Podcasts about Nora Ephron

Have you ever lost the joy in your creative work — that sense of fun you had when you were starting out, before the admin and the algorithms drained it away? How do mid-career creatives get it back, and what can a four-year-old teach us about play? Austin Kleon talks about productive procrastination, silly rituals, the case for paper reference books in an AI world, and how his newsletter went from a marketing cost to the day job that keeps the lights on. In the intro, Does social media still sell books? [Self-Publishing with ALLi]; Trial by algorithm [The Bookseller]; Publishing's AI Hypocrisy Problem [The New Publishing Standard]; ALLi AI survey for authors; Brave New Bookshelf Podcast, and Pics from signing at BookVault. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why Austin wrote Don't Call It Art now, and what his kids taught him about creative joy Productive procrastination, silly rituals, and treating writing like Lego Comedy as a philosophical position, and giving yourself permission to be bad in private Sharing process in the algorithm era, and why your whole life is the process Bibliomancy, paper reference books, and what AI can't give you that a dictionary can Style, the Taco Bell distinctiveness rule, and how Austin's newsletter became his day job You can find Austin at AustinKleon.com. Transcript of the interview with Austin Kleon Jo: Austin Kleon is the New York Times and international bestselling author of nonfiction books, including Steal Like an Artist, Show Your Work!, and Keep Going, as well as an artist, professional speaker, and poet. His latest book is Don't Call It Art: 10 Ways to Create Like a Kid Again. So welcome back to the show, Austin. Austin: Thank you for having me back. It's nice to talk to you again. Jo: You were on the show in March 2020, and at the time, your book was Keep Going, which was prescient considering the pandemic and politics. So I wondered, why this book, Don't Call It Art, now? Was this something you see in the creative community or your own life that made you want to write this book? Austin: Keep Going is a book about what happens when the world goes crazy around you and you're still trying to do your creative work. This is a book about what happens when inside has bottomed out. Keep Going is a book about the world bottoming out, and you're worried that your own creative work is going to bottom out too. How do you keep pushing through and keep making stuff? This book, to me, is about what happens when you bottom out inside—when you've lost that love and feeling for the thing that you wanted to do, and you're just not connecting with it in the way that you used to or the way that you want to. How do you get back? How do you return to that sense of joy and wonder and fun that we have when we're starting out? And for me, it was being around my little kids that taught me how to tap into that. My kids were natural—they didn't have any creative hangups. I would spend all day talking to people who had creative hangups, and then I'd get back in the house, and I'd just be around these beings who didn't have any of them. It was really instructive. I felt like, if I could bottle the energy of my kids when they were about four years old and try to put it in a book, I think it could really help a lot of the people that I run into, and the people with the kinds of problems I hear from. Jo: You mentioned bottoming out. How do people know when they've hit that point? Austin: You just don't want to do it anymore. You're kind of like, “This just isn't giving me back what it used to.” When we start with our creative work, that's the thing that juices us. We come away from it feeling full up. I think you hit a certain point where you start to feel drained after it. Or maybe you don't feel drained by the thing itself that you're doing—maybe it's all the stuff around it, which is more often the case. For example, if you're a mid-career writer like me, who's been publishing books for 16 years now, I still really like writing. I still really like drawing. I still really like cutting and pasting and putting things together. It's the admin around the work—the emails, the meetings, the running-a-business part of it—that's super draining for me, and that stuff can start to bleed over into the creative work. So it's really important for me to make sure that I'm having some playtime, some R&D, some research and development time, to make sure it's not just all business. When you take the thing that you love and you turn it into the thing that you make a living from, you can really run into a lot of problems. Jo: I'm at 20 years, so I know exactly what you're saying, and a lot of listeners are the same. We love writing books, but it's all the stuff that goes around it. So for those of us who do this for money as well as passion, what are some practical ways to have more fun with our creativity? Austin: Something I learned from my kids is that you really are your most creative when you're supposed to be doing something else. So one of the things I use a lot in the studio is productive procrastination. Whatever I'm supposed to be working on, I start another little project, and that's my little naughty fun time. When I first come into the studio, I try to do something that I'm not supposed to be doing—something that I won't have much to show for. That could be making one of my blackout poems. That could be making a collage in my notebook. It could also be sitting here. I have a bass in the studio now, so I can practise my bass guitar. Sometimes I'll do that for the first 15 minutes just to get in that headspace of, “Hey, what's it like to do something just for yourself? Just because you want to do it?” The juice that you get from that little naughty “I'm going to do what I'm not supposed to be doing right now” thing, that carries into the rest of the day. It's like a nice start to things. Jo: Do you think that play could be something different to what we make our money with? For me, writing novels and stories is great fun in one way, but it's also what I then publish and make money on. So writing stories is more serious, I guess, than playing with Lego or something. Austin: Right. So the trick is, how can you make writing your stories like playing with Lego? That's kind of been my whole career. I hate staring at Microsoft Word and that blinking cursor, taunting you like, “Come on, what have you got?” A lot of my creative life has been about trying to make it more playful, trying to make it feel more like a game. That's how I came up with my blackout poems. I take an article from The New York Times and I black it out until it only has a few words left behind. It sort of looks like if the CIA did haiku, for some people listening. That was one little exercise. Then weirdly, that side thing that I thought was just play, just fun—that turned into my first book. So then it's, okay, what else can I mess around with and play with? I do a lot of collage work in the studio, and I rarely actually use that for any of the books. Sometimes I use it for my newsletter to illustrate the newsletter. But it's always about trying to figure out, how can I make writing a game? How can I make it more playful? There are different things that I do to make it feel more playful. One of them's really stupid. I really believe in silly rituals because I think silliness is really powerful. People talk about their daily rituals—Mason Currey has that great book, Daily Rituals: How Artists Work. When I was reading that book, I realised it was really the silly stuff that I really liked. There was, I think it was Balzac counting out coffee beans or something before he got to write. Or Steinbeck sharpening 12 pencils or something goofy like that. So one of the things I like to do before I write is that I have these cigarette pencils. They're pencils that look like cigarettes in the studio. I put one in my mouth before I start writing, and I pretend to be some old '40s writer on a typewriter. I like doing goofy stuff in the studio because I think when you do goofy stuff—stuff that you'd be embarrassed if anyone else saw it—it gets you in that playful state. Jo: It's interesting. In your book, you have a section that says, “Don't take things too seriously.” For many of us, we write memoir for example, and that is very close to us. It's like the deepest expression of what we want to say in the world. It feels very serious. So how can we hold things more lightly and not take things so seriously? Austin: For me, comedy is actually a philosophical position. What I mean by that is, I think a lot of people set out with a tragic model of creative work. They think, “Oh, I have this special gift,” or, “I have this thing that I really need to do, and I need to put it out into the world, and I need to make the world look more like I want it to look.” They have this idea that, “Through blood and sweat and tears, I'm going to see this thing through, and I'm going to push it into the world, and I'm going to have my way.” I think there's another way of working where it's more like, “I'm just a normal person trying to play with my environment, and take my experiences and put them into something interesting. So I'm going to play and use my wits, and we're going to see what we come up with.” Those really are two modes of life. The pandemic taught me that it was really when we were keeping our sense of humour, when we were having a laugh and keeping our egos in check around the house and just acknowledging how goofy we all were and how ridiculous the situation was, that seemed to be when we were really thriving. Versus, “Well, we're in this tough situation. We've got to make it into what we want it to be.” That felt really bad. But when we cruised along and we were just improvisational, when we went at things with a kind of lightness, that worked. There's a great Italo Calvino essay about lightness in Six Memos for the Next Millennium. Lightness is really underrated. Even when we're going about heavy work, having a sense of lightness and play with it just makes the work better. That's a philosophical position of mine. I aspire to comedy. I aspire to a comic outlook on life. I'm just a creature with a body who's going to die, and I'm fundamentally ridiculous. Life is pretty absurd. You just make the best of it. Jo: There's certainly some truth there. Staying on a similar theme, you have a chapter in the book on permission to be bad. Many of the listeners also have your book Show Your Work, and it shaped many of us into sharing our work in progress. It feels quite dangerous now, in a world where judgment is much louder than it maybe was when you wrote Show Your Work. So tell us a bit about permission to be bad versus should we keep some of this private? Austin: Permission to be bad is about the making part of things. It's the private part. It's permission to be bad when you're in private, when you're actually doing the work. Show Your Work is a book about what you do after you've done the work, or while you're doing the work. It was never about putting up a webcam and running a 24/7 feed. It was more like, hey, what are the ways that I can connect with the kind of audience I can build while I'm making the work itself? So the way I see permission to be bad is, you really have to give yourself permission when you're not sharing, when you're off screen, to really be as bad as you want to be. It