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In this week's episode, we interview narrator Hollis McCarthy, who has narrated over 300 audiobooks, including many of THE GHOSTS and CLOAK MAGES. She is also co-author with her mother Dee Maltby of the MAGIC OF LARLION series, which you can learn more about at https://deemaltbyauthor.com/. This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store: DRAGONSKULL25 The coupon code is valid through October 27, 2025. So if you need a new ebook this fall, we've got you covered! TRANSCRIPT Introduction and Writing Updates (00:00): Hello, everyone. Welcome to Episode 273 of The Pulp Writer Show. My name is Jonathan Moller. Today is October 17th, 2025, and today we have an interview with audiobook narrator Hollis McCarthy. Hollis has narrated many audiobooks, including numerous books from the Ghost and Cloak Mage series, so we'll talk with her about that. Before we get to our main topic, we'll have Coupon of the Week and then a progress update on my current writing projects. This week's coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store, and that coupon code is DRAGONSKULL25. The coupon code is valid through October 27th, 2025. So if you need some new ebooks to read for this fall, we've got you covered. And as always, the coupon code and the links to my store will be available in the show notes. Now for an update on my current writing projects. As of this recording, I am 80% of the way through the first round of edits in Cloak of Worlds, so making good progress and if all goes well, the book should be out before the end of the month. I'm also 14,000 words into Blade of Shadows, which will be my next main project after Cloak of Worlds is published, which means I also have to write the outline for Elven-Assassin soon, and that will be the fifth book in the Rivah series. In audiobook news, recording will be underway next week for Blade of Flames. That will be narrated excellently by Brad Wills. Ghost in Siege is now out. It should be available at of all the audiobook stories (except Spotify) and it should be available there in a few days. And that is the final book in my Ghost Armor series that is excellently narrated by Hollis McCarthy. So that is where I'm at with my current writing and audiobook and publishing projects, which makes for a good segue into our main topic, our interview with Hollis McCarthy, which begins now. 00:03:56 Interview With Hollis McCarthy Hi everyone. I'm here today with Hollis McCarthy, who is a classically trained actor. Hollis has played leads in regional and off-Broadway theater, specializing in Shakespeare. On CBS. she's been a recurring guest star judge on Bull, the president of Ireland on Bluebloods, and a senator on Netflix's House of Cards. She's narrated more than 300 books for a variety of publishers and is the proud co-author of her mom Dee Maltby's epic fantasy series, The Magic of Larlion. Hollis, thanks for coming on the show today. Hollis: My pleasure. Jonathan: So to start, can you tell us a little bit about yourself and how you got into acting and performing? Hollis: That's a great question. I think it all started with doing my little brother's Sesame Street finger puppets. He's 10 years younger than me, so I mean, I got to reread all my favorite books with him and I started voicing the finger puppets to Burt, Ernie and Cookie Monster and all those guys in the backseat of the car and playing all the characters. And then my brother went into theater. My other brother's seven years older than me, and I used to go see his shows up at the college when I was in high school and kind of fell in love with it there. I absolutely meant to be an aeronautical engineer/physicist like my dad, but it didn't end up working out. I fell in love with theater and went to Stratford. I had a dual major because I was in an honors program, so I didn't have to declare a major until my fifth year of undergrad. But then I went to Stratford up in Canada and I saw two Shakespeare shows in one day and that was it. I had to do that. That was what I loved. Jonathan: Well, since we've had many audiobooks together, I'm glad it worked out that way. Hollis: Me too. Yeah, so I got my BFA in acting, and then I got my MFA from the University of Missouri-Kansas City in performance, and I was lucky enough to have some great coaches from the RSC and did a bunch more Shakespeare, and I've done that regionally a lot. And then I fell into audiobooks because I got tired of traveling, and I love to work from my home in my jammies. Jonathan: That is the dream. Speaking of that, could you tell us a bit more about how you sort of got into audiobooks or ended up doing a lot of that? Hollis: Yeah. Well, again, it starts with my childhood. My mom, who was a writer and an artist, she had, there were five of us kids and she would read out loud to us in the kitchen to keep us from fighting when we were cleaning up. So she started with Tolkien and Watership Down and Narnia and all of that. And then I got to, like I said, read to my little brother all my favorite