? And then you can find career paths that will allow you to live the kind of life you want to live. And it becomes less obsessed with having a certain job.Michael Jamin:Well, that's something to consider. So for you as a working actor, sometimes you'll be on location, you might be in a different city. Is that something you away from your family, which is hard as you were raised in a family, is that something you considered? Is that something you would reconsider now?Chris Gorham:I had no idea. I grew up in Fresno, California. My mom was a school nurse. My dad was an accountant. They didn't know what to do with me, and I didn't know anything about the business. I wanted to be. Yeah, I didn't know. Yeah. I had no idea. And so my first, and I was very fortunate. I got out of school, I started, I got my union card in 1996, the year I got out of school was booking occasional guest stars on things. My first job was one scene in a movie with two big movie stars, big famous director. It was awesome. And then I booked my first series just three years after school. Cool. And it was shot at Disney. It was like 10 minutes away from our little place we were renting. And then it was canceled and it came out of nowhere. And then I was very fortunate again. I booked another series two weeks later, but that one shot until longMichael Jamin:AndChris Gorham:I had no idea what that meant. And I left to do that pilot six weeks after our first born son, our firstborn was born. So my wife, anal had no idea what no idea we were doing. Suddenly we had a newborn baby, six weeks old, and then I'm gone for five weeks. It was extraordinarily difficult.Michael Jamin:I apologize. Something must be open and I have to shut it down because someone's, I'm sorry.Chris Gorham:Oh, no worries. Okay.Michael Jamin:I thought everything shut. But yeah, so to continue, so that's heartbreaking. You have a brand new baby and you're out of town. You left here.Chris Gorham:Yeah. It was hard. And we didn't, because we didn't grow up here, so we had no experience. I don't know how to do this. And no one was really kind explaining to us, okay, this is how you get through this. These are the different ways you can do it. These are the options. You know what I mean? I didn't have anybody, I didn't have a mentor or somebody guiding me in how to do this thing.Michael Jamin:But at any point in your career, you must, because worked for so many actors, you must have at some point found someone a little older and wiser. Right?Chris Gorham:Well, the closest thing we had was Anelle had Stacey Winkler. It was really sweet. Anelle used to sit next to Stacey Winkler at every taping, and they would just talk and Stacey would give her advice, and it was great. One week, Anelle come to the taping, and the next week Stacey scolded her and was like, you have to be here every week and let everyone know that that is your husband.Michael Jamin:Interesting. I remember she came to, I think every out of practice,Chris Gorham:Everyone.Michael Jamin:So why is it about staking your territory? What was that? Or is this being supportive?Chris Gorham:What was it? No, I think it was both, but I think partly staking your territory. I was the young guy, the young handsome guy on this show, and it's a CVS show, and so she was like, you need to be here. But then it was also she said, but then he's the star here at work. You have to make sure that when you get home, the kids are the star, not him. You have to make it veryMichael Jamin:Clear. Was there a difficulty for you? Is it hard to go home and not be the star? What was that like?Chris Gorham:I had gotten pretty good at it, certainly by then. But I would imagine looking back in the beginning, it's kind of that power corrupt and absolute power. Corrupt absolutely. Of course can go to your head when you are getting a little famous and you're making some money. And when you're at work, you are catered to, you're one of the stars of the show. You're catered to a handed foot. Everything's taken care of. I've described it as series regulars are treated like fancyMichael Jamin:Babies on set.Chris Gorham:Don't upset the babies. You need to keep them safe at all times. You need to keep them comfortable at all times. You don't want them crying. You don't want them cranky. You need to keep them fully regulated because when everything's ready to roll, we need the fancy babies to be able to perform. And as soon as they're done, we want them to go back to their cribs slash trailers so that then the grownups can finish getting everything ready for the next shot.Michael Jamin:And imagine giving this kind of pressure to a child actor. I mean, have you worked with many child actors?Chris Gorham:Yeah, many over the years, and I can say almost all of it. Almost all of it's been a good experience. I haven't had any total nightmares with child doctors. That being said, every parent that's asked us about getting their kid into the business, we have always advised against it. And we didn't encourage any of our kids to get into it.Michael Jamin:It's rough. I haven't worked with many child, I just haven't been on shows with a lot of kids. And I am glad because I have a feeling I would when a kid is messing around on set in between takes or just not being professional because they're acting like children the way they are supposed to act. In my mind I would be thinking, stop fucking around. This is work. I know that's what I would be thinking, which is an awful thing to put on a child. But that's what you're paying them a lot of money to do. It's a hard position. I don't know. I just feel for those kids, I just feel like, yeah, I know. That's where Ill be thinking. Hopefully I wouldn't be saying it. Yeah,Chris Gorham:It's difficult. It's very, I mean, sets are, they're not for kids. They're an adult work environments, which by the way, some adult working actors need to be reminded occasionally that these are adult working environments. This is not your personal playground. But yeah, it's a difficult environment for kids. So I mean, you need them. So I'm grateful that they're there.Michael Jamin:I think that too sometimes. Sometimes I'll see an actor goofing around too much, and we're all, I'm like, dude, let's get out of here. All the crew wants to go home. They've been working 12 hour days for the past week and a half. They want to go home too.Chris Gorham:Well, let me tell you, this is one of the things where with every showrunner that I've become friendly with, I highly encourage them, if at all possible, to bring their series regulars behind the curtain and bring them to at least one production meeting that show them how the sausage really gets made, expose them to all of the other incredibly creative, intelligent, wonderful people who make up this team that makes the TV show or the film. Because then they get to see, because as cast, especially as the stars of the show or the film, you really are treated as if you are the most important cog in this machine. And it's really helpful, I think, and just the team morale, if actors understand that they are a very important cog in that machine, but just one of the cogs in the machine. YouMichael Jamin:Said you learned this, I think when you first were directing, you started directing episodes of the shows, you weren't, right?Chris Gorham:Yeah. I had think a basic actor's understanding of how things work on set. And I'm not to blow my own horn. I'm generally a nice person. So I'm kind to people. I'm nice to everybody on set. I learned people's names. I generally understood what people did, but only when I started directing did I really understand just how incredible the whole ensemble is and how much the rest of the team has to offer and is contributing to the show or the film. It was just a level of respect that I don't think I could really have until I was allowed behind the curtain to see how it was happening. So whatMichael Jamin:Would you recommend? Would you recommend that every week one actor attends a production meeting? Is that what you're saying?Chris Gorham:Listen, that's one way to do it. Right. However it works for that showrunner, for that production, I would just encourage them because I just feel like so often, and I think, I don't know if it's true now, but I've talked to showrunners in the past that have talked about the show and the training program and about the message they got was to keep the cast at arm's length. Really? Yeah. And there certainly can be good reasons for doing that. I can understand why that sometimes makes the job easier, certainly, and sometimes maybe makes it possible. But I just think there's more to gain by bringing them in to letting them see, really meet the whole team and get to know the whole team. And because there's just, I mean, truly, you see what the set designers do, and you see what the customers do, and you see, we get to understand how lighting works. You know what I mean? It's just how hard the ads work on putting together with the schedule and learn why the schedule gets put way put together the way it gets put together. And once you understand it, then maybe you're a little less mad about having to be last in on Friday, two weeks in a row.Michael Jamin:Yeah.Chris Gorham:You see, it's like they're not out to get you. They are trying to accommodate you, and you are not the only factor that is being accommodated.Michael Jamin:You're talking about the writers now?Chris Gorham:No, I was talking about the cast look, in regards to schedule casting,Michael Jamin:Very, very frustratedChris Gorham:About scheduling.Michael Jamin:Oh, I see. Yeah, that's always right. I can see why that would be frustrating. So what happens? You get a call sheet and you're told to come in whatever, 8:00 AM and they don't get to shoot your part until 1:00 PM and you're like, why did they call me in so early? And sometimes it just happens. It works out that wayChris Gorham:Sometimes. Yeah. They're trying. They're trying. And sometimes it just doesn't work out. And with the scripts, with writers, it's a similar kinds of thing. It's like once you understand how many chefs are in the kitchen of getting these scripts, these stories broken, and then these scripts written how many notes the writer has gotten about their script from the studio and then from the network before it ever gets to the cast.Michael Jamin:You're making me anxious just talking about it. No joke.Chris Gorham:Sorry. And then that's why as a cast member, when you then go to the writer and say, Hey, can I ask you about this? Your writer looks like they're dying a little inside.Michael Jamin:Yeah. No, no, I can't do that.Chris Gorham:And it's like, so the best writers that I've worked with have always been very organized about how actors give notes. They're like, if we're doing table reads on a show, they'll be like, look, we're going to do the table read. Everybody's got 24 hours to give whatever notes or feedback you've got about the script. And then after that, we're considering it locked. Please respect that once you're on. The idea being that you don't want to spend a lot of time on the day when you're there waiting to shoot, talking about suddenly having questions about the scene and asking it to be rewritten. That's not the term.Michael Jamin:Yeah, it's not. And because we have to get next week's script and next week's script is a disaster. I'm telling you, it's in terrible shape. That's how it always is.So you want to worry about this. What about the crashing plane out there? That's going to be, I remember, I have to show, I can't remember if I mentioned this last time we spoke, but one of my favorite experiences of working in Hollywood was when I was an out of practice, and I can't remember what I was doing. I think the showrunner, Chris, I think he had me deliver pages up to the actress. It was show night right before the show, and I don't know why it was made, but for some reason, I remember carrying a couple of scripts to the dressing room maybe an hour before the showtime, and you guys were all there, the whole cast, and you're holding hands. And Henry's like, come on, Michael, come on in, come on. And I'm like, what's going on right here? And you're all just holding hands. And he goes, and he invited me in. I'm like, but I'm a writer. What do you mean? No, grab some hands. So I remember taking who, who's hands? I don't know, but I'm in the middle. I'm with a circle. I'm holding hands. I'm like, what is going on here? And then you guys did, I don't know what you would call it, but it was some kind of, it'sChris Gorham:Like a little vocal warmup or something. No,Michael Jamin:It was almost like a blessing. It was like a blessing. It was almost like, what's it, we are here to, I am curious if you've done this since then. It was like, we are here to support each other. We're going to have a wonderful show. We're all together. We're a family. And it was almost spiritual. It was very, I guess you haven't done that. You don't remember this.Chris Gorham:I remember doing that. I don't remember that specific moment. But that was all Henry.Michael Jamin:But it wasn't every