doesn't necessarily mean quality-wise. I think it also means letting yourself write stuff that you would never say on social media. Letting yourself read stuff that you wouldn't admit you were reading on social media. Letting yourself listen to stuff. Letting yourself really be that unfiltered, unhinged, private person that you want to be. Then when it comes to sharing, you put some time in between that input time, that making time, and the sharing time, and then you share what you think is going to be useful or helpful or interesting to other people. Jo: I think you wrote that book before TikTok, and how fast people are moving. Do you think people need to slow down a bit in what they share, maybe? Austin: I don't know. I obviously had a lot more faith in social media back then. I use all the principles from Show Your Work in my newsletter. Newsletters are very much the new kind of great thing. They're doing a lot of the work that social media used to do, in that you're still able to have this direct connection with the people that you're trying to reach. The big problem with social media now is that it's all algorithmically tuned, where the people that are following you don't see the stuff that you're doing most of the time. What you have to do now, if you want the people who are following you to see your stuff on social media, is you have to make stuff that the algorithm likes. That's a whole different thing. As far as the Show Your Work principle—which is share your process as much as your product—that carries over to any platform. In my newsletter every Friday, I share a list of 10 things that were going on behind the scenes here. It might have been what I was watching on TV, what I listened to, a new pen I was trying out, or something like that. The Friday newsletter is almost always process stuff. When I talk about process, my definition is actually very broad. For a lot of people, it's drafting, editing, whatever. For me, the process is the whole life. The process is almost everything except the finished thing. A writer's life is 24/7. My friends who have real jobs really are like, “What do you do all day?” And I'm like, “Well, what do you mean?” They're like, “Well, I see you out on your bike ride.” I'm like, “Yes, when you see me out on a bike ride, I'm thinking through something half the time.” If I'm watching TV, I'm thinking, “Hey, would this be good in the newsletter?” I'm never off. My whole life—everything is copy, as Nora Ephron said. That's part of the job. It's very hard to turn off. So I see the whole life as process, and the question becomes, what little bits and pieces of that life and that process can you share with people while you're making the things that you hope to sell them later? Right now, I'm in a cycle where I'm selling this book, but all these people have showed up because I've shared my process every week for the past seven years since I put out a book. Jo: It's funny you say that. I was at the dentist yesterday, and— My dentist literally asked me, “So where do you get all your ideas?” This is a common question for all of us, right? And it just becomes so hard to explain that to people who don't walk around in the world just constantly getting ideas. Austin: I can't believe I'm going to tell this story. I was getting my vasectomy after my second kid, and I was talking to this doctor just before the operation. He said, “So what do you do for a living?” I said, “I'm a writer.” He said, “Oh, that must be cool. You get to use your brain.” And I said, “That's everything that you want your doctor to say.” I was going to say, “Please use your brain,” before he's about to cut into you. He said, “Oh, no, no. What I mean is, I know what I'm going to do every day for the next 10 years.” He knew exactly what his day was going to look like. He said, “You have to use your brain. You've got to figure out new stuff.” I was like, “Oh, that's really interesting.” That's the trade-off, right? He's got the job security. He knows what he's going to do. Every writer has a moment where they have to talk to a normal person about what you do. Jo: I was going to say, I'm married to one. Austin: Now, my wife, on the other hand, grew up the daughter of a writer, so she knows exactly what it's like. Nothing ever phases her. She's totally used to it. She's used to me staring off into space, completely checking out of a conversation. She's used to me using lines on her that I'm going to put in a piece later. She's used to the whole rigmarole. It's very handy. I've been very lucky in that sense. Jo: Coming back to the book, you talk about your use of bibliomancy for inspiration. Since we're talking about that, tell us about it. I think all the book people listening will be happy. Austin: I'm a person who still keeps a dictionary nearby—a paper dictionary. I keep a big old American Heritage. It's just a big, thick book. When I really don't have any ideas, I will turn at random to the dictionary, close my eyes, stick my finger down the page, open my eyes, and just see what I come up with. Sometimes just that act will give me an idea. I also do that with books. I'll go around the studio, pick up a book, flip to a random page, and just see what it says there, or read an old piece of marginalia that I've left in a book. I believe deeply in the power of bibliomancy, and I think it's a case for paper books. I'm one of those people that still really believes in reference books. I've started collecting more and more of them. I have an old, big dictionary that's always open on my desk, and I look up words. I learned from John McPhee, the writer, that you should look up words that you think you know. That was the first time I'd ever heard anyone say that. So I look up words that I think I know. Instead of reaching for a thesaurus when I need a different word, I actually just look up the definition of the word that I already have. That's another McPhee tip. The other thing that happened that I thought was really interesting is, I got a Roget's for the first time—a thesaurus. I don't think most people know what an actual thesaurus is. Most people think of a thesaurus as a synonym finder, and that's not actually what a thesaurus is at all. A thesaurus is more like an encyclopaedia, weirdly. You look up things based on big concepts, and then it gives you a bunch of words to look up later. It's a very strange thing. It's not what most people think it is. I have a couple of editions of Roget's in here. I like the really old Roget's from the 1900s because they actually have opposing ideas facing each other on the page. Do you have an old-school Roget's? Have you ever looked through one? Jo: I don't have one now, but I certainly grew up with them. I was literally just thinking, I wonder if there are ones for Americans and ones for British people, because so often we say different things and mean different things. I always hear Americans say, “Oh, that's a doozy,” or something, and it means the complete opposite thing here. Austin: Like if you say “fanny pack” over there. That means something very different than it means here, right? Chips or fries, that kind of stuff. So I wonder if there are different ones for different cultural references. Jo: I don't know. Austin: As people, with ChatGPT and all these LLMs and stuff, people are like, “Why would you ever pick up a paper reference book?” And I'm like, “I actually like the friction.” I like having to move in space and go over to my dictionary. I like flipping the pages. I like having to scan a page for the word I'm looking for, because— This marvellous thing happens when you're looking for the word, where you bump into all these other words. If you're a word nerd, you get to start thinking about the root of the word—oh, why is this word next to this word? Well, it's because they share the same root. Then you're going down all these fun rabbit holes. The thing that I'm trying to do as a writer and a creative person is, I'm trying to get to the thing that I didn't know I was looking for. The thing that people misunderstand about AI, I think personally, is that it's a great tool if you know what you're looking for. If you're like, “Find me this thing. I want exactly this. I want to see a picture of a dog wearing a king's costume,” or some crap like that, then it can spit that picture out for you. Or, “I want to know what happened on this day,” and whatever. It can do that. But that's not actually what I'm doing most of the time when I'm writing or making something. I start with an idea, but what really happens—the magic of writing and the magic of making stuff in general—is when you discover something that you didn't even know you were headed for. That's the real magic for me. Sometimes I have an idea and I want to articulate it for people, but more often than not, there's something that bothers me or something that I want to talk about, and I sit down and write, and I figure out what it is that I actually have to say and what I actually think. Every writer really knows this, and that's why the dictionary, stuff like that, those are ways of training you to get in that discovery mode. “Well, let me—oh, I bumped into this. I went looking for this one thing and then I ran into this other thing.” That's why I love the library. I don't know what system you use over there, but you look for one book in the Dewey Decimal System over here, and then, okay, here's all these other weird books next to it. Then you end up with three other books other than the one that you were looking for. That's the magic. To me, that's the magic of creative work, discovering what you didn't know you were looking for. That was particularly important for me when I was writing this book because we discovered that my wife has a condition called aphantasia. It's very rare in the population, about 2 to 3% of people. There's probably some people listening to this right now who are like, “What is this? Tell me.” Jo: Aphantasia actually more common in the creative industries. Austin: Yes. What it is, is that you don't see—when I say close your eyes and picture an apple, you don't actually see the apple in your head. You can think about an apple and the qualities of an apple, but you don't actually see it. Some people, and it's a matter of degree—some people like me, I can close my eyes, I can tell you what the apple looks like, I can tell you what colour it is, I can tell you where the shading is. Someone like my wife doesn't see the apple. She can tell you what an apple is. It's really interesting because she has a degree in architecture, which is known as a very visual field. But the thing you discover about aphantasia is, it doesn't keep people from becoming artists. In fact, it's the opposite. Someone like Ed Catmull, who co-founded Pixar, writes about it in his book, and so many of the great animators at Pixar are actually aphantasics. The reason is that they learned that they had to draw in order to see things. When you don't have a picture in your head of what you want something to look like, things appear in the drawing, and you find things that you couldn't even picture. A lot of writers actually are aphantasics. John Green discovered recently that he has aphantasia. It turns out that it's a superpower for writers, because if you don't have a picture in your head, then you don't have to translate that picture into words. A lot of writers talk about thinking in radio, like they have a