books. And so I started doing all different voices for the characters and I always thought that was normal until, of course I volunteered to read in class in high school and people thought I was some sort of freak, but I always loved playing all the characters. And so when I started looking at staying home more and what could I do to work from home instead of being on the road for work, which was great for a long time, but then at some point you want to stay home and have a life as an actor as well as doing what you love. And audiobooks seemed a good fit. So my husband, who's also an actor, took a class from Paul Rubin here in the city in New York. We live in the New York area now. And he got a bunch of good tips from that that he passed on to me. And then my agent got me an audition with Audible and Mike Charzuk there. I came in and read a couple of pieces for him and he came back to the booth with a book he wanted me to start on. And from there I just kept building and got a lot of great indie authors through ACX like you. I don't know how many books we've done together now. Jonathan: It's over 30, I think. Yeah, 30 over the last seven years. So it's been a while. Hollis: And you're seriously, I mean, I'm not saying this because I'm on your blog, but your series are absolutely my favorites, especially because, yeah, the two series that I do, one is Nadia from the Midwest like me and then the other one with Caina, the epic fantasy world, which uses all my British and Irish bits and I absolutely love them. So yeah, I've just kept building up, getting in with a few more publishers now, which is harder to do and I just love it. Our first booth, when the pandemic hit, we had to build a booth at home and I had been going to studios in the city up until that point, but it hit pretty suddenly. It was obvious on St. Patrick's Day when it was like us going to the studio and people who were absolutely desperate folks were the only other ones on the street. We had to stay home. So my husband took our rapier blade (we fight with swords. We're actor combatants, like you said). He took two broadsword blades and a rapier blade, and he's handy with carpentry, fortunately. That's how he worked his way through school. He bracketed those to the wall and we ordered through Amazon before they kind of shut down too. We ordered packing blankets to hang over them and I ordered a new microphone and a new interface and it was trial and error for a bunch of days. And we had an engineer on call who talked us through how to run the software programs and stuff, how to set them up. And from there I've just kept recording at home. I sometimes still go into the studios when they have a budget where they can spring for a studio, but mostly they want you to work from home these days. So that's mostly what I do. Jonathan: Oh, building a recording booth out of swords. That's very Caina. Hollis: It's very Caina. I love Caina. Caina is me as a young woman. If I had been a superhero, I would've been a Caina. All my favorite roles in Shakespeare were the girl as boy ones. You asked, one of my favorite roles in theater was when I was at Alabama Shakespeare and I was playing Queen Elizabeth in Richard III and dressing in gorgeous gowns and being very seductive and very powerful and manipulative and all that. But in the earlier scenes, we did the three plays and in the Richard III and the Henry VI we did all three. And in the earlier scenes where Elizabeth wasn't in, I got to dress up and doublet and hose and I like stippled some stipple of beard on my face and climbed a siege ladder with a sword in one hand and did a spectacular pratfall running away from the bad guys and would slide on my stomach on the deck of the stage and I would come out into the lobby and the other guys who were playing my fellow fighters would be holding up rating cards for how far I'd slid that day. Jonathan: Sounds like very practical cardio. Hollis: Yeah, very. It was a lot of fun. That was probably my most fun I've ever done, though I also loved Beatrice and Much Ado, which I got to do twice because she's just so funny and witty and passionate. She's great, and Shakespeare, you know. Jonathan: Very good. So after all these audiobooks, what goes into preparing to record an audiobook? Hollis: That's a great question, too. It depends on the book, really. And I'm lucky enough to do a lot of series now, so when you're doing a series, it gets easier as you go along. I remember with the first ones I did for you, the first Caina, it probably took me an hour of prep to get through the first chapter. There were so many made up place names that I needed to figure out how to say, and then you have to be consistent. Even if they're made up, you still have to be consistent. So I really used my theater training there because I learned the international phonetic alphabet when I was in school, and so I can write down phonetic pronunciations and for each book, I'm old school with my prep, I'll keep a legal pad and I'll write down phonetic pronunciations, the word, page number, and the