week that you guys didChris Gorham:That. Every week we did that.Michael Jamin:Yeah. Okay.Chris Gorham:Yeah. Every week it was our ritual, but Henry started as the ritual before we went down to start the show. We would have this time just with a cast or occasionally with a writer who'd come in.Michael Jamin:I thought it was a beautiful moment. I really did.Chris Gorham:It was really great on dramas. You don't do that because you don't have that moment where you're all together about to go start the show. That's already happened to me on sitcoms.Michael Jamin:So maybe it's a theater thing then. Do you thinkChris Gorham:For sure it's a theater thing. Yes. Yes.Michael Jamin:Yes. So tell me, this happens on other employees always before every show or before every night. Opening night every night. Yeah.Chris Gorham:I mean, of course it depends on the show, right? It depends on who's there and who's, but yeah, thinking back, even when I was a kid in Fresno doing local theater, they would always feed circle up right before Showtime.Michael Jamin:Is that what they call, is there a name for this circle up? What is it?Chris Gorham:No, no. That's just what I'mMichael Jamin:Using. So there's no nameChris Gorham:For you get in the huddle. You get in the huddle.Michael Jamin:But I really thought, I still remember it. I was touched by it that this is something that you guys did to support each other so that you could hold space and feel safe in front of a crowd and know it was a very team thing. And I was like, wow. I felt almost like I was invading it. I felt like I don't belong here because I'm not on stage with you guys. But that's what I remember. It struck me. Something else that always struck me was how well guest stars were greeted by the regular cast. That's a very, very position. You've been on both sides of that,Chris Gorham:Right? Yeah, for sure.Michael Jamin:For sure. What's that on both sides for you?Chris Gorham:I've worked on shows where I have, where series regulators never spoke to me. We were in a scene together, but outside of the scene never spoke to me.Michael Jamin:So action. And this is the first time you're talking to them.Chris Gorham:Correct.Michael Jamin:I suppose that could be good if your characters were just meeting for the first time, but is thereChris Gorham:Sure. I guess. I guessMichael Jamin:I guess.Chris Gorham:But we could, we're professionals. We could pretend. But that was pretty early in my career. Now I don't really have that experience anymore. But also, I took it with me and I made it a point, having had that happen once or twice early in my career, that once I was the series regular, I've always made it a point to never ever do that,Michael Jamin:To always welcome the guest star and just absolutely greet them. It's a hard thing to stay. I mean, think about it's the first day of school for them. Yeah. You're walking into, you don't know anybody. I,Chris Gorham:No, it's difficult enough. Like you said, this is a difficult job. And why make it harder on somebody who is coming in on the bottom of the rung of power at this show? Why would you use the very real power that you wieldMichael Jamin:Show it's It is real.Chris Gorham:Yeah. Why would you wield that to make someone who's on your team, right? Uncomfortable. Why you?Michael Jamin:But we know these actors. I'm the star. I want you. I want to remind you. It's like, dude, we know. We know.Chris Gorham:Yeah. There are people like that. I feel like that's the exception. It happens. Oh, really? But I feel like it's the exception.Michael Jamin:Interesting.Chris Gorham:Yeah.Michael Jamin:Hey, it's Michael Jamin. If you like my content, and I know you do because you're 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 michaeljamin.com/watchlist. And now back to what the hell is Michael Jamin talking about?One thing we also spoke about, which was very interesting to me, was I don't know what they call now, I guess, what do they call? They call it sex coordinators. What is the role for those peopleChris Gorham:Who, oh, intimacyMichael Jamin:Coordinators. Intimacy coordinators. But you mentioned that they have other functions. It is not just when two people are lying in bed, half naked. It's also for,Chris Gorham:So the way that I describe it to people who've never heard of intimacy coordinators is everyone's familiar with stunt coordinators. So stunt coordinators are brought onto a set to keep actors physically safe. Intimacy coordinators are brought onto a set to keep actors emotionally safe.Michael Jamin:And this is relatively new thing. Maybe what, five or 10 years or something? Maybe less,Chris Gorham:Right? Yes. New. And we are pushing to make them required. But one of the hurdles before we can make them a requirement like a stunt coordinator is required. One of the hurdles is actually getting enough intimacy coordinators qualified, trained and qualified to do thisMichael Jamin:Job. Are most of them, are they therapists, counselors? What's their training, do you think? No,Chris Gorham:I think a lot of them come from the acting court. Really? Really? Yeah. Yeah. BecauseMichael Jamin:You mentioned it's not just that. It's also like if you have two characters yelling at each other in a scene, no sex, they're just yelling at each other that an intimacy record will talk to you afterwards, right?Chris Gorham:Yeah. So here's a couple things that we did. I'd worked on a show where we had a scene, it was a sexual assault scene, but there were no clothes, there was no nudity and things stopped before things progressed to the point where we were physically exposed. But that kind of scene, you're very emotionally exposed, right? And this was my first time interviewing with an intimacy coordinator. I didn't really know what to expect. So there was a part of the conversation was, okay, for instance, it's written in the script that the other character is going to reach down and grab your groin. And I talked to the in music coordinator saying, I talked to the director and the director wants to see that. He said, are you comfortable with that? Here's what we have to protect you. We have a piece that's going to go between your pants and your underwear to protect your groin.And so when she grabs you, that's all she's grabbing. It was like, okay, great. That's super helpful actually. Great. I've never had that before. And it seemed like that. And it's nice. It makes me feel more comfortable. Certainly makes her feel more comfortable. Who wants to do that? Nobody. But then after the physical parts of discussion, then the conversation shifted. And she said, another thing that I've done with a lot of actors who've done scenes this, I would recommend that you put together a self-care routine for the end of the day. I was like, well, what do you mean? Like it could be anything. Whatever is going to be comforting to you. Some people, you might make a put things together. So you can draw a bubble bath when you get home. You might put together a playlist of music that makes you feel good.It might be pictures of your kids, could be whatever it is that is going to give comfort if you need it at the end of the day, because you never know what scenes like that might trigger. And that's the thing is you write scenes like this and it's necessary for the story, and you works as appropriate for the characters, but you never know what the actors as people, what their life experience has been. And they may have in their real life, been through an experience like that. And so then reenacting it can be very triggering. And it's the thing about acting when you're doing these emotional scenes, be it anger or big crying emotion, your body doesn't know you're pretending.Michael Jamin:Exactly.Chris Gorham:Exactly. So you mentally, well, this is pretend none of this is real. We're on a set crew numbers and friends, but your body doesn't know the difference. Once you're experiencing those emotions, you are experiencing those emotions and you never know what it's going to bring up. So that kind of care, emotional care, I thought is really great.Michael Jamin:And it's like, you'll do this just so people are aware. If you have a scene where you're screaming and yelling or sexually assaulting someone or whatever, and your adrenaline's pumping and whatever, your, not hormones, but cortisol. Cortisol is racing, whatever. All this stuff is going through your head and your body doesn't know, and you're doing the scene a dozen times and it's very hard. I feel it's must be hard to wash that out of your system.Chris Gorham:Can be. It can be. I mean, that's the thing. And it's different for everybody. I ended up, I was okay at the end of the day. I was exhausted, but I felt okay. But I was glad that I'd put some thought into, if I'm not feeling okay, here's what I'm going to do, it's going to help me feel better. And just having thought about it, I think just helped.Michael Jamin:No, I don't think I've ever worked with an intimacy coordinator because in comedy we don't really do a lot of that. But is it always a sexually charged? Is that what the line is? It's not just drama. There always has to be some kind of sexual element when they're brought in. Is that what itChris Gorham:Is? That's certainly how it started. And I think now it's one of the things, it's still new. We're figuring out when it, certainly on the sexual stuff, I'm trying to think. It was interesting. There was a resolution. I think there was a resolution that's going to be coming up the convention. There's lots of conversation about intimacy coordinators. But there was some conversation that had never crossed my mind. But once I was talking to someone about it, I thought, yeah, you know what that makes a lot of sense is bringing in intimacy coordinators when you're physically with children. Physically with children. So for instance, you are playing a dad and you're working with kids and you're getting in bed and cuddling with the kids at bedtime, or you're putting your daughter on your lap to have, because they had a rough day and you're cuddling and you know what I mean? And you're having physical contact with kids to have an intimacy coordinator there just to make, because again, you don't know what people's experiences been to protect the kids so that there's a conversation and there's somebody there watching. And I thought, you know what? Smart, that's a great idea.Michael Jamin:That is a really smart idea. Because we don't know what these kids have been through. We don't know.Chris Gorham:And again, most actors, most people in the world are caring, kind, certainly empathetic. That's their wholeMichael Jamin:Job. That's the job.Chris Gorham:But just like any other profession, some people need help. Some people don't always have the best intentions, and some people don't always behave well. And so it's important. So yeah, I thought that was just such a good idea.Michael Jamin:I totally agree. We also spoke about how you handle it when you are working with an actor who maybe isn't as professional or prepared as you are in the scene and what you do. I thought it was interesting what you had to say.Chris Gorham:Okay, so huge pet peeve. For me. It's like, no, it really bugs me when you're working with someone who hasn't bothered to learn their dialogue. So that's a huge No-no. But then sometimes you are working with an actor who just isn't great, who just for whatever reason isn't great. So my strategy for dealing with that is I just basically start acting to an X. I just don't, whatever they're giving me is just bad. What I know is that the editor is going to cut around the bad performance and they're going to use me. So it's even more important for me to stay completely engaged in the scene. And it's an extra level of acting challenge because then you're acting. It's like, I don't know. It's working on one of the superhero movies or something where you just start treating them like a tennis ball and you do the scene regardless because you can't let them affect your performance. Your performanceMichael Jamin:PerformanceChris Gorham:Has to be there.Michael Jamin:But let's say you were working with a casting director. I've worked with many, obviously many, and some cast directors, they'll read with you, and some of them are not great actors. NoChris Gorham:Read bad.Michael Jamin:And then you have, as an actor, you were trained to react and to what they give you, but how do you deal with it when they're not giving youChris Gorham:Enough? It is. It's really hard. It's one of the nice things about this whole self take resolution is that's kind of taken out of it because you've got, hopefully you have someone working with you that's going to give you something. And if not, you can do multiple takes and send the best one. It was always one of the most difficult things about auditioning in the room is when you are, and I've heard so many horror stories, I've experienced just a couple, but when you're doing your audition and the person you're reading with is garbage, and so much of it becomes, it's not like how convincing their reading is. For me, it was always a rhythm