constant narrator. My wife—she's probably going to kill me for talking about her this much—when she describes it to me, she's like, “Oh, it's like a radio in my head. I'm constantly hearing a voice, and it's a narrator.” I was like, “Holy shit, that would be really helpful to me.” I don't have anything like that in my head. I read Mrs Dalloway for the first time, and I gave it to her and I said, “You've got to read this book. I think this must be what it's like in your head.” And she said, “Oh my God, it is.” Part of the thing that I took away from that experience—this is a long-winded way of getting here—is that I take a lot of inspiration from people with this condition. Most of the people I know in the arts or the creative fields, they set out with this grand vision, and then they start working on the thing and it's nothing like what they had in their head, and they get really depressed: “This isn't what I had in mind.” Whereas if you set out without a picture in your head, and you just start manipulating things and you see what appears, that's more of the comic mode I was talking about earlier. What would happen if we just sat down with our materials and we started playing and we saw what appeared on the page? What if we started typing and saw what appeared, and then we played with that? That's the kind of joy. That's more like how kids operate. Kids are better at that. They're better at reacting to what's actually in front of them, instead of having these grandiose visions about what they're trying to achieve. Jo: Just coming back on the longevity of a creative career. Your books are very distinctive. You have a very distinctive visual style, your handwriting and the way the books are done. I wondered if another part of the ennui, perhaps, or the draining of the later career is that we get trapped into doing something that feels like it looks the same. Or we have a voice, and we're happy in that voice, but sometimes we want to do something completely different. For authors, we have different names. I write under two different names, and that helps. But equally— How do you define author voice, and do you ever feel like doing something completely different to your normal style? Austin: Style, in a lot of ways, is self-plagiarism. Style is the repeated things that we notice in people's work. Hitchcock talked about this in films. Wes Anderson is someone like that—Wes Anderson has a style. I'm sure that he gets really sick of it too sometimes, but you also can't help it in some ways. I thought a lot about this because people worry about style so much. A lot of the time, what we call style is what Adrian Tomine one time said: “Style is just the distance between what's in my head and what comes out of my hand.” I really like that definition. With this book, I was trying to think, “Okay, if I do another book in this series, how can I push things a little bit?” And then I was reading this article about Taco Bell. You guys have Taco Bell over there, don't you? Do you have Taco Bell? Jo: No. Austin: So Taco Bell, for people who don't know, is this American Mexican chain, and they have tacos and burritos and stuff like that. They're well known for making these really insane… it's so American, this company. They make a taco with a Doritos as a shell. Doritos are crisps, I guess. Jo: Yes, we have Doritos. Austin: Okay. I spent time in England, I just don't remember if I ate Doritos when I was in England. Anyway, I was reading this article about Taco Bell. It was really funny. They have an innovation kitchen at Taco Bell, and they have a rule about new products. The rule is called the distinctiveness rule, and the rule is: you can change the flavour or you can change the taste, or you can change the form, but you can't change both at the same time. I got really obsessed with this concept because I thought, “Well, this could be kind of interesting.” If you're someone who's had success and you're known for something, this presents an interesting thing. You could do a complete break and do something completely new, or you could try the distinctiveness rule. Okay, well, what if I play with this idea of taste versus form? What if I change the taste and keep the form? So the idea for Don't Call It Art was, what if I do another one of these books, but the taste is more like if my kids made it? It had the texture of kids' art, it had lots of scribbles in it, it was loose and messy. That was kind of the idea. The actual book ended up being more like the other books. It ended up looking like an Austin Kleon book, because I just can't help that. The thing you said about having multiple names that you write under, that's kind of what I do with the newsletter. I think of the newsletter as very different from the books. The newsletter is this twice-weekly thing where I can be a little bit more of myself. In the books, I'm this very helpful, happy version of myself. It's me, but it's me on my best day. I'm really helpful and interesting for you. The newsletter is still a highlight reel in a sense, but it's a little bit more of my weird everything-I'm-into. It's more of the unclipped version of me. The newsletter becomes a place where I can do a lot of the weird stuff that's much different from the books. I have these little projects going all the time. Sometimes I'll make a bunch of prints and put them online. Sometimes I'll make a bunch of zines on a topic I haven't covered in the book. Sometimes I'll do a mixtape. As someone who's interested in a lot of different forms and genres and just different modes of output, having something like a newsletter has been really creatively fruitful for me. It's kept me from getting too bottomed out with the books because the books do a certain thing for the reader, and as much as I'd love to do a book that was radically different, I also think I've been given a real gift with the form of my books, in that I kind of own the way that they feel and look. There aren't a lot of books that look like those books and feel like those books, and so I like playing with that form. It would be hard to get rid of it now. The pseudonym for me is kind of like the newsletter in a sense. The newsletter is a little bit more of where I get to be wild and wacky. Then the books are a little bit more of a chiselled thing. Jo: The books are perfect examples of the form, as you say, but it's interesting about the newsletter. You mentioned at the beginning that we can be drained by the admin around the work. For many people listening, a newsletter becomes admin. So how does the newsletter fit into your business? The books are traditionally published, they're very professional. How do you have your independent side, and how does all of that work together in your business? Austin: Thank you for asking that question. I run the whole show at the newsletter. The newsletter is just me, and then my wife edits it, and no one else is involved. I don't have an assistant. I don't have a team. It is just me, and that's why I love it. I control everything. I pick who gets in there. I pick everything. I love that. I grew up watching David Letterman over here, and Letterman had a nightly show, and I always thought that was killer. I thought, “Man, what a fun job. You have a show every night where you have a new guest, and you have all these wacky things going on.” It was like a variety show. I always thought that would be really fun, so the newsletter is my version of that. I started the newsletter in 2013, and it was just a Friday newsletter. It quickly became a list of 10 things I thought were worth sharing. I had a friend, Hugh MacLeod, who was like, “Hey, I have a newsletter. It's bigger than any conference you've ever gone to.” He was talking about South by Southwest here in Austin. He's like, “I have a newsletter now, and it's bigger than South by Southwest.” Jo: Oh, I remember him. Austin: He would say, “Every time I have a new print, I put it out, and there's a button, and then they buy it.” He was like, “You've got to get it. This newsletter thing is killer.” This was in 2011 or something. Jo: Yes, I still have his books. Blogging in Your Underwear or something. Austin: Totally. So Hugh's a whole different story, but I was just like, “Oh, I should really get a newsletter.” Letterman always had a top 10 list on his show. I just always thought a 10 list was really fun. And of course the books are lists of 10 too. So it just worked to have a weekly list of 10. It felt good, and it felt like an infinitely repeatable format. What I'm looking for as a creative person is an infinitely repeatable format that can go on and on and on and be new every time. So the list of 10 is something that people know the form of. It goes back to the Taco Bell thing. They know the form, but they're not sure what's going to go inside. They know it's going to be a burrito, but they don't know what's going to be in the burrito, and that's the exciting part. The newsletter, business-wise, was always a marketing cost for about the first eight years of its existence. I paid MailChimp to send it out. Then in about 2021, when I hadn't done a book for a while, my agent said, “You know, you should really think about doing a paid tier of your newsletter.” And this is to his credit, because he doesn't make anything off the newsletter. He said, “There's this thing called Substack now that makes that really easy.” So we moved to Substack in 2021 in October, and I started doing a Tuesday edition of the newsletter that was just for paid people. That grew enough that it's gone from a marketing cost to something that's almost—it's not quite as much as I make on my books, but it's close. And to be candid, my books sell pretty well. So suddenly the newsletter has become this really healthy income stream. The newsletter to me is actually the day job now. The newsletter is what really keeps the lights on. It's also the perfect mix. It's the day job, it's the thing that keeps income coming in on a regular basis, but it's also the thing I like to do the most. I'm not like a traditional writer who likes to just get lost in their book and take years and years and go away. I'm someone who loves to be doing a lot of different things. The newsletter is a perfect format for me. I'm talking myself into not quitting, actually. It's funny. It's gone from this thing that was a marketing cost to now it's a significant part of our income. That journey—such a bad word, journey—that trip has been very interesting. It's been really cool. But I'm also just lucky. I've been really lucky, and I think part of my thing is, I'm always just trying not to squander my luck. Jo: Well, the book is fantastic, and I know people are going to love it. And the newsletter, of course. So tell us— Where can people find you and your books and newsletter online? Austin: The easiest thing to do is to just go to AustinKleon.com, and that has links to everything—the books, the newsletter. I do actually keep an old-school blog still. I'm one of the few people that still maintains their blog and keeps it up to date. I'm hedging my bets because I think in the end everything will come back to a self-hosted website. I think in the end everyone's going to just go back to their little websites, or at least I hope so. Jo: Well, that was great, Austin. Thanks so much. Austin: Oh, thank you. The post Don't Call It Art: Rediscovering Creative Joy With Austin Kleon first appeared on The Creative Penn.