phonetic pronunciation for each word, so I have a record. You don't retain them from book to book. Pronunciations is a big part of what you do. Also, character voices, because again, you want to be true to the author's intent and you want to stay consistent. Again, for Caina, it became very complicated because you had to have Caina's basic voice, which is this [speaks in Caina's voice]. She started out a bit higher because she was younger. And then as she aged, she's gotten more medium pitch-wise, but then she was in disguise as various people. She was disguised as a cockney guy for a while, and she was an Irish guy for a while. And so for each of those personas, you have to notate for yourself in the script. Oh, now she has this accent. Now she has this one. And really for each chunk of dialogue, every time a character speaks, I'll put the initial of their name and if there are a lot of characters in the scene, I will have to differentiate between them pretty frequently. If it's two characters and I know them both very well, then I kind of have the shorthand in my head. So the different character voices I also put on my legal pad so I have a record, so Calvia sounds like this [speaks a line in the character's voice]. And sometimes I'll write down physical aspects of them so that I can just kind of feel the character. And after I do them for a while, the feel of the character will give me the voice and you write down everything that the author says about the character too. I'll just notate for myself that will oftentimes give you the voice. If it's a good author, which thank God you are, you write in different voices, which makes my job easier. Jonathan: The joke I sometimes say is I didn't do audiobooks for the first seven years I was publishing, and people would ask me, how do you pronounce this? I say, I don't care, pronounce it however you want. And then suddenly we started doing audiobooks and suddenly no, it matters very much how it's pronounced. Hollis: Yeah, exactly. It's funny, I'm just looking at my tablet. I have your Shield of Power up on my tablet. I've been reading that on the treadmill and at lunch. But yeah, we have to keep tabs. And when we have so many books now, I've started special folders just for the Ghost series and the Cloak series because a lot of times a character will show up from several books previous and I go, I remember them, but I don't remember what they sounded like. So I will have notated forward alto, slightly Irish or something like that for them. I have shorthand for all of it, and so I'll do that. Jonathan: Yeah, I spent a lot of time with Control + F searching through Word documents, trying to remember the first time I wrote this character and what they looked like. Hollis: Yeah, I bet you do. Some writers I guess do, well, if they don't do it all themselves. And if they have somebody who's like an administrative assistant, they have somebody who gives you, I've gotten these from authors before. Their assistant will send me a story log of characters with everything that's said about the character. I'm like, oh, well, that's very organized and helpful, but I would think it would be massively time consuming. Jonathan: It is. I did hire someone to help me with that this year. It was getting to be too much to go back and search through things and it is a very time consuming project, but once it's done, it's very helpful because it's quite easy to find things and look things up and refresh your memory. Hollis: I bet so. When I was working on my mom's books, we hired an editor and she did a spreadsheet, a database kind of different terms and characters and what was said about them. And I go back to that and amend it all the time now that I'm trying to write book eight. Jonathan: Yeah, that kind of thing is very helpful. But on a related topic of preparation, since you've done audiobooks, stage, and TV, how would say narrating audiobooks is different from the experience of doing theater or TV? Hollis: The major thing and the hardest thing for me when I was starting out was you can't move around all the time. I had an engineer at Audible. It was just, and a lot of times the chair is very important because if you move, what you're bound to do, if you're producing your voice correctly, you need to sit up and you need to use your hands to express yourself, and you have to have an absolutely silent chair. And the chairs at Audible at that time, were not absolutely silent. So every time I moved, the chair would squeak and we'd have to stop and start again. So that was very, very hard for me. In fact, I've been doing so much audiobooks now, and I also do TV and film, but that's gone to all for auditioning for that. It's all self tape, which means it's just like head and shoulders, so still you're just kind of using a little part of your body. And I had a theater callback for Pygmalion in the city the other day, in person, in a studio, in a rehearsal room. The day before, I used to do those all the time, and that's so rare now for them to do in-person auditions since the pandemic. But