thing. It was like they just aren't listening. And so the rhythm gets completely screwed up. And it's like,Michael Jamin:I always feel for actors when they have to do this, you have a crappy sketching director. It's like, well, what so hard.Chris Gorham:Or you look up and the casting director's like on the phone,Michael Jamin:That's even worse. EatingChris Gorham:Lunch and not this.Michael Jamin:If you prepared a scene and in this moment you're going to be hot, you're going to be yelling, and the casting director is not giving you enough for you to get angry at. So you're saying you just go ahead and do it the way you prepared, even though if the scene, but then it looks like you're almost looks like you're crazy. You're getting angry and the cast director's at the lunch. It's just something you got to deal withChris Gorham:Because that's the scene. And they're probably, even when you were in the office, usually they were recording it. Right. So all they're going to see is your side.Michael Jamin:Okay.Chris Gorham:So you have to doMichael Jamin:That's good advice.Chris Gorham:Yeah.Michael Jamin:I remember, this is years ago, we did a scene. We had this very famous actress. Actress. She was older, and we booked her and she came for the role and it was exciting to have her on set. She was very famous, but she should not be working. Her agent should not have booked her because I'veChris Gorham:Had an experienceMichael Jamin:Like that too. Really? So maybe she had dementia. I felt terrible because she clearly had dementia or early signs of dementia, so she literally couldn't remember one line. So you'd feed her the line, and even still, she couldn't remember it half a second later. And I just felt she, I didn't know what to do. I was like, she's struggling here. She's probably feels very embarrassed, very lost. Very, why did her agent send her out for this book? Maybe because she needed the insurance. I don't know. But it was a horrible situation. I felt bad all around.Chris Gorham:I've worked with an actress who a very similar situation, and they went to cue cards and they just did it line by line.Michael Jamin:Even with QI wanted to bring in cue cards. The director said, I don't want to bring q. I was like, what are you doing, dude? This is awful. I lost that fight. I thought we needed cue cards. They justChris Gorham:Shot her side line by line, and then I just did my side to an X.Michael Jamin:Yeah. Yeah. It's so interesting. That's one of the realities of being on a TV show.Chris Gorham:Totally. And it's one of the, but also why it's so important to not to get, just to do, at the end of the day, be responsible for your performance and make sure that you're giving the best performance that you can give and you can't control the other stuff that's happening. And then as an actor, then trust your director and your camera operators and your review that they're going to take care of you as best that they can and your editor. But it doesn't behoove anyone to make you look like an idiot unless you're supposed to look like an idiot. Right,Michael Jamin:Right.Chris Gorham:Everyone wants to make the show. Great.Michael Jamin:Are your kids getting into acting or have they expressed any No. You said with relief. No, not in the arts at all.Chris Gorham:No, no, no, not at all.Michael Jamin:Your wife was an actor. I mean, I'm, yeah, I'm surprised that there's not that pull.Chris Gorham:Well, my oldest son is autistic. He finished high school and now he's got a part-time job like pharmacy down the street. He's doing well, and his younger brother is studying business, wants to go into real estate. Oh, good. It's like, okay.Michael Jamin:Yeah, thank God.Chris Gorham:Yeah. And then our youngest loves to sing, has a beautiful singing voice. But yeah, no, he isn't really interestedMichael Jamin:GoingChris Gorham:Into the business, which is fine. We've never put any pressure onMichael Jamin:Them. Well, sure.Chris Gorham:And had they had a passion for it, we would be supportive, but it's just not, their heartsMichael Jamin:Taken them. It's funny. I'm sure they've come to set with you seen you do it. Yeah.Chris Gorham:Yeah. They think it's boring. They're like, this is so boring.Michael Jamin:It is boring. There's a lot of boring on a set. I don't know if,Chris Gorham:Yeah, it's super boring. They've never watching things with me in it because it's weird to see your dad not being your dad. Also, another thing, thinking about it, having just talked about Stacy Linker a little bit ago, I think part of the reason they don't like going to set is because it set. I am the star and not them. SoMichael Jamin:Oh, interesting.Chris Gorham:That doesn't feel great either. It's way better at home.Michael Jamin:What is it like for you though, when you're out in public? And fame to me is, so how do you experience fame when someone comes up to you and they think they know you and they want a piece of you? What does that do to you?Chris Gorham:Well, I've been really lucky, I feel like, because kind of been able to walk the line where I've experienced being famous enough to have the paparazzi jump out and want to take my picture and talk to me.Michael Jamin:That's a lot. That's a level of fame I don't think anybody would want to have,Chris Gorham:But never to the point where it really got in the way. It was just a few. There were some moments in my career where I was famous enough that the paparazzi knew who I was and would take my picture, but never famous enough that it reallyMichael Jamin:BotheredChris Gorham:You, caused problems. Never famous enough where I needed security. Never famous enough where it got really inconvenient.Michael Jamin:But let's just say you're at a restaurant and someone wants to come up, they want to talk to you, they autographed, they want to meet you.Chris Gorham:Most of the time people get it. I'm usually out with my kids and my wife, so they understand if they're coming up and I'm with my wife and kids, that it's a little awkward for them to ask me to stop dinner with my family to talk pictures or take. So that doesn't really happenMichael Jamin:Now. Oh, that's good. I mean, Brad, I could see your family being like, oh God, we're trying to have a night. We're trying to be together.Chris Gorham:There's been moments like that, especially for the kids. Anelle it, it's always been fun. Early in my career, it was weird because we were on a show and we couldn't go to malls because kids would chase us around malls in the very beginning. But then as you get older, that happens less and less. And then it's just been, sometimes it's surprising. My kids forget for a while. We'll go a while without getting recognized at all. And then weirdly, in Chicago, weirdly, I think the last show that I was on must have lots of people watched it in Chicago. And so suddenly, anytime I'm in Chicago, I'm recognized all the time. And so It's like my kids remember. Oh, right. Dad's on tv.Michael Jamin:That's soChris Gorham:Funny. Funny. When Ethan was starting high school was when a very popular show with the high school kids had just premiered. And that was actually really difficult for him. We've talked about it since. He didn't really reveal how hard it was for him, but last year we were talking about it and he was kind of opening up and said, yeah, no, it sucked. It wasn't great.Michael Jamin:Really?Chris Gorham:You were doing that show while I was starting high school and so everyone knew who I was and everyoneMichael Jamin:Knew who all his friends and all the kids. Yeah. It's hard for a kid and itChris Gorham:Was embarrassing.Michael Jamin:Yes, it was. They were embarrassed that you were their dad.Chris Gorham:Yeah. Really? It was super embarrassing. Yeah. Well, because of what that show, because of my character on the show for high school kids, just, it was a lot. I was physically quite exposed on that show and so yeah, it was a lot. It a lot.Michael Jamin:Oh wow. We did a show with these two guys link and these were big YouTubers and they were huge. And I hadn't heard of them. I didn't know them. And then remember we'd go for the meeting and one of them said to me, you wouldn't believe this, but I can't go to Disneyland without being swarmed. That was his crowd. He's like, I know you've never seen me before, but I can't go there without being swarmed.Chris Gorham:Yeah.Michael Jamin:It's so funny. Yeah,Chris Gorham:It's wild. Yeah. That was,Michael Jamin:It's interesting that this, go ahead, please.Chris Gorham:No, no, no, no. It was just a dumb Disneyland story. Go ahead.Michael Jamin:No.Chris Gorham:Well, the dumb Disneyland story was, there was a period in my career where working on a certain show where we could not only go to Disneyland for free, but also were given the guide and the behind we were taking care of at Disneyland, like a celebrity, which was funny because it was so, we did it a couple times, but I think even just the second time we went to Disney Disneyland, that way, it's too much. Honestly. It sounds great, and it's great the first time to be able to skip all the lines, you know what I mean? But after that, it's like, oh, there's actually way less to do at Disneyland than you think when you don't have to wait in line for anything.Michael Jamin:That's so funny. You kindChris Gorham:Of finish it all in four hours and then you're like, oh,Michael Jamin:Now what? Now what?Chris Gorham:Again?Michael Jamin:That's so funny. Yeah.Chris Gorham:Yeah.Michael Jamin:I'm always curious, I am always curious about how people experience I'm around you guys and how you guys experience fame and what is it like that parasocial relationship where people think they know you and they don't. They just know this part of you.Chris Gorham:It's different for everybody.Michael Jamin:Yeah. I always feel like it must be like, am I giving you what? When someone comes up to you, is there that thought in your head? Where am I giving you what you wanted? You just met me. Am I giving you what you wanted? Because I don't know what you wanted and am I who you wanted me to be for five minutes? Oh, that's funny.Chris Gorham:I don't think about it that way. I've just tried to be kind to people just, I just try to be kind. Just be kind. That's all. That's really all I'm thinking about is just because, listen, it could be worse. It's not terrible for people to be happy to see you generally.Michael Jamin:Right.Chris Gorham:That's not terrible. That's kind of nice. Can it be inconvenient? Sorry.Michael Jamin:Well, I saw a clip of Eve who played Jan Brady, right. And she was on the talk show. This clip was probably 30 years old or whatever, and someone in the audience said, can you just do it? Can you just say it? Can you say it right? And she's like, we knew what you wanted. We knew everyone knew. She wanted her to say, Marsha, Marsha, Marsha. And she was like, I'm not going to say it. I won't say it, and why not? And everyone was so disappointed, and I felt for her. I was like, because she doesn't want to be your performing monkey now. And that was when she was 10.Chris Gorham:Well, that's the thing too. It's like is a one you can be kind and say no.Michael Jamin:Yeah,Chris Gorham:Right. Just being kind doesn't mean you're going to say yes to every request,Michael Jamin:But that sounds like something you've maybe had a long conversation with a therapist to come to that conversation. Really? Yeah. That's something I would struggle with. Someone would say, you know, could be kind still say, no, am I allowed to? But you're saying you came to this realization on your own.Chris Gorham:I dunno. I don't know. Listen, I do see a therapist, and so maybe I don't remember having a breakthrough about that specifically, but certainly walking things through with a therapist can only help. Also, I think being a dad helps with that because in parenting, so much of the job is saying no. And that can be really hard sometimes, certainly for some people, but it's an important part of the job.Michael Jamin:Talk about how important do you think it is, and for you to either, okay. As a writer, I think it's very important to spend at least some amount of time in therapy because if you don't know yourself, how could you possibly know another character? And I wonder if you feel the same way. Same thing about acting.Chris Gorham:Oh, I've never thought about it that way.Michael Jamin:Really?Chris Gorham:Yeah. Yeah. No, I never thought about that way. But it certainly can be helpful. I mean, for the same reason. It just, it's spending that time thinking about, and sometimes it's taking that hour just thinking about the whys of things. You spend so much of your days reacting to everything and taking the time to go, okay, why did this lead to this? Why did I do that when this happened to me? And as a person, it's going to help you stay more regulated and be just healthier in life. But also, yeah, for sure. There's going to be moments when you're going to be able to understand a character brother, because you've maybe put some thought into why people doMichael Jamin:These things, why people do. Yeah.Chris Gorham:I been, one of the things I've