Por apenas R$ 5 mensais, você colabora com o podcast Mais Que um Filme:⁠⁠⁠⁠⁠ https://www.catarse.me/juliagavillanOu você pode me pagar um café via pix: julia.gavillan@gmail.comÉ inegável que uma boa comédia romântica envolve e apaixona até as pessoas de coração mais frio. Com romances que nos fazem suspirar, algumas delas ganham espaço cativo na memória e no coração do público, ganhando um carinho especial até de quem esteve envolvido nesses projetos.Esse é o caso de Harry e Sally - Feitos Um para o Outro, filme escrito pela incrível Nora Ephron e dirigido pelo insubstituível Rob Reiner em 1989.

The Gary & Shannon Show Hour 3 (05.14) – Spencer Pratt keeps climbing in the LA mayor race, airport fashion officially becomes a public health concern, and Shannon sneezes hard enough to nearly destabilize the studio. • #WhatsHappening → President Trump continues his China visit while new polling suggests Spencer Pratt may actually make the LA mayoral runoff• Plus: NFL schedule release hysteria arrives, the World Cup plans a Super Bowl-style halftime show, and a trespassing arrest unfolds outside Chris Brown’s home • Also: the children of Kouri Richins react publicly after her life sentence for poisoning their father • #SWAMPWATCH → major leadership shakeups hit DHS and ICE as the Trump administration continues restructuring immigration enforcement • Then the show spirals into bizarre airport behavior → including travelers intentionally wearing absurd shirts, mesh crop tops, and attention-seeking outfits through TSA checkpoints• Andy & Shannon debate whether people are doing this for comedy, validation, or because society has simply collapsed • Plus: junk food becomes “travel self-care,” listener talk-backs flood in, and Shannon’s sneeze nearly takes out the studio • And finally: GLP-1 medications are reportedly reshaping restaurant culture as fewer people order giant meals — potentially changing the dining industry entirelySee omnystudio.com/listener for privacy information.

Leticia Sala es escritora. Vive en Barcelona, escribe letras para músicos, colabora con Vogue y publica la newsletter semanal Magical Thinking. Y, sobre todo, es una amiga y una habitual de este Hotel. Acaba de publicar el ensayo, Dame veneno que quiero vivir (Anagrama). Hablamos sobre envejecimiento, botox, rituales y rutinas, arrugas, serpientes, Nora Ephron, Lena Dunham, Euphoria y escribir canciones.

Hoy nos centramos en dar gracias. Lo hacemos con motivo de 'Las gratitudes', la obra que está ya en el Teatro de La Abadía, en Madrid, y que adapta la novela superventas de Delphine de Vigan. Charlamos con su director, Juan Carlos Fisher. Además, descubrimos una cara de Salvador Dalí menos conocida. Lo hacemos con Vicente Monroy, que nos lo cuenta en su sección de cine. Lara Hermoso regresa con sus 'Conversaciones entre amigas', y nos habla de un libro de Nora Ephron, 'Gente a cenar'. Y decimos nuestro último adiós al director argentino Adolfo Aristarain.Escuchar audio

En El Ojo Crítico, Lara Hermoso conversa con Laura Martínez Ruibal sobre literatura. Cada dos semanas, una nueva lectura para mirar los libros con otros ojos. Hoy, 'Gente a cenar', de Nora Ephron. Fragmento del programa emitido el 27/04/2026.Escuchar audio

I'm so unbelievably thrilled that Rita Wilson chose How to Fail for her FIRST EVER podcast appearance. The acclaimed actor, singer and producer was born in Los Angeles to a Greek mother and a Bulgarian father who emigrated to the United States in 1949. You might know her from early roles like Bosom Buddies, where she met her future husband Tom Hanks, and from standout turns in films including Runaway Bride, It's Complicated and her unforgettable scene-stealing in Sleepless in Seattle. Behind the camera, she helped bring My Big Fat Greek Wedding and Mamma Mia! to the big screen. Alongside her film career, Wilson has built a powerful musical voice, releasing albums since 2012 and collaborating with artists like Elvis Costello and Willie Nelson. She now returns to her solo work with her sixth album, Sound Of A Woman, released on 1st May. In this episode, we talk about growing up in a traditional, private family but later living in the public eye, bringing My Big Fat Greek Wedding to the screen, her friendships with Nora Ephron and Bruce Springsteen - and how her experience of breast cancer reshaped her life and friendships. ✨ IN THIS EPISODE: 02:39 Sleepless In Seattle Scene Secrets 04:32 Finding Her Voice 07:53 Labels and Late Blooming 13:07 Privacy to Speaking Out 14:56 Greek Wedding Breakthrough 17:43 Drama School Rejections 27:57 Proving Them Wrong 29:03 Onscreen Friendship Magic 31:03 What Friendship Means 32:12 Breast Cancer and Blame 35:07 Honoring Her Father 39:55 Family Secrets and Privacy 45:50 Building Family Values 47:20 Fired as Ticket Taker

Voici une comédie romantique phare des années 80 et du début des années 90, une comédie qui montre à lʹécran les errances sentimentales et amicales de Harry et de Sally. Réalisé par Rob Reiner, sur un scénario de Nora Ephron, When Harry met Sally, sort en 1989. Impertinent, ouvertement sexuel, sans vulgarité, le film est surtout connu pour ses répliques bien ficelées et pour la scène dʹextase et dʹorgasme de Meg Ryan dans un diners new-yorkais, face à un Billy Crystal embarrassé par cette jouissance impromptue, improvisée et bruyante. Campé sur des personnages touchants et attachants, par ailleurs, très inspirés de la vie du réalisateur Rob Reiner et des histoires personnelles de la scénariste, ainsi que de certaines de ses amies, le film rencontre un succès considérable et lance la carrière de Meg Ryan qui devient la nouvelle coqueluche dʹHollywood tandis que tous les journaux et les magazines sʹinterrogent : Les hommes peuvent-ils être amis avec les femmes, sans arrière-pensée dʹordre sexuel ? Et quʹen est-il de lʹorgasme féminin ? Ca fait les gros titres et la matière des pages psychologie des magazines. Ne tardons plus, nous avons New York, Harry, Sally, leurs amis, leurs carrières, leurs conquêtes, leurs amours et surtout, leurs désamours.

【欢迎订阅】 每天早上5:30，准时更新。 【阅读原文】 标题：Autism Spectrum: Are You On It?正文： "Is every man in America somewhere on it?" Nora Ephron wondered about the autism spectrum in an e-mail to a friend a few months before her death. "Is every producer on it? Is every 8-year-old boy who is obsessed with statistics on it? Sometimes, when we say someone is on the spectrum, do we just mean he's a prick? Or a pathological narcissist? I notice that at least three times a week I am told (or I tell someone) that some man or other is on the spectrum."知识点：producer n. /prəˈdjuːsə(r)/a person who creates or manages a project, work or product 制作人；创作者• She works hard as a producer for popular online educational programs. 她担任热门线上教育节目的制作人，工作十分努力。• A good producer always controls every detail of the whole creation process. 优秀的制作人总能把控整个创作流程的每一处细节。获取外刊的完整原文以及精讲笔记，请关注微信公众号「早安英文」，回复“外刊”即可。更多有意思的英语干货等着你！ 【节目介绍】 《早安英文-每日外刊精读》，带你精读最新外刊，了解国际最热事件：分析语法结构，拆解长难句，最接地气的翻译，还有重点词汇讲解。 所有选题均来自于《经济学人》《纽约时报》《华尔街日报》《华盛顿邮报》《大西洋月刊》《科学杂志》《国家地理》等国际一线外刊。 【适合谁听】 1、关注时事热点新闻，想要学习最新最潮流英文表达的英文学习者 2、任何想通过地道英文提高听、说、读、写能力的英文学习者 3、想快速掌握表达，有出国学习和旅游计划的英语爱好者 4、参加各类英语考试的应试者（如大学英语四六级、托福雅思、考研等） 【你将获得】 1、超过1000篇外刊精读课程，拓展丰富语言表达和文化背景 2、逐词、逐句精确讲解，系统掌握英语词汇、听力、阅读和语法 3、每期内附学习笔记，包含全文注释、长难句解析、疑难语法点等，帮助扫除阅读障碍。

Julia Child celebrated household name, started as a wartime OSS desk jockey who later conquered Le Cordon Bleu and American TV - loudly, brilliantly, and without apologising. Starting with Julie & Julia, we follow her late-in-life Paris awakening, the brutal Le Cordon Bleu learning curve, and the obsessive testing that became Mastering the Art of French Cooking. There's OSS shark repellent, Paul Child's steady love, and then the moment she turns a TV omelette into a second career. Suddenly it's The French Chef - and dinner becomes comedy.   Topics include Julie & Julia and what the film gets right (Meryl Streep, Stanley Tucci) Le Cordon Bleu, French cuisine, and learning late Mastering the Art of French Cooking and why it mattered OSS shark repellent and the strangest pre-chef CV The French Chef, cooking show chaos, and the Dan Aykroyd SNL skit Resources and Further Reading Julia Child - Wikipedia Julie & Julia - by Nora Ephron SNL The French Chef - youtube Shark Repellant Work - cia.gov Julias Kitchen - Smithsonian Museum Mastering the Art of French Cooking - Wikipedia Host & Show InfoHosts: Kyle Risi & Adam CoxIntro Music: Alice in dark WonderlandCommunity & Calls to ActionReview & follow on: Spotify & Apple PodcastsInstagram: @theCompendiumPodcastWebsite: thecompendiumpodcast.comSupport us: Sign up to PatreonCircus Job Board: Apply to join the CircusShare this episode with a friend! If you enjoyed it, tag us on social media and let us know your favourite takeaway. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

My guest today is an expert in personal reinvention. Lorie Kleiner Eckert is a dynamic author, fiber artist, and motivational speaker who has inspired over 22,000 people. In her latest book, CHAI ON LIFE, she shares heartfelt and humorous essays on navigating life's biggest transitions, from an empty nest to personal loss. Described as the 'magical love child of Nora Ephron,' Lorie is here to share her practical, vulnerable, and uplifting wisdom on finding resilience, embracing authenticity, and transforming your life at any age. Check out the website and buy the book: https://www.loriekleinereckert.com/  

Federico habla con Andrés Amorós sobre 'Gente a cenar' de Nora Ephron.