I put on my character shoes and my skirt and I practice just being bigger, opening my body up and doing all this stuff I learned to do in school and that you do when you're on stage to own the space because the space is the back wall of the theater. And that's a big difference between theater, film, TV, and audiobooks is the scope of it. When I did Beatrice, I was in an 1,100 seat unamplified stone amphitheater outdoors in Colorado. So you can imagine the scope physically and vocally is so big. And then for TV, film and you have to what they say, reach the back wall of whatever space you're in. Well, for film and TV, the back wall is the camera. It's right in front of your face a lot of the times. And the back wall is really kind of the inside of your head. It's almost like you have to have internal gaze so that the thoughts are just happening. You don't have to project them, you don't have to project your voice because all the equipment comes right to you, and all you have to do is feel the feelings and think the thoughts and the camera and microphone picked that up. Similarly with audiobooks, I'm just in a little tiny padded booth. My microphone is just a few inches from my face, and so I could be very, very intimate and everything gets picked up, and you have to do a lot less work for the emotion to come through. Again, really all you have to do is kind of feel the emotion. And for me, that's always for me is being in the moment and feeling the moment and letting that dictate the pace and the vocals and everything. I guess I'm pretty Method. I'm very Method, but that's how I trained. It's what works for me. Not every narrator is like that. There's a million different proper ways to narrate, and that's just my take on it. But everything is right there. So it's just kind of keeping it much smaller and more intimate. And in fact, when you want to be big like [character name's said in the character's] voice and he was yelling a lot, and I would have to pull back from the microphone to let his scope come out. Jonathan: Well, after 30 audiobooks together, I can say that method definitely works. Related to that, as we mentioned earlier, you're now at over 300 titles on Audible over the last 12 years. Congratulations for that. What would you say is most surprising or unexpected things about audiobooks you learned during that time? Hollis: Oh, well, it was very surprising that we could make a booth out of sword blades and blankets. That surprised me. Yeah, that's a great question. It's surprising to me how simple I can be. I went back and I had an author recently who wanted me to do a new chapter to begin and end a book that I had done like 2014, something like that, shortly after I started. And I thought at the time that I was really filling these voices and what I did was fine. You're always your own worst critic. But what I've discovered now is the more you do it, the more you record, the more you use your instrument every single day for 300 some books, the more effortless it becomes and the more depth you can bring to it. And as a young actor, we always resist that. My acting coach used to say, age and experience. There's no substitute for it. I'm like, yeah, yeah, but talent and hard work, that's something. But it's really true that just the repetition, there's no substitute for it. Those chapters that I did, they were the same voices basically. But when I went back and listened to the original, I was like, oh, it surprised me how without really changing anything mechanically, the work has just gotten deeper, more effortless, but it sounds better at the same time. Does that make sense? Jonathan: It does. Because you've probably noticed I've redesigned the covers for the Caina series like seven times over the last 10 years. And every time you think this is it, this is it. I'm done. This is good. And then with more practice, you look back and think, well, maybe I can improve this again, though. I suppose that's not often something that happens in the audiobook world where you get to go back and revisit something you did previously. Hollis: That is one of the hardest and most surprising things about audiobooks. And I've heard people say that this happens to every young narrator when they're starting out, you get through the first two chapters of a new book and you go, oh God, now I get it. I want to go back and start again. Well, there's no do overs with audiobooks. With audiobooks, “done is good” is what they always tell you when you're starting out. So even in film and TV, which you don't get much rehearsal for, you get a couple of run run-throughs, but with audiobooks, you got your prep. Not everyone does, but I always read the whole book before I start if possible, because otherwise you get surprises. But you get your one read through, your prep, and then you go and yes, you can stop. You can punch and roll, edit over. If you make a mistake, you go back half a line, you start again there. But there's no evolution of the work, which is what's great about series too, I think, because with the series you get, yeah, Caina was here last time I did her and now she's going through something new. And then the character grows and it becomes less and less effortful, but it also becomes like someone you really know so that it gets so much deeper and it's so much more fun to play with. Jonathan: That makes sense. 