Joining Jazz Thornton for this week's episode of Hope is Real is broadcaster Toni Street. Well known on New Zealand TV screens, Toni's bubbly personality hides a history of unimaginable loss.   Toni shares how her family coped with losing three of her siblings, the diagnosis of an auto immune disorder, and the pressure of being in the media spotlight.   Hope Is Real is a Podcast to help you feel a little less alone, a bit more inspired, and a lot more hopeful. Join Jazz Thornton every week as she speaks to empowering and inspiring people from around the world and shares their stories to normalise the way we talk about mental health in society.   Insta and TikTok: @hopeisrealpodcast  Personal Insta @JazzThornton  Personal TikTok: @JazzThornton_  ZM Podcast Network: @ZMOnline    If you need help, in New Zealand you can contact 1737 by text or call at any time, or if you are listening internationally, you can find someone to contact here: https://findahelpline.com/   As a sponsor of the podcast, the SOPHIE team has kindly given us a special 15% off code for our listeners to use online at sophiestore.co.nz - simply type HOPE at checkout. See omnystudio.com/listener for privacy information.

On today's episode, we tackle New Zealand's dirty little secret: our throwaway bottle problem. With a shocking 2.57 billion single-use drinks bought last year and only 800,000 recycled, we discuss the lack of incentives to recycle and the government's slow progress in implementing a nationwide bottle recycling plant. Listen in as we also explore the water bottling process and how we're getting ripped off by big companies, and ponder why we don't set up our own water bottling plant and export it to the world. Additionally, we're joined by the talented Antonia Prebble to discuss her new comedy project and her experience raising her two children in a slower-paced lifestyle. Antonia shares her thoughts on the challenges of creating drama compared to reality TV and the joy of working on Double Parked, a show about a lesbian couple trying to get pregnant. We chat about how the show breaks boundaries by having lesbian characters as the central focus without making their sexuality a point of the story, and how it reflects the reality of the situation. --------- EPISODE CHAPTERS --------- (0:00:10) - New Zealand's Recycling Crisis(0:07:32) - Recycling and Work-Family Balance in NZ(0:19:44) - New Zealand TV and Double Parked with Antonia Prebble(0:31:46) - Duncans Mum!  See omnystudio.com/listener for privacy information.