Federico habla con Andrés Amorós sobre 'Gente a cenar' de Nora Ephron.

Arrancamos la jornada haciendo un repaso de lo que se prendió ayer en La Radio Encendida y muchas más noticias culturales que no se quedan atrás en Gente Que Trabaja. En Alguien Tenía Que Hacerlo nos desplazamos hasta La Plaza Mayor de Madrid para visitar el Bazar Arribas, juguetería centenaria que este 31 de marzo cerrará sus puertas. Madrid pierde así otro de sus negocios históricos. Nacho Álvaro nos hará conocer la historia de la tienda. Desde nuestra emisora de Granada conectamos con el grupo 091 que regresa a los escenarios con su nuevo disco, 'Espejismos nº9'.Para finalizar, Aloma nos hablará del divertido libro 'Gente a cenar' de Nora Ephron, publicado por Libros Asteroide.Escuchar audio

Delia Ephron has worked on some of the most famous romantic comedies of all time – like Sleepless in Seattle, and You've Got Mail – alongside her sister, Nora Ephron. In You've Got Mail, two people fall in love over email. Decades after writing that screenplay, Delia Ephron found herself in the middle of a very similar story. “I really did think I'd fallen into my own romantic comedy.” This episode was originally released in 2022. Say hello on Facebook and Instagram. Follow the show and review us on Apple Podcasts. Want to listen to This is Love ad-free? Sign up for Criminal Plus – you'll get to listen to This is Love, Criminal, and Phoebe Reads a Mystery without any ads. Plus, you'll get behind-the-scenes bonus episodes of Criminal and other exclusive benefits. Learn more and sign up here. We also make Criminal and Phoebe Reads a Mystery. Artwork by Julienne Alexander. Check out our online shop. Episode transcripts are posted on our website. Learn more about your ad choices. Visit podcastchoices.com/adchoices

As Matt and Daryl close the door on House of Tucci they tackle a movie that nearly got away from them. Julie & Julia (2009) directed by Nora Ephron. Starring Meryl Streep, Amy Adams, Stanley Tucci, and Chris Messina. You can find all season artwork designs (from the ridiculously talented Stephen Trumble) on our Teepublic store. We also have our old intro themes and interludes over on Bandcamp. The intro/ outro theme was performed by Daryl Bär. Please drop us a Five Star Review us at Apple Podcasts, or a Five Star Rating on Spotify. Find us on Twitter and Instagram (@ispauldanook), and drop us an email at ispauldanook@gmail.com

2025 ended with a real gut punch for us film lovers - the sudden and shocking death of Rob Reiner, alongside his wife Michele Singer.  This week, Emilio, Julian and Madeline welcome back friend of the pod and musician extraordinaire Matt Friedman to the table to talk about Reiner and his legacy as one of the most beloved and important American filmmakers of the last forty years.  The group discusses some of the famous individual scenes he helmed, unforgettable performances, Reiner's standout moments as an actor, the films of his that are  most personally resonant, and much more.You can check out Matt's incredible band, and see where he is playing next, by visiting their website: https://stilettobandnyc.com/You can also follow Matt and the band on Instagram @stilettobandnycIf you enjoy our podcast, please rate and review us on your podcast platform of choice. This really helps us find new listeners and grow!Follow us on YouTube, IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats

This week on HMP we wrap up our Rom-Tom's In Order with the movie that would make he and co-star Meg Ryan even BIGGER stars with SLEEPLESS IN SEATTLE from 1993, directed by Nora Ephron. Executive Producers:  Tim (Applescruff), Derrick Copling (Sir Slick Derrick The Knight Bard), Matthew Schnapp, Noah Overton (Noah of The Dark Woods), Peter "Not SoBad Lookin'" Pernice Listen to the HMP Live Stream, Sunday Nights and Live Streams with Adam throughout the week.  YouTube https://www.youtube.com/@HMPOD Merchandising, Merchandising, Merchandising: https://www.teepublic.com/user/halfassmoviepod HMP Instagram- https://www.instagram.com/halfassmoviepodcast Adam- Letterbox- https://boxd.it/3aAF TikTok- https://www.tiktok.com/@adam.portraist=ZT-8xcqAzUtusx&r=1 Sean Scoots! https://www.youtube.com/@setdecsean Bruce YouTube- https://www.youtube.com/@Animedad Email- HalfAssMoviePod@gmail.com

Do you believe in signs? Do you think Cary Grant used swatches to pick up Dyan Cannon? Is the problem with you that you don't want to be in love...you want to be in love in a movie? Then Sleepless in Seattle (1993) is the film for you! Check out this Nora Ephron directed classic, truly one of the greatest romantic comedies ever made, and revel in the "magic" aka the performances of Tom Hanks and Meg Ryan who have chemistry for days despite barely having any screen time together. Host Sara Greenfield and her guest Zoe Palko chat about all this and more on this brand new episode of Talk Classic To Me.-------------------------------------------------------------------Want to become a subscriber? Use the link below to support the show!https://creators.spotify.com/pod/show/sara-greenfield/subscribe

Laci and Matt dive deep into When Harry Met Sally (1989), one of the all-time great romantic comedies. In a movie that could easily be dismissed as a clone of Woody Allen's early rom-coms, the film makes its mark with two superstar lead performances from Meg Ryan and Billy Crystal, an electric script by Nora Ephron, and breezy, hilarious direction from Rob Reiner. We tell the story of how this movie came together, how it evolved during development, and how it became the classic we all know today. Then, your favorite husband-and-wife podcasting duo have a lengthy discussion about the movie itself, and folks, there are some heated battle-of-the-sexes arguments in this one. Because men do be like this, while women do be doing woman stuff, like makeup. Will they ever learn to get along??? Next week's episode (Feb. 20, 2026): High Fidelity (2000)   Time stamps: 00:03:00 — History segment: Rob Reiner and Nora Ephron's initial meeting; their careers before and after When Harry Met Sally; casting Billy Crystal and Meg Ryan; the script's original, less-happy ending; legacy of When Harry Met Sally 00:40:40 — Movie discussion 01:46:45 — Final thoughts & star ratings   Source: From Hollywood With Love: The Rise and Fall and Rise Again of the Romantic Comedy by Scott Meslow - https://amzn.to/4qlth7A    Artwork by Laci Roth.   Check out Laci's coloring videos on YouTube! https://www.youtube.com/channel/UC-kKLhWb2g0bKA-RrvvLh0Q/  Matt has a monthly spin-off podcast covering the James Bond films! Check out PodJob: A James Bond Podcast on Apple Podcast (https://bit.ly/4jRL2K1), Spotify (https://bit.ly/4a8jM6E), and YouTube (https://youtube.com/@podjob007).   Music by Rural Route Nine. Listen to their album The Joy of Averages on Spotify (https://bit.ly/48WBtUa), Apple Music (https://bit.ly/3Q6kOVC), or YouTube (https://bit.ly/3MbU6tC).   Songs by Rural Route Nine in this episode: "Winston-Salem" - https://youtu.be/-acMutUf8IM "Snake Drama" - https://youtu.be/xrzz8_2Mqkg "The Bible Towers of Bluebonnet" - https://youtu.be/k7wlxTGGEIQ    Follow the show!  Twitter: @1weekrental | @MattStokes9 | @LRothConcepts Facebook: @1weekrental Instagram: @1weekrental TikTok: @1weekrental | @mattstokes9 Letterboxd: @loadbearinglaci | @mattstokes9 Bluesky: @1weekrental.bsky.social   1-Week Rental used to be Load Bearing Beams.

This is a special live episode of The Shift with Sam Baker podcast, recorded live at the wonderful Portobello Bookshop in Edinburgh.  Catherine Newman is the author of some of the most on-the-nose books about being a woman in midlife that I've ever read - her bestselling debut, We All Want Impossible Things, Sandwich and, now, Wreck. Imagine if Nora Ephron and Elizabeth Strout's Lucy Barton met in a bar and did edibles together and you have something approximating Catherine's creation, Rocky, and her family - Nick, Willa and Jamie and her 93 year old dad.  A normal loving, anxious, messy, unpredictable, relatable, family, living through a year of what ifs that veer uncomfortably close to home. Wreck asks, how do we live when we don't know what next?  I think that's something we can all identify with right now! Catherine has also written two memoirs and a couple of children's books, is an award-winning writer and columnist and contributes regularly to the New York Times and O, the oprah magazine. For ten years she also wrote Real Simple's etiquette column and she has an excellent substack, Crone Sandwich. Which I highly recommend you check out. Catherine and I chatted generational (mis)understanding, surviving the midlife sandwich, giving up drinking, life after menopause, rewriting your family's life and being a covert cookbook nerd. f you're listening to this on the podcast, you can get a signed copy of Wreck by going to Portobello Bookshop's website - theportobellobookshop.com. * Alternatively, you can buy all the books mentioned in this podcast at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Shift bookshop on Bookshop.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, including Wreck and Sandwich by Catherine Newman as well as the book that inspired this podcast, The Shift: how I lost and found myself after 40 - and you can too, by me. * If you enjoyed this episode and you fancy buying me a coffee, pop over to my page on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠buymeacoffee.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. • And if you'd like to support the work that goes into making this podcast and get a weekly newsletter plus loads more content including exclusive transcripts of the podcast, why not join The Shift community, come and have a look around at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.theshiftwithsambaker.substack.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Nora Ephron's 1993 widower rom-com, SLEEPLESS IN SEATTLE, is our feature presentation this week! We discuss the Meg Ryan & Tom Hanks chemistry and if keeping their characters apart in the film worked. We also talk if this film was a pivotal launching point to Hanks 90s dramatic run, and much more! We also pick our Top 7 Meg Ryan Movies in this week's Silver Screen 7!  Join our Patreon ($2.99/month) here linktr.ee/brokenvcr to watch the episodes LIVE in video form day/weeks early. Find us on Instagram @thebrokenvcr and follow us on LetterBoxd! Become a regular here at THE BROKEN VCR!

Save 10% on your next Fleshlight with promo code 10PRIVATE at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠fleshlight.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. For the 245th episode of Private Parts Unknown, host Courtney Kocak welcomes New York Times bestselling author, journalist, and screenwriter Deborah Copaken.A former war correspondent turned chronicler of intimacy, Deborah has spent her career examining what it means to choose love over conflict and what it's like to be a woman in a world hostile to women. In this interview, Deborah reflects on finding the greatest love of her life at 56, navigating a relationship shaped by Alzheimer's caregiving, and what motherhood has given her. She also talks candidly about midlife women's health and her life-affirming friendship with Nora Ephron. For more from today's guest, Deborah Copaken: Buy Deborah's book ⁠⁠⁠⁠⁠Ladyparts Subscribe to Deborah's Substack, Lady Parts deborahcopaken.substack.com/welcome Check out Deborah's website www.deborahcopaken.com Get your copy of Girl Gone Wild from ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bookshop.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Psst, Courtney has an 0nIyFan$, which is a horny way to support the show: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/cocopeepshow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Private Parts Unknown is a proud member of the Pleasure Podcast network. This episode is brought to you by: Beducated brings pleasure-based sex education right to your bedroom. Kick off your best sex life with Beducated's awesome quiz that takes only five minutes and will recommend a personalized roadmap to sexual happiness just for you. Go to Beducated.com to kick off your personal pleasure journey. VB Health offers doctor-formulated sexual health supplements designed to elevate your sex life. Their lineup includes Soaking Wet, a blend of vitamins and probiotics that support vaginal health; Load Boost, which promotes male fertility and enhances semen volume and taste; and Drive Boost, formulated to increase libido and sexual desire for all genders. Visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vb.health⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code PRIVATE for 10% off. Our Sponsor, FLESHLIGHT, can help you reach new heights with your self-pleasure. Fleshlight is the #1 selling male sex toy in the world. Looking for your next pocket pal? Save 10% on your next Fleshlight with Promo Code: PRIVATE10 at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠fleshlight.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. STDCheck.com is the leader in reliable and affordable lab-based STD testing. Just go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ppupod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, click STDCheck, and use code Private to get $10 off your next STI test. Explore yourself and say yes to self-pleasure with Lovehoney. Save 15% off your next favorite toy from Lovehoney when you go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠lovehoney.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and enter code AFF-PRIVATE at checkout. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/PrivatePartsUnknownAds⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you love this episode, please leave us a 5-star rating and sexy review! Psst... sign up for the Private Parts Unknown newsletter for bonus content related to our episodes! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠privatepartsunknown.substack.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Let's be friends on social media! Follow the show on Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@privatepartsunknown⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@privatepartsun⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Connect with host Courtney Kocak ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@courtneykocak⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Instagram and Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

Isaac, Cameron and Juzo discuss the classic romantic comedy When Harry Met Sally (1989), directed by Rob Reiner. Billy Crystal and Meg Ryan have an infectious chemistry with each other, and the film is cleverly written by Nora Ephron. We also discuss a few new releases like 28 Years Later: The Bone Temple, and Send Help, so feel free to skip to 56 minutes if you're only interested in When Harry Met Sally. Enjoy!  Cinema Spectator is a movie podcast hosted by Isaac Ransom, Juzo Greenwood, and Cameron Tuttle. The show is executive produced by Darrin O'Neill and recorded & produced in the San Francisco Bay Area, CA. You can support the show at patreon.com/ecfsproductions. Follow us on YouTube, Facebook, Instagram, and Twitter under ECFS Productions (@ecfsproductions). Isaac and Cameron started recording podcasts with their first project, Everything Comes from Something (2018), and are now focusing on new weekly content for Cinema Spectator. Cameron Tuttle is a full-time professional cinematographer who majored in film at SFSU and collaborates on corporate, private, and creative productions. Cameron is the expert. Isaac Ransom works full-time as a marketing leader, with creative experience in brand, advertising, product, music, and film. Isaac is the casual. Juzo is a producer, director, and avid film enthusiast who knows everything about cinema. The podcast is a passion project by three longtime friends; we hope you enjoy it in the limited time we have! Thank you for your time, your generosity, and support.  

Here we go again! Episode 98! Nora Ephron!    Warning: May Contain Spoilers Created by: Cristo M. Sanchez Written by: Cristo M. Sanchez and Jason Nemor Harden Hosted by: Jason Nemor Harden Music by: Creature 9, Wood, Cristo M. Sanchez and Jason Nemor Harden Follow us on instagram for the latest updates and more! And don't hesitate to support us on patreon if you enjoy the show

You fell in love with us on the radio* -- you weren't expecting it, and you couldn't help it. It was the sound of our voices, the things we said. And suddenly, you knew -- you weren't satisfied with the chick flick discourse your other relationships were providing. From there, you followed us, over the airwaves and across the country, until we finally, finally covered Nora Ephron's 1993 more-than-classic Sleepless in Seattle. It was our second foray into the Tom-Hanks-Meg-Ryan-iverse, and you were destined to hold our hands as we went.  *podcasts are sort of like radio, whatever, leave me alone

A presentation of The PAPER STREET Podcast, 'LATE TO THE PARTY' is a recurring program that brings filmmakers, friends, and entertainment industry pros on to discuss one of their major movie blind spots.  The guest chats with hosts Shawn Talley and Cameron Burns before watching the film, then reconvenes with them after having seen it to all share their thoughts on the movie and much more!​ This go-round, filmmakers and longtime couple Brad McHargue & Becky Sayers were both late to the party on WHEN HARRY MET SALLY, but we're glad they made it!  The group dive deep into the endlessly quotable rom-com, talking Nora Ephron's dynamite script, the chemistry of the cast, how well the movie holds up, and of course, about the untimely passing of Rob and Michele Reiner, and the filmmaking legacy left by the former.  If you've seen the 1989 film WHEN HARRY MET SALLY, check out this fun conversation.  And if you haven't, you're late to the party, but that's okay; we'll still be here when you get to it! For additional information on this and previous episodes, including show notes and links to our guests and the company, please visit paperstreetpodcast.com.

It's a brand new year and we're starting off with a tribute to director Rob Reiner. And what better way to kick off both than with his enduring, perfect romantic comedy, When Harry Met Sally. Billy Crystal and Meg Ryan star as two strangers who gradually become friends and then eventually fall in love. Written by Nora Ephron and co-starring Carrie Fisher and Bruno Kirby, this classic had a successful box office run in 1989 and is still just as beloved nearly 40 years later

For New Year's, celebrate with the romcom that set the standard for all future romcoms. We're talking about the 1989 classic When Harry Met Sally... Sit on your couch with Billy Crystal and Meg Ryan as we review this most classic of love stories from Nora Ephron and Rob Reiner. We cover the great scenes, sets, lines, moments, music, and more.For our draft this week, we go even deeper by picking our favorite couples in movies over the years. See if yours makes one of our lists, and share this episode with someone you love!If you enjoy the show, please rate and review us on the iTunes/Apple Podcasts app or wherever you listen. Or better yet, tell a friend to listen!If you enjoy the show, please rate and review us on the iTunes/Apple Podcasts app or wherever you listen. Or better yet, tell a friend to listen!Want to support our show and become a PCY Classmate? Click here!Follow us on your preferred social media:TwitterFacebookInstagramSupport the Show