Inflation is still high (sigh), which means the Federal Reserve will raise interest rates again next week. One listener is wondering why the Fed has pursued incremental rate hikes as opposed to one jumbo increase. We’ve got answers! Plus, why is the Fed’s inflation target 2% anyway, and what does it have to do with New Zealand? Then, questions about the queen, the Commonwealth and currency! Here’s everything we talked about: “Why does the Federal Reserve aim for inflation of 2 percent over the longer run?” from The Federal Reserve “Of Kiwis and Currencies: How a 2% Inflation Target Became Global Economic Gospel” from The New York Times “The Fed's inflation target comes from a casual remark on New Zealand TV” from Quartz “The queen’s death opens the floodgates on self-rule campaigns” from Politico “Queen Elizabeth is featured on several currencies. Now what?” from The Associated Press Keep sending your questions. We’re at makemesmart@marketplace.org or leave us a voice memo at 508-U-B-SMART.

Inflation is still high (sigh), which means the Federal Reserve will raise interest rates again next week. One listener is wondering why the Fed has pursued incremental rate hikes as opposed to one jumbo increase. We’ve got answers! Plus, why is the Fed’s inflation target 2% anyway, and what does it have to do with New Zealand? Then, questions about the queen, the Commonwealth and currency! Here’s everything we talked about: “Why does the Federal Reserve aim for inflation of 2 percent over the longer run?” from The Federal Reserve “Of Kiwis and Currencies: How a 2% Inflation Target Became Global Economic Gospel” from The New York Times “The Fed's inflation target comes from a casual remark on New Zealand TV” from Quartz “The queen’s death opens the floodgates on self-rule campaigns” from Politico “Queen Elizabeth is featured on several currencies. Now what?” from The Associated Press Keep sending your questions. We’re at makemesmart@marketplace.org or leave us a voice memo at 508-U-B-SMART.

The Campervan is a new play opening in Auckland in early September 2022. it stars well-known actors Lisa Chappell, and Andrew Grainger, and directed by Simon Prast. It was written by award winning screenwriter, playwright and script consultant Kathryn Burnett, who has worked in the New Zealand TV and film industry for over twenty years. She joins Andrew Whiteside to discuss the play.

This week the country has celebrated 30 years of its favourite soap opera, Shortland Street. The doctors and nurses of Ferndale have survived serial killers, viral outbreaks and volcanoes to make it this far – but can it survive one of the most tumultuous periods in the history of New Zealand television? With TVNZ preparing their merger with RNZ, and too many streaming services to keep up with, there have never been so many opportunities – and threats – to New Zealand television. Today, media commentator and CEO and publisher of The Spinoff Duncan Grieve joins Damien to look at a fascinating time for New Zealand TV. Follow The Front Page on iHeartRadio or wherever you get your podcasts. You can read more about this and other stories in the New Zealand Herald, online at nzherald.co.nz, or tune in to news bulletins across the NZME network. Host: Damien VenutoProducer/Editor: Shaun D WilsonExecutive Producer: Ethan Sills See omnystudio.com/listener for privacy information.

Rugby, Rugby League and Cricket get a lot of mileage on the New Zealand TV screens. So we're bringing light to your favourite 'Other Sport'. From Darts to Boxing, we want to know what makes you change the channel off your favourite main stream sport.

Layne Beachley is the most successful female surfer in history. After taking up the sport professionally at 16, Layne went on to win an impressive 7 world titles. She was also part of the first group to tackle sexism in the sport, and is part of the documentary Girls Can't Surf. Girls Can't Surf is making its New Zealand TV premiere this coming week. Layne Beachley joined Francesca Rudkin. LISTEN ABOVE 

Kia Ora e te whānau. It's hot, eh? This week we've got another greatest hit for you. In fact, not that we really pay attention to the numbers, but we have our most popular episode on DCR ever, Number 83 with the legendary Scotty Stevenson. It was hot the night that we recorded the podcast. Scotty walked into Eugene's lounge dressed up to the nines in full TV makeup (having just left the tele to come do the pod) and proceeded to lay down one of the most engaging, honest, and entertaining hours that we ever recorded.Scotty StevensonA broadcaster and journalist best known for his rugby commentary and reporting which makes him automatically one of the most well-known New Zealand TV personalities. He's a sports journalist with TVNZ, and also works with Spark Sport and Radio Hauraki, commentating on cricket and the America's Cup. He's also a sports writer, has ghost-written and written a string of some of the best sports books, from Straight 8 about Kieran Read, to Kiwi Pair about Eric Murray and Hamish Bond. Scotty has been previously known by his childhood nickname “Sumo” as, by his own account he was the “fat kid in speedos” at surf lifesaving. But things have changed. If you were to Google Scotty Stevenson, the number one thing that pops up on auto-search is “Scotty Stevenson weight loss”. It's because Stevenson has changed. Markedly. He has noticeably shrunk. And for those who've been watching closely, he started running. He's kept very quiet about it, but goodness me, the man is well and truly hooked. Three years ago, he couldn't run 85m. In 2019, he ran 85km, no less, through backcountry New Zealand in the Old Ghost Ultra in just over 12 hours. For those who saw the TVNZ report he did on the event, you'll know that he found it an extremely emotional experience. We talked to Scotty about that race, his life leading up to running, what sparked his decision to lace up, and the myriad of changes that this has had on his life.Enjoy!Episode LinksScotty Stevenson on InstagramScotty Stevenson on TwitterDirt Church Radio on InstagramDirt Church Radio on TwitterDirt Church Radio on FacebookDirt Church Radio on PatreonCieleFurther Faster New ZealandUltraspire NZSpring Energy NZSCOTT Running

It's been a big week for New Zealand TV director Jessica Hobbs following her breakthrough Emmy win for her work on The Crown. The London-based filmmaker was born into the industry, having joined her mum, director Aileen O'Sullivan, on set for a role in local mini-series The Governor as a child. After becoming an assistant director on films like Dame Jane Campion's An Angel at My Table, Hobbs went on to Australia, where she directed shows like Heartbreak High and The Slap, which got her invited to the UK to work on Broadchurch. The rest, as they say, is history. Jessica's Calling Home this morning.

It's been a big week for New Zealand TV director Jessica Hobbs following her breakthrough Emmy win for her work on The Crown. The London-based filmmaker was born into the industry, having joined her mum, director Aileen O'Sullivan, on set for a role in local mini-series The Governor as a child. After becoming an assistant director on films like Dame Jane Campion's An Angel at My Table, Hobbs went on to Australia, where she directed shows like Heartbreak High and The Slap, which got her invited to the UK to work on Broadchurch. The rest, as they say, is history. Jessica's Calling Home this morning.