For New Year's, celebrate with the romcom that set the standard for all future romcoms. We're talking about the 1989 classic When Harry Met Sally... Sit on your couch with Billy Crystal and Meg Ryan as we review this most classic of love stories from Nora Ephron and Rob Reiner. We cover the great scenes, sets, lines, moments, music, and more.For our draft this week, we go even deeper by picking our favorite couples in movies over the years. See if yours makes one of our lists, and share this episode with someone you love!If you enjoy the show, please rate and review us on the iTunes/Apple Podcasts app or wherever you listen. Or better yet, tell a friend to listen!Support our show and join our Patreon!If you enjoy the show, please rate and review us on the iTunes/Apple Podcasts app or wherever you listen. Or better yet, tell a friend to listen!Follow us on your preferred social media:TwitterFacebookInstagram

We're closing out the year with one of the greatest romantic comedies ever made — Rob Reiner's When Harry Met Sally…. A sharp, heartfelt, and endlessly quotable masterpiece, the film captures the awkwardness of love, the passage of time, and the question we've all asked: Can men and women really be friends?This episode also serves as a celebration of the late, great Rob Reiner, whose incredible run of films helped define modern American cinema. From his warmth behind the camera to his unmatched ability to blend humor and humanity, Reiner gave us stories that continue to resonate decades later. When Harry Met Sally… stands as one of his crowning achievements.We reflect on Nora Ephron's iconic script, the unforgettable chemistry between Billy Crystal and Meg Ryan, and why this film — set against the changing seasons of New York and culminating on New Year's Eve — feels like the perfect way to end our year.Funny, honest, timeless — and a loving tribute to a filmmaker who gave us so much.

We decided to re-run an old “Pop Culturing” Podcast in honor of the tragic death of Rob Reiner and his wife Michele. We will be creating 4 new Zen Pop Episodes based off of 4 other Rob Reiner films for the month of January. When Harry Met Sally… is a 1989 American romantic comedy film written by Nora Ephron and directed by Rob Reiner. It stars Billy Crystal as Harry and Meg Ryan as Sally. The story follows the title characters from the time they meet in Chicago just before sharing a cross-country drive, through twelve years of chance encounters in New York City. The film raises the question “Can men and women ever just be friends?” and advances many ideas about relationships that became household concepts, such as “high-maintenance” and the “transitional person”. Some Ways to Support Us Sign up for Cathy's Substack Order Restoring our Girls Join Team Zen Links shared in this episode: For the full show notes, visit zenpopparenting.com. This week's sponsor(s): Avid Co DuPage County Area Decorating, Painting, Remodeling by Avid Co includes kitchens, basements, bathrooms, flooring, tiling, fire and flood restoration. David Serrano- Certified Financial Planner- 815-370-3780 MenLiving – A virtual and in-person community of guys connecting deeply and living fully. No requirements, no creeds, no gurus, no judgements Todd Adams Life & Leadership Coaching for Guys Other Ways to Support Us Follow us on social media Instagram YouTube Facebook Buy and leave a review for Cathy’s Book Zen Parenting: Caring for Ourselves and Our Children in an Unpredictable World Find everything ZPR on our Resources Page Guys- Complete a MenLiving Connect profile

In memory of the late Rob Reiner, we're revisiting two of his best-beloved films: This week, it's Allana Harkin's 2017 celebration of When Harry Met Sally, the romantic comedy that gave us Billy Crystal and Meg Ryan and Carrie Fisher and Bruno Kirby at their most effortlessly charming – and minted Nora Ephron as a genre-defining screenwriter. Your genial host Norm Wilner had forgotten all about the massive rainstorm halfway through the episode.

Reviewing When Harry Met Sally  They may not remember where they where the first time they met this movie, but the girls do know they haven't met another film quite like it. One of the best films of our generation that culminates on New Years Eve, Nora Ephron's writing and Rob Reiner's directing couldn't be a better match. Amanda and Maggie talk about all the wonderful quotes and moments that come from this film, whether or not tiny finger tap shoes are the next billion dollar idea of theirs, and what it's like to be snowed in with over 2 feet of snow while recording! This was a movie for the ages and the best one to wrap up the year.  The recent and tragic loss of Rob Reiner and his wife Michelle is devastating. Thank you, Rob and Michelle, for all the wonderful moments you brought the silver screen. We are so grateful for you and your work and are thinking about your family during this time. 

This Christmas, Shat The Movies takes a detour into one of the strangest holiday comedies ever made with Mixed Nuts, Nora Ephron's chaotic 1994 remake of the French farce Le Père Noël est une ordure. We're revisiting this deeply uncomfortable Christmas movie in honor of the late Rob Reiner, who helped define smart, character-driven comedies—even when they didn't always work. Gene and Big D unpack how a film with an absurdly stacked cast—Steve Martin, Madeline Kahn, Rita Wilson, Adam Sandler, Juliette Lewis, and Liev Schreiber—somehow became a cult curiosity instead of a holiday classic. They debate whether Mixed Nuts was simply ahead of its time, fatally misjudged in tone, or doomed by trying to balance farce, mental health, and Christmas cheer in the same gift box. Along the way, the guys reflect on why Mixed Nuts now plays less like a failed holiday romp and more like a bizarre time capsule of transitional Hollywood. Is this a Christmas movie worth reclaiming—or one best left buried under the tree? Subscribe Now Android: https://www.shatpod.com/android Apple/iTunes: https://www.shatpod.com/apple Help Support the Podcast Contact Us: https://www.shatpod.com/contact Commission Movie: https://www.shatpod.com/support Support with Paypal: https://www.shatpod.com/paypal Support With Venmo: https://www.shatpod.com/venmo Shop Merchandise: https://www.shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

The Second Part in our Meet Cute Again Trilogy This film selection will come as no surprise as one host may have seen Nora Ephron's absolute classic YOU'VE GOT MAIL more than any other movie in his life and also because it's the only entry in cinema that naturally follows up Alfred Hitchcock's VERTIGO. I said what I said and we say a lot more about Meg Ryan and Tom Hanks at their most charming in this Christmas season edition of TiT. Enjoy! Patreon supporters get access to monthly bonus episodes including previous years of Movie Book Club! Bluesky: @trilogyintheory Letterboxd: @projectingfilm & @webistrying Artwork by: @nasketchs Find out more at https://trilogyintheory.pinecast.co This podcast is powered by Pinecast.

A new book by New York Magazine's former star political writer, Olivia Nuzzi, has unleashed a chaotic slew of revelations about her alleged transgressive relationships with wayward politicians — and the US is hooked. But how did this increasingly bizarre he-said she-said story of conflicting accounts unfold? And what does it tell us about the nexus between politics and journalism - between power and those who are supposed to hold it to account in modern America? Guest: Will Pavia, New York Correspondent, The Times.Host: Manveen Rana.Producer: Dave Creasey.Read more: The Olivia Nuzzi saga is Nora Ephron's Heartburn for our social media age Brain worms and blue eyes: the RFK love triangle shocking AmericaClips: ABC, The Hill, Siriusxm, NY Post, The Bulwark.Photo: Getty Images.This podcast was brought to you thanks to subscribers of The Times and The Sunday Times. To enjoy unlimited digital access to all our journalism subscribe here. Hosted on Acast. See acast.com/privacy for more information.

Sometimes you read a book that sparks so much joy you wish you could linger in its pages forever. It's Different This Time by Joss Richards was exactly that for me. Rom-com writing at its finest, so naturally I was thrilled to welcome Joss to Books Are Chic.She radiated the same light and charm that shines through every chapter. We talked for over an hour about her writing journey, all things pop culture, romance, and even her deep love for Three's Company (yes—there's a podcast and a tattoo!).If you're looking to round out your year with a feel-good gem, this is the one. I'm genuinely jealous of everyone meeting these characters for the first time. And if you're a Nora Ephron fan? You're about to fall head over heels for Joss Richards.

This week, Scott sat down with his Lawfare colleagues Anna Bower, Michael Feinberg, and Roger Parloff to talk through the week's big domestic news stories, including:“Diving Head First into the Shallow End of the Jury Pool.” A federal magistrate judge has concluded that the government may well have made substantial misrepresentations and other errors before the Grand Jury in the prosecution of former FBI director James Comey, and has ruled that Comey is entitled access to extraordinary discovery to make his case that these errors warrant dismissal, among other possible remedies. What does this ruling—which is now on appeal—mean for the Comey prosecution and for the Trump administration's other efforts to prosecute the president's enemies?“The Ep Files: Fight the Future.” Republicans in Congress are hotly divided on the question of the Epstein files. While some Republicans (along with many Democrats) have sought broader disclosures from the Justice Department, among other sources, Speaker Mike Johnson and others have thrown up roadblocks to relevant requests, in part out of apparent concern that they may contain damaging revelations about President Trump. But the White House did an about-face this week, switching to support legislation that would compel disclosure of the investigatory materials—clearing the way for it to move forward. What explains the switch in time? And where might it lead?“Pipe Dreams.” The right wing media outlet The Blaze released a bombshell report last week, indicating that they had identified a law enforcement and intelligence official as the likely perpetrator of the Jan. 6, 2021, attempted pipe bombing of the DNC and RNC headquarters in Washington, D.C.—a longstanding obsession in certain corners of the internet. But its claims were quickly rebuked by senior FBI officials, triggering a round of mutual incrimination and accusation. What does this tell us about the state of the investigation and the broader relationship between the Trump administration, law enforcement officials, and prominent portions of his support base?In object lessons, Anna revisits an older novel, echoed by some current events: Nora Ephron's “Heartburn.” Roger revisits the November 13, 2015, terrorist attacks across Paris, commemorating the event's 10-year anniversary with a recommendation of a video on Le Monde. Scott will be revisiting one of his favorite holiday events in the DC area: the Aimee Mann and Ted Leo Christmas Show. And Mike is revisiting novels of the past, bit by bit, through Edwin Frank's “Stranger than Fiction: Lives of the Twentieth Century Novel.”To receive ad-free podcasts, become a Lawfare Material Supporter at www.patreon.com/lawfare. You can also support Lawfare by making a one-time donation at https://givebutter.com/lawfare-institute.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

This week, Scott sat down with his Lawfare colleagues Anna Bower, Michael Feinberg, and Roger Parloff to talk through the week's big domestic news stories, including:“Diving Head First into the Shallow End of the Jury Pool.” A federal magistrate judge has concluded that the government may well have made substantial misrepresentations and other errors before the Grand Jury in the prosecution of former FBI director James Comey, and has ruled that Comey is entitled access to extraordinary discovery to make his case that these errors warrant dismissal, among other possible remedies. What does this ruling—which is now on appeal—mean for the Comey prosecution and for the Trump administration's other efforts to prosecute the president's enemies?“The Ep Files: Fight the Future.” Republicans in Congress are hotly divided on the question of the Epstein files. While some Republicans (along with many Democrats) have sought broader disclosures from the Justice Department, among other sources, Speaker Mike Johnson and others have thrown up roadblocks to relevant requests, in part out of apparent concern that they may contain damaging revelations about President Trump. But the White House did an about-face this week, switching to support legislation that would compel disclosure of the investigatory materials—clearing the way for it to move forward. What explains the switch in time? And where might it lead?“Pipe Dreams.” The right wing media outlet The Blaze released a bombshell report last week, indicating that they had identified a law enforcement and intelligence official as the likely perpetrator of the Jan. 6, 2021, attempted pipe bombing of the DNC and RNC headquarters in Washington, D.C.—a longstanding obsession in certain corners of the internet. But its claims were quickly rebuked by senior FBI officials, triggering a round of mutual incrimination and accusation. What does this tell us about the state of the investigation and the broader relationship between the Trump administration, law enforcement officials, and prominent portions of his support base?In object lessons, Anna revisits an older novel, echoed by some current events: Nora Ephron's “Heartburn.” Roger revisits the November 13, 2015, terrorist attacks across Paris, commemorating the event's 10-year anniversary with a recommendation of a video on Le Monde. Scott will be revisiting one of his favorite holiday events in the DC area: the Aimee Mann and Ted Leo Christmas Show. And Mike is revisiting novels of the past, bit by bit, through Edwin Frank's “Stranger than Fiction: Lives of the Twentieth Century Novel.”To receive ad-free podcasts, become a Lawfare Material Supporter at www.patreon.com/lawfare. You can also support Lawfare by making a one-time donation at https://givebutter.com/lawfare-institute. Hosted on Acast. See acast.com/privacy for more information.

Join Joe as he watches 1990 favorite My Blue Heaven starring Steve Martin and Rick Moranis. We go back with this one and watchalong Now Watch This style! Written by the great Nora Ephron who was married to the writer of Goodfellas and Casino. See what happened to Henry Hill once he got into witness protection.

We were heartbroken at the news of Diane Keaton's passing, so we decided to quickly get another of her films in the THOB books. Keaton's final directorial effort was Hanging Up, based on Delia Ephron's fictionalized experience coping with distant sisters during the final years of their father's life. Co-written by Delia and Nora Ephron, Meg … Continue reading "365 – Hanging Up"

Longtime friend-of-the-pod Colton joins Brian and Dan to briefly discuss a foundational romantic comedy, then dig into the divisive 2009 ensemble film. Just what everyone was asking for -- an extended conversation about dating from three straight guys in their 30s. Join as they discuss Nora Ephron, Sex and the City, gender roles in romantic storytelling, the legitimacy of the respective film's themes, the messiness of Bradley Cooper's storyline, and their least favorite of the 50 states. Colton concludes with his strong and long-held beliefs on evaluating and comparing art. Dan's movie reviews: http://thegoodsreviews.com/ Subscribe, join the Discord, and find us on Letterboxd: http://thegoodsfilmpodcast.com/

(Oct 10, 2025)

We're closing out the trilogy of Nora Ephron romantic comedies with a look at the third Tom Hanks / Meg Ryan collaboration, 1998's You've Got Mail! Join in as we discuss formative computer memories, childhood bookstores, and War of the Worlds (2025). Plus: Why does the rest of the Fox family seem to hate books? Did Birdie really date Franco? When is David Lowery's Mother Mary coming out? And remember when the internet was charming? Make sure to rate, review, and subscribe! Next week: Something's Gotta Give (2003)------------------------------------------------------Key sources and links for this episode:"The Strange Eating Habits of Steve Jobs" (NBC News)"Ice Cube's New Sci-Fi Movie Debuts with a Well-Earned 0% on Rotten Tomatoes" (Polygon)"The Winding Tale of Neopets" (The History of the Web)"George Clooney Dodged a Career Blow by Turning Down a Holiday Flop" (Collider)"How Barnes and Noble Made a Comeback by Revitalizing its Philosophy" (PBS News)

BFF Cynthia Weiner joins Meg for a WATCH PARTY of When Harry Met Sally, the classic fall New York rom com that gave us "pesto is the quiche of the 80s," "someone is staring at you in personal growth," and, of course, "men and women can't be friends because the sex part always gets in the way."Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

Before When Harry Met Sally, Sleepless in Seattle and Julie andJulia, Nora Ephron wrote the BEST NOVEL. Heartburn is light and funny, but also complex, nuanced and full of compassion. Kimberly runs through the history of romantic comedy--not as simple as you'd think--and all the tropes that make the genre what it is. She then takes a close look at how Ephron UPENDS so many of these rom-com conventions. For a new appreciation of this excellent art form, tune in now.

Guest host Maria Randazzo welcomes comedian and writer Katie Rich (“Saturday Night Live,” “Harley Quinn”) to unpack Parker Posey's memoir “You're on an Airplane: A Self-Mythologizing Memoir.” They examine the “White Lotus” and “Party Girl” star's rise to 90s indie film darling, her friendship with writer-director Nora Ephron, the joys of working with Christopher Guest, and the possibly coded messages about some terrible Hollywood men. Plus, dog psychics, a trashy Chex Mix recipe, and why Robert De Niro just wanted Parker to commit. A content warning: This episode contains discussions of sensitive topics, including sexual harassment and body image. Take care while listening and find helpful resources here. Join the cookie community: Become a member of the Patreon Follow Maria Randazzo: Instagram @mariafreakin Listen to The List Show Notes: Parker Posey T-Shirt - VeraMeat.com Liz Phair Memoir Episode (with Katie Rich) Griffin Dunne Memoir Episode (with Maria Randazzo) Tina Knowles Memoir Episode (with Maria Randazzo) Matthew McConaughey Memoir Episode  Mia Farrow Memoir Episode Louis C.K. Is Accused by 5 Women of Sexual Misconduct - NY Times Louis C.K. Responds to Accusations: ‘These Stories Are True' - NY Times Where to find our guest Katie Rich: Instagram *** Glamorous Trash is all about going high and low at the same time— Glam and Trash. We recap and book club celebrity memoirs, deconstruct pop culture, and sometimes, we cry! If you've ever referenced Mariah Carey in therapy... then this is the podcast for you. Thank you to our sponsors: Thrive Causemetics - Get 20% off your first order at thrivecausemetics.com/glamorous Everyplate - Get a special offer of only $1.99 a meal at everyplate.com/podcast and use code GLAMOROUS199 Libro.fm - Click here to get 2 audiobooks for the price of 1 with your first month of membership using code TRASH. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's Nora Ephron anthology week! We took a look at two of her essay collections, I Feel Bad About My Neck and I Remember Nothing to remember what proper storytelling looks like.  THE FINAL STOP ON OUR TOUR  June 14: New York  If you want to host a CMBC meetup here's a meetup 101 packet to help you plan! Keep up with all the latest:  https://celebritymemoirbookclub.biz/ Join our Geneva Community to chat with the other worms!!!!  Join the Patreon for new episodes every Thursday! https://www.patreon.com/celebritymemoirbookclub  Follow us on Twitter @cmbc_podcast and Instagram @celebritymemoirbookclub  Art by @adrianne_manpearl and theme song by @ashleesimpsonross Learn more about your ad choices. Visit podcastchoices.com/adchoices