This week we remove our legs from the vulgar gaze of public and refuse to have a haircut as we pay tribute to the quite wonderful Michael Bentine's Potty Time! First there was the Goon Show, then The Bumblies, then It's A Square World and then, erm, Rentadick, but after that there was Michael Bentine's Potty Time which enchanted children and adults alike in the 1970s with Potty adaptations of classic works of literature and famous events from history. Guesting on the show this week are Andrew Trowbridge and Lisa Parker, hosts of the ever-popular retro television podcast Round The Archives, who joined Tyler (who's actually seen episodes of The Gnomes of Dulwich on New Zealand TV don't you know) with tales to tell of Potty Time and the semi-Peruvian polymath. Please follow on the Twitters @goonshowpod – Lisa and Andrew can be found @lisacartman and @Roundthearchiv1

This episode, I talk about the ups and downs of moving away from home before discussing the New Zealand TV drama, Rurangi - a show that grapples with the reality that sometimes you have to go home again. --- Send in a voice message: https://anchor.fm/baebaltimore/message Support this podcast: https://anchor.fm/baebaltimore/support

Award winning writer Greg McGee, best known for his play Foreskin's Lament, came to Going West in 2015 to talk on writing, rugby, toxic masculinity, female pseudonyms, life in Italy and his novel The Antipodeans - an intergenerational tale of love, blood and betrayal. For this conversation, he is joined by well-known and well-read journalist David Larsen. McGee, an almost All Black, is known for works that have challenged the social norms of masculine behaviours in New Zealand, most notably his hugely popular play Foreskin's Lament. First performed in 1981, his dark drama set in a rugby club changing room stripped New Zealand masculinity naked and began the demise of the once popular slur "Whaddarya?” McGee went on to be a successful screenwriter, writing based-on-true story dramatisations and mini-series based on the Erebus disaster and the infamous Lange Government, as well as contributing to several popular New Zealand TV shows including Marlin Bay, Street Legal, and Orange Roughies. He also penned the screenplay for Old Scores, a rugby-based feature film. As a novelist, McGee first wrote under the pseudonym Alix Bosco, winning the prestigious Ngaio Marsh Award for his debut, CUT & RUN. He also wrote All Blacks captain Richie McCaw's 2012 biography, one of the bestselling New Zealand books of the last decade

This weeks guest is a my cool friend Patrick Tafa. Who played "Falani" in the hit TV series "WESTSIDE". He speaks to us about his journey in the performing arts world and what it was like been part of a successful New Zealand TV show that went on for 6 years. You can watch every episode of WESTSIDE on neontv https://www.neontv.co.nz/series/westside

This weeks guest is a my cool friend Patrick Tafa. Who played "Falani" in the hit TV series "WESTSIDE". He speaks to us about his journey in the performing arts world and what it was like been part of a successful New Zealand TV show that went on for 6 years. You can watch every episode of WESTSIDE on neontv https://www.neontv.co.nz/series/westside

The Police Association has called for Race Relations Commissioner Meng Foon to retract his claim that "police are racist".Foon made the comment today during a radio interview in which he was discussing the future of the television show Police Ten 7.Speaking to Newstalk ZB's Mike Hosking, Foon said the show did "target more brown people than white people so therefore it is racist".Foon cited evidence that Māori and Pasifika were overwhelmingly more likely to be subject to force from the police, such as use of dogs and Tasers.Asked by Hosking if the statistics he cited reflected more on the actions of those being arrested, Foon held firm."The police are racist," he said.Foon also defended the TV show, saying Ten 7 was a "good programme" that helped communities to solve crime but argued that they need to "proportionalise the filming of brown people".Police Association president Chris Cahill said Foon's statement detracted from the increasing diversity of recruits graduating through the Royal New Zealand Police College whose very presence would influence the future of policing in Aotearoa."This blanket assertion from Mr Foon is nothing less than a body blow to the many hard-working police officers, including Māori, Pasifika, Asian, Indian, Pakistani and those from other diverse backgrounds who make up the New Zealand Police, but have now been lumped in one 'racist' basket."Foon said he has called Cahill and the pair have agreed to meet and discuss the matter."As Race Relations Commissioner I would have thought Mr Foon would use his position to promote an informed debate about the many issues which contribute to the over-representation of Māori in negative statistics across our society, including justice, education, health, family violence, drug use and mental health."Many societal and family failures for Māori are already well in play by the time they come to the attention of police."The association said Foon quoted statistics from Police's 2019 Tactical Options Report which showed Māori are more than seven times more likely than Pākehā to be subjected to force such as tasers, pepper spray and firearms.But Cahill said such data was out of context without the background behind the offending."That this country's Race Relations Commissioner would put the blame on police, and then double down on that, is a waste of an opportunity to consider all parts of this picture," Cahill said."It seems Foon, now on record with a sweeping claim about police being racist, has excluded himself from bringing the skills and knowledge of his position to any future work police may want to do on an issue it is committed to addressing."Foon's comment followed calls by Manukau Ward councillor Efeso Collins for TVNZ to scrap the show.Collins said to RNZ that the show feeds on stereotypes - particularly of young brown men being brutish."I think if you look across the world, the fact that the US has dropped shows like Cops, which are all these chewing gum TV shows, that do nothing but you chew on something, get some flavour out of them, and then you spit them out.""I think it's high time that a chewing gum show like Police Ten 7 was spat out of the New Zealand TV vernacular, because there's absolutely no need for it any more."

An Auckland councillor is calling on TVNZ to scrap the reality show Police Ten 7 over what he says are racist stereotypes.The show, which airs on Thursday nights, has run for 28 seasons. But Efeso Collins says it feeds on stereotypes - particularly of young brown men being brutish."I think if you look across the world, the fact that the US has dropped shows like Cops, which are all these chewing gum TV shows, that do nothing but you chew on something, get some flavour out of them, and then you spit them out."I think it's high time that a chewing gum show like Police Ten 7 was spat out of the New Zealand TV vernacular, because there's absolutely no need for it any more."Collins tweeted that a recent ad for the show was edited to prominently show "young brown people".He directed his criticism at TVNZ, saying: "This stuff ... feeds on racial stereotypes, and it's time you acted as responsible broadcaster and cut it."The US show Cops, easily recognisable for its opening "Bad Boy's" tune, epitomised what became a wider police ride-along television genre. It has been criticised for "media collusion" in telling one-sided stories in favour of the police perspective, and invading people's privacy in deeply personal moments of crisis.Spinoff parents editor Emily Writes says the US show was' about "police aggression, toxic masculinity disguised as service, and the removal of dignity of people facing some of the worst moments of their lives."Cops was cancelled last year, and The Spinoff commentator called for the New Zealand show to also be canned, saying it builds television around vulnerable communities, and provides a privileged platform to police.In 2007 then-TVNZ boss Rick Ellis was slammed for including Police Ten 7 in a list of the station's programmes that included Māori representation], while speaking to the Māori Affairs Select Committee.At the time, Māori party co-leader Pita Sharples said Ellis' inclusion of the show in his list was "degrading".Recently, accusations of racial profiling have been levelled at the police after RNZ revealed a series of rangatahi who had done nothing wrong were photographed by officers.Police have now launched a long-term research project into unconscious racial bias, with criminal justice advocate Kim Workman, and Waikato University.TVNZ has been approached for comment.Text from RNZ

Happy new year, friends and foes! 2020 has been dragged kicking and screaming into the future, and rebranded itself with a fun new name. Yes, we're talking about the recent events in Washington, D.C., and what it might portend for the future. Plus, Nick's show Good Grief debuted on New Zealand TV, and we talk through how it went. This episode's mistakes include: Our densest Science News ever. A little bit of crinkling in the audio at the end, not sure why. Tonight's lotto numbers are 4, 8, 15, 16, 23, and 42. Egregious factual inaccuracies. Take a selfie with a cop, then like us on Facebook, follow us on Twitter and Instagram, find our tunes on SoundCloud, rate us on Apple Podcasts, and send your questions to deepfought@gmail.com.

New Zealander Chris Liddell  kept a low profile during his time on Trump's team in the White House over the past four years. But last weekend TVNZ aired an hour-long chat with the man who's now seeking support to lead the OECD. It was the longest interview with a political figure on New Zealand TV for years. How did it go?  

New Zealander Chris Liddell  kept a low profile during his time on Trump’s team in the White House over the past four years. But last weekend TVNZ aired an hour-long chat with the man who’s now seeking support to lead the OECD. It was the longest interview with a political figure on New Zealand TV for years. How did it go?  

Lisa Taouma is a Samoan New Zealand writer, film and television director, and producer.   Taouma began writing for the screen in 1996, for Tala Pasifika, specifically the episodes Brown Sugar and Talk of the Town.] She began working on Tagata Pasifika as a reporter and senior director. In 2014 she launched Polynesian online community Coconet.and produces a number of programmes for television including the popular 'Fresh TV' for TVNZ.  In 2018 she made the award winning documentary 'Marks of Mana' winning best documentary at the ImagineNative festival in Toronto 2018, Best Cinematography at DocEdge Festival in Aotearoa 2019.  And this year Lisa Taouma can add the Best Pasifika Programme which Marks of Mana won at the New Zealand TV Awards held in Auckland earlier this week.   See omnystudio.com/listener for privacy information.

Award winning writer Greg McGee, best known for his play Foreskin's Lament, came to Going West in 2015 to talk on writing, rugby, toxic masculinity, female pseudonyms, life in Italy and his novel The Antipodeans - an intergenerational tale of love, blood and betrayal.  For this conversation, he is joined by well-known and well-read journalist David Larsen. McGee, an almost All Black, is known for works that have challenged the social norms of masculine behaviours in New Zealand, most notably his hugely  popular play Foreskin's Lament. First performed in 1981, his dark drama set in a rugby club changing room stripped New Zealand masculinity naked and began the demise of the once popular slur "Whaddarya?” McGee went on to be a successful screenwriter, writing based-on-true story dramatisations and mini-series based on the Erebus disaster and the infamous Lange Government, as well as contributing to several popular New Zealand TV shows including Marlin Bay, Street Legal, and Orange Roughies. He also penned the screenplay for Old Scores, a rugby-based feature film. As a novelist, McGee first wrote under the pseudonym Alix Bosco, winning the prestigious Ngaio Marsh Award for his debut, CUT & RUN. He also wrote All Blacks captain Richie McCaw's 2012 biography, one of the bestselling New Zealand books of the last decade

Plague bearers from the UK have landed in New Zealand and the country is pissed about it. What do Guy and Harley think!? Guy bought a small dildo once and Harley has a problem with that. Harley has a suggestion for the future of handshakes and he also had an audition for a big New Zealand TV show. Guy reads some mean reviews of his first feature film 'I Survived A Zombie Holocaust' courtesy of Letterboxd and we've upgraded our gear (thanks to our listener support) so Harley looks HD as f*ck on the livestream! All this and so much more, in New Zealand's finest hour of broadcasting. Make a one-off donation to the show: http://bit.ly/BuyUsACoffee Support us on Patreon: http://bit.ly/PigvillePatreon This podcast is on Spotify: http://bit.ly/GuyHarleyPodcastSpotify Follow us on Facebook: http://bit.ly/GuyandHarleyFB ~ Guy & Harley

Fitz cleaned out his car for once and found a 3-month-old milkshake and some ancient fruit roll-ups. Seattle makes National News with the Capitol Hill Autonomous Zone but Fitz’s parents are worried the whole city is under siege. In the What Are You Kidding Me stories, studies show men go a little insane when they go bald, a high school holding graduation outside had the sprinklers come on, and a New Zealand TV spot teaches parents to responsibly explain porn to kids. Ryder’s new Joker face mask is freaking people out. In the Hourly Bulletin, Seattle’s Mayor and Washington’s Governor are in a Twitter beef with POTUS over the CHAZ, a man who threatened to shoot Seattle Police faces federal charges and the West Seattle Bridge Committee is considering options to replace the bridge including a tunnel. In the Fitz Files, Ryan Seacrest will go back to New York for “Live with Kelly”, Garth Brooks is hosting an event at 300 Drive-In Theatres, “Empire” Magazine names Indiana Jones the greatest movie hero and “Goonies 2” has a very determined writer. In the Good Stuff, a couple whose newly adopted cat “Cheese” went up a tree with a massive storm on the way live-streamed his rescue by a tree-cutter. On Make Up or Break Up Alexa from Shelton is upset boyfriend Ryan spent their cancelled vacation money to jack up his truck. We have all been seeking sources of Joy in the past months and a new poll says the #1 way is Family Dinners. Playlist Profiling is Angie from Puyallup. Green Beret Bob calls to make sure everything is OK with Fitz and his family because of the news showing the city “under siege” but it becomes clear his real concern is whether Dino’s Bar in Renton is open yet.

Winner of “Comedian of the Decade” at the 2010 NZ Comedy Awards, Michèle A'Court is a stand-up comedian and writer.Michèle has been on New Zealand TV screens since 1987 and still turns up all over the place. She writes a weekly column on social issues for “Your Weekend” and the stuff.co.nz website and is also in demand as a social commentator on television and radio. Michèle also works as a corporate MC and entertainer, an actor, voice artist and freelance feature writer.Apologies for the abrupt ending, we had a technical difficulty that caused a drop out...still enjoy about 45 minutes with Michelewww.theDOC.nzwww.patreon.com/theDOCNZwww.twitter.com/patbrittenden- Like - Share - Subscribe -

Sarah McMullan looks at the spate of new dating shows hitting New Zealand TV screens, including the three week experiment "Love is Blind". She'll also talk about the fascination with cheerleading, with shows "Cheer" and "Dare Me".

Scotty Stevenson is a broadcaster and journalist best known for his rugby commentary and reporting which makes him automatically one of the most well-known New Zealand TV personalities. He’s a sports journalist with TVNZ, and also works with Spark Sport and Radio Hauraki. He’s also a sports writer, has ghost-written and written a string of some of the best sports books, from Straight 8 about Kieran Read, to Kiwi Pair about Eric Murray and Hamish Bond. Scotty has been previously known by his childhood nickname “Sumo” as, by his own account he was the “fat kid in speedos” at surf lifesaving. But things have changed. If you were to Google Scotty Stevenson, the number one thing that pops up on auto-search is “Scotty Stevenson weight loss”. It’s because Stevenson has changed. Markedly. He has noticeably shrunk. And for those who’ve been watching closely, he started running. He’s kept very quiet about it, but goodness me, the man is well and truly hooked. Two years ago, he couldn’t run 85m. A couple of weeks ago, he ran 85km, no less, through backcountry New Zealand in the Old Ghost Ultra in just over 12 hours. For those who saw the TVNZ report he did on the event, you’ll know that he found it an extremely emotional experience. We talked to Scotty about that race, his life leading up to running, what sparked his decision to lace up, and the myriad of changes that this has had on his life. Honest, engaging, and unalloyed, this is a fantastic conversation with a broadcasting legend that we are so thrilled to bring you.. Enjoy!

It’s a very special episode as the incredible Karina Dixon is in town from New Zealand to join Rory as they TELL ALL about their time as superstars in the New York City Japanese Karaoke scene! Karina catches Rory watching Murder, She Wrote on her Netflix and then goes to a bar and takes a relax in a booth reserved for someone else. Plus, Rory has to defend himself against Karina’s weird dreams, taking advantage of the night, and the importance of song selection. Don’t forget to subscribe to the show and follow us at @superexcitedpod Follow Rory at @itsRORYjames

The hit New Zealand TV series FRESH EGGS! In which our heroes, Cal and M.D., talk to co-creator and writer of FRESH EGGS, Nick Ward about his series which is currently running on New Zealand television! Plus amazing stories about the series' co-star JOHN RHYS-DAVIES (the best digger in Cairo!). We also talk about his short films, FIRST CONTACT and DAS TUB and his development deal with HBO. This Week From the Cave of Cool goes down under! --- Send in a voice message: https://anchor.fm/balloonjuice/message

The hit New Zealand TV series FRESH EGGS! In which our heroes, Cal and M.D., talk to co-creator and writer of FRESH EGGS, Nick Ward about his series which is currently running on New Zealand television! Plus amazing stories about the series' co-star JOHN RHYS-DAVIES (the best digger in Cairo!). We also talk about his short films, FIRST CONTACT and DAS TUB and his development deal with HBO. This Week From the Cave of Cool goes down under!

One of the sweethearts of New Zealand TV, Catherine took a break to focus on family. An inspiration to young women everywhere. The banter is strong with this one.     Proudly proudly brought to you by: Photogear https://photogear.co.nz Wakachangi Beer https://wakachangi.com

On the final podcast for the year, Jerry's in studio Bedford bar is back making cocktails throughout the show, we find out who do you think the most iconic duos of New Zealand TV are and the great Paul McCartney joins the show and is put through the Thank You For Your Honesty questions. 

On the final podcast for the year, Jerry's in studio Bedford bar is back making cocktails throughout the show, we find out who do you think the most iconic duos of New Zealand TV are and the great Paul McCartney joins the show and is put through the Thank You For Your Honesty questions. 

Heard the one about the Aussie comedian, the Tongan teenager and the New Zealand TV channel?  No-one's laughing now after Maori TV's top brass stepped in to dump a controversial comedy after one episode. 

Heard the one about the Aussie comedian, the Tongan teenager and the New Zealand TV channel?  No-one's laughing now after Maori TV's top brass stepped in to dump a controversial comedy after one episode. 

Wellness Guy Damian Kristof on life, love, profession and his epic life journey from poverty to New Zealand TV icon and successful owner of Forage an epic breakfast food company as well as his life as a chiropractor.  The Up for A Chatters begin by declaring their undying love for this amazing man and ends Listen In The post UC 235: Wellness Guy Damian Kristof appeared first on The Wellness Couch.

Survivor New Zealand is officially here and Nick, Perez & Ben are back to take you through the first two very entertaining episodes of season 1! Through Ben getting used to the 'accint' early on, Perez labeling one player 'stupid' and Nick getting angry at both of them for a certain opinion, there is a lot to cover over the course of two fun filled hours! There is even some high praise for our new favourite host of Survivor, as well as comparing idols to New Zealand TV characters. With that thought now in your head, it's only best you listen to the episode to get some audio in your head too!★ Support this podcast on Patreon ★

Ireland finally beat New Zealand in 2016. With brilliant commentary from New Zealand TV and previous heartbreak from RTE Radio one and idiotic predictions from Second Captains. Music: Wisdom from Brian Jonestown Massacre https://itunes.apple.com/ie/album/tepid-peppermint-wonderland/id1056856909 And Wasting My Young Years by London Grammar https://itunes.apple.com/ie/album/if-you-wait-deluxe-version/id675018027

Rich is the leading rugby journalist In Japan. He is also involved with New Zealand TV and his writing can be found rugbynewsjapan.com See acast.com/privacy for privacy and opt-out information.

This week we welcome to the show Damian Kristof. He has a wealth of experience with 20 years in the health industry. He’s a nutritionist, naturopath, and a chiropractor. He’s also a highly sought-after presenter and speaker in the wellness industry. On top of that, he has two successful podcast; The Wellness Guys & 100 Not Out. We had a lot of fun delving into topics from his time in the blue zone (the island of Ikaria), to the chemical – physical – emotional components of stress, to his views on nutrition. Enjoy… Questions we ask in this episode: What are the philosophies behind chiropractic health, and should everyone have a checkup? Stress. You talk about the emotional – chemical – physical components. Please explain. What are your stress reduction strategies (For emotional – chemical – physical)? You talk about nutritional care not ‘scare’. Please explain. Ikaria – the island where people forget to die. What would be the top 5 things you learned from them? What are your non-negotiable practices? Full Transcript & Video Version Here: http://180nutrition.com.au/180-tv/damian-kristof-interview/ Hi. This is Guy Lawrence of 180 Nutrition. Welcome to another episode of The Health Sessions, where we cut through the confusion by connecting with leading global health and wellness experts to share the best and the latest science and thinking, empowering people to turn their health and lives around. We are doing it this week with the super fantastic Mr. Damian Kristof. I have to say, this was a killer of an episode. If you’re unfamiliar with Damian, he has a wealth of experience. He’s been working in the health industry for over 20 years. He’s a nutritionist, naturopath, and a chiropractor. He’s also a highly sought-after presenter and speaker in the wellness industry. I’ve seen him personally speak myself, and I thought he was amazing. His in-depth knowledge of the body, nervous system, food functions, and responses, it’s all in there and it’s all in today’s episode. [00:01:00] We hit him up with all sorts of stuff, from chiropractic therapy, the importance of it, it’s had a bit of bad wrap lately in the press and stuff. We’re just interested in getting his take on it, and the whole spinal adjustment, stress. What else do we go into? We go into nutritional stuff, from what he calls we should be looking at nutritional care, not nutritional scare, which I love the whole concept as well. His recent trip to, forgive me if I can’t pronounce this correctly, Icaria, sorry, Damian, in Greece, where it’s a blue zone, where people are living the longest on Earth. He spent 10 days there, and what he learned from that experience, too. [00:02:00] Sit back. This is going to be awesome conversation that we just had with him. I also want to give out a shout out to Alita T., who’s just left a review on our iTunes page. She says, “Just loving Guy’s podcasts, our guests’ interview style, wealth of knowledge, and passion for wellness. Oh, and the theme music.” That’s cool as well. That theme music took me ages to put together 4 years ago. Still going strong. “100 out of 10, Guy’s. Brilliant. Can’t think you enough.” I can’t think you enough either for a review like that. That’s really appreciated. As you always hear me say, these reviews help us get rank in iTunes and internationally, as well. Also by subscribing to your iTunes channel and 5 star rating. If you could just do one of them things if you remember, during our busy days, it just helps other people find these podcasts, too. Anyway, let’s go over to Mr. Damian Kristof. Enjoy. Hi, this is Guy Lawrence. I’m joined by Stuart Cook, as always. Hi, Stu. Stu: Hello mate. Guy: Welcome, mate. Our awesome guest today is Mr. Damian Kristof. Damian, welcome to the show. Damian: Hey, Stu. Great to be here. Thanks for having me. Guy: [00:03:00] No worries, mate. It’s been a long time coming. I’m very excited to have you on. I’ve been doing my homework the last couple of days. I thought, “Boy, this boy has got a lot of strings in his bow.” You are a man of many talents, mate, and I’m looking forward to unearthing them today over the next 45 minutes or an hour, something like that. Damian: There’s a bit to talk about, isn’t there? I saw your list of questions. I was like, “Wow, far out. There’s heaps there.” I’m happy with that. That’s great. I’m really looking forward to sharing with you guys. It has been a long time, but I’ve watched from afar what you guys have been up to, and I love it. Obviously, we’re traveling very similar paths, so this is potentially going to be great for everybody. Guy: Yeah. I’ve always been kicking off the show lately, mate, with, if you were stopped by a complete stranger on the street, and they asked you what you did for a living, what would you say? Damian: [00:04:00] On a Facebook stalker. That’s what I do for a living. Apart from that, I spend my whole life helping people do a better job with their health. That’s my modus operandi. I’m motivated by seeing people do a better job with their health. Obviously, I run Forage, which is my music company. I’m a chiropractor. I’m one of the wellness guys, so I’m with the podcast network The Wellness Catch. I speak around Australia non-stop on food and nutrition, lifestyle, stress, and all of the above. Guy: Yeah, right. I actually found out last night, mate, and I had no idea about this, but you were actually a bit of a New Zealand TV celebrity at one stage, as well. Is that the case? Damian: [00:05:00] Those were the days. That’s when I had hair. That was amazing. That was good fun, actually. I filmed a TV show while I was over in New Zealand that highlighted healthy living, and what people would call today paleo were the principles that I shared with people back then. Before paleo word was trendy, I was just sharing with people, “This is how you do good health.” That got a brand name. Now it’s called paleo. The TV show was called Downsize Me. For three and a bit years, we helped over 50 people lose more than 3 tons of weight. Guy: Wow. That’s incredible. Just for our listeners as well, we always like to get a bit of background and a little bit of depth to whoever we bring on the show. Where are you from originally, and what led you into this whole world of health? You’re an extremely qualified guy, with all these different qualifications. There’s got to be a sheer passion there to go out and actually study and get all that, because it’s bloody hard work doing all that. Can you fill us in a bit? Damian: [00:06:00] Yeah. I grew up in very humble beginnings. I grew up in a really poor neighborhood in a suburb in Melbourne called Dandenong. Dandenong is a really low socioeconomic area. At that time, we were 33 Ks from the city. We didn’t know that many other suburbs were in between, because we just didn’t travel. We used to have bread delivered to our house in a garbage bag by the St. Vincent de Paul. They would bring it to us, and we’d scrummage. We’d go to the bottom of the bag and see whether or not we could find ourselves a cheese roll, or a cheese and bacon roll. Even if it was 2 or 3 days, we’d whack it into a microwave, and that would make it fresh. That was my nutritional starting. That’s where it began.

Fetish or sport? That’s what New Zealand TV journalist David Farrier wondered when he came across online videos of athletic young men in sports uniforms being tickled. The videos were billed as “Competitive Endurance Tickling.” Farrier reached out to the American video producer Jane O’Brien Media for an interview. They replied with a stream of […] The post PN 12: Talking “Tickled” with David Farrier & Dylan Reeve appeared first on Pure Nonfiction.

Today we're joined by New Zealand TV personality and fashion blogger Caro Taylor and chat about her fashion blog, Fashionista Fail and her mission to see the world by not buying clothes for a year. For Caro’s website details, social channels, photos and more visit: www.hotndelicious.wordpress.com