12 years really is a long time to have done audio narration or anything. So what do you think is the key to sticking it out for audiobooks for the long term? Hollis: Well, a lot of things make a difference. I didn't do it before this interview, which is why my voice is kind of rocky, but I always warm up in the morning when I'm setting up a session. I always do a vocal warmup. You got to get a good night's sleep, you have to drink water every couple of pages. I have a tea that I drink that keeps my stomach quiet because stomach gurgles is another bad thing about audiobooks. You have to eat very carefully and drink tea to keep your stomach quiet. You don't want to have to stop every time for that. And a lot of training, a lot of vocal training. I had Linklater training and the Lavan training, and Linklater to me is the most useful. And a lot of the stuff that applies to Shakespeare applies to audiobooks too. You warm up, you get yourself breathing, you warm up your resonators, your sinus, your mask resonators, the back of your head, your chest resonators. For the men [imitates male voice], you really have to have your chest warmed up, get the vibrations going here. And so I get all that kind of going before I sit down in the booth. And that also keeps you, then you keep your throat open so you're not hurting yourself. You have to have good posture so that the air can move from your diaphragm up to your throat and have it be open. And then optimally, like with Caina, Caina has a lot of mask resonance. Brits do; they are very far forward. So you really have to have all that warmed up and then that has to have no impediments between the front of your face all the way down to your diaphragm where the breath originates. And if you can do all that, then you could be an audiobook narrator. Also diction. I warm up my diction to everything from [imitates several vocal exercises] in just to get your mouth moving. You don't want lazy mouth with, there's a lot of enunciation in audiobooks that's important. But I also don't like, I really hate when you hear people enunciating. I don't like that. And with Caina, even though she's upper class, she's not like that. She's not pretentious. And certainly Nadia, you want to be able to understand what she says, but you don't want her to be enunciating. That be weird. So all of all that stuff I worked on in grad school and did all the Shakespeare plays, I would always get to the theater an hour early. You have to be there half hour for makeup and check in, but I would always get there an hour early and do at least 15 to 20 minutes of physical and vocal warmups. And so those habits have really helped me. I think I have pipes of iron, fortunately. I'm very lucky. So all that stuff really matters with audiobooks. Jonathan: It's amazing in how many different fields of life the answer seems to boil down to do the things you're supposed to over and over again forever. Hollis: Exactly. That's really true. When are we going to get old enough that we don't have to do that anymore? [laughs] Jonathan: Just one side question. What is Linklater training? I don't think I've heard that term before. Hollis: Oh, Kristen Linklater is, she's probably the biggest American vocal coach. She has a lot of books out there about voice and the actor and all of her training stems from allowing the breathing to drop in as she calls it, not forcing it to drop into the diaphragm, and then creating a pool of vocal vibrations that go from the diaphragm through an open throat to the resonators. And you can use every resonator in your body to project that sound. When I was doing Beatrice and Gertrude at Colorado Shakes in that unamplified stone amphitheater in the foothills of the Rockies, there was winds that would come down out of the mountains when we were on stage, and that theater was known for eating women's voices. And I had to thank God the vocal coach that summer was a Linklater coach, which is the method that I trained in, and he helped me work with even resonators. If you can imagine in your back, just using the whole chest box and shaking the vibrations through your body so that basically you're making your whole human skeleton an amplifier for the vocal energy coming from your breath. And that's Linklater. She's fascinating. If you ever want to study voice, you can't do better than Linklater, to my mind. Cicely Berry is another one I studied. She's the British guru for the RSC and the Royal Shakespeare Company and all those people, and she's great too. Jonathan: Well, that's just exciting. I learned something new today. Hollis: That's always good. Always learning from your books too about Medieval combat. Jonathan: We always want to learn something new every day, whether we like it or not. Hollis: Right. Jonathan: So to turn it around a little bit, what advice would you give a new indie author who is working with a narrator for the first time? Hollis: Oh yeah, I actually, I made some notes. I thought that was such a good question. Make sure that your narrator knows what you expect from them upfront. If you go through ACX, they have this great thing called the first 15 where your narrator is, if you're new to this author, you record the first 15 minutes of the book and you put that on ACX for your author to listen to and approve. You don't have to approve it if you don't like it. And in fact, if you don't like it, it's very important you don't approve it and you tell your narrator specifics about what you need them to change before they go on with the book. Because what you can't really do is once a book is recorded, say, oh, I really don't like it. I'm not going to pay you for it. I need you to go back and do it again. That's not acceptable and it will make narrators never want to work with you. But what's great about the first 15 is you have that chance to say, well, this voice was, she was a little higher than I wanted. I hear her in my head more as an alto because for me as a narrator, what I want to do is I want to take what you, Jonathan, hear your characters being as you're writing them in your head. I want to take that and translate that into an audiobook for you. So the more you give your narrators information about your characters, the better they're going to voice it. Also, if there's a style in your head, like with Nadia books, there's a little touch of noir there. It was a dark and stormy night kind of feel. If there's a style you kind of hear in your head, that would be a good thing to give them. But ACX has also, I think a character sheet where you can tell them about the different characters. You can fill that out for your narrator. That's tremendously helpful, age of the character, if you hear a vocal pitch range, soprano, alto, tenor, bass, any dialects, they need to know that. The narrator's nightmare is you finish up a book and you shouldn't do this, you should read ahead, but you get to the last line: “I love you, darling,” he said in his beautiful French accent. Jonathan: It explicitly shows up there for the first time. Hollis: Exactly. And then for the narrator, it's like, oh my God, I have to go back and rerecord everything this guy said, which is hours and hours and hours of work for you and your editor who will kill you. But yeah, let them know about all the character traits that you can and just, I think it's on the narrator too, to, I've been lucky with my authors, we always have a good give and take. I come from a theater background and you want to collaborate. You want to realize the author's vision and you want to be a partner in creating that. So try to be partners and give them more information than you think they need and use that first 15. It is totally acceptable to send it back and say, I'm going to need you to do this again, and I'm going to need these changes. And then once you get that ironed out, then you'll probably be ready to go ahead and have a book. And when you get the book, you won't be shocked and you'll be happy (hopefully) with the read. Is that helpful? Jonathan: It does. New authors, if you're listening to this, listen to that advice. Hollis: Yeah. Jonathan: Now for a slightly different topic, can you tell us about the Magic of Larlion books and how you ended up publishing that series? Hollis: Yeah. The Magic of Larlion is an epic fantasy adventures series seven, almost eight volumes. I'm working on finishing book eight now. The first book, Wizard Stone, my brilliant mother Dee Maltby started years and years ago, probably, gosh, maybe 20 years ago now, I think when my little brother moved out from home and she had an empty nest and she had more time to write, and she wrote Wizard Stone, and she sent it out a few places, and that was the only way you could get published back when she wrote it and didn't pursue it, she got discouraged, I think, by rejections from publishers, sat in her drawer for a while, and my sister-in-law, Dana Benningfield, who's also an actor, and she was my best friend even before she married my brother. I introduced them. So yeah, that was all me. She was an editor professionally for a while, and when she moved to Ohio where I'm from and was living with my brother and my parents lived right across the orchard, I told her about this book. And she wasn't editing at the time, she was kind of done with it, but she asked mom if she could read it. So she read it and edited it, and then it became a much better book and really encouraged my mom to keep writing, which I had been telling her to do for years. But hearing somebody who wasn't family, somehow giving her that input that it was really something special, changed her perspective. So she kept writing and she and I started, I was on the road doing Shakespeare a lot. We started trading chapters. She'd send me a chapter a week and I would edit it and send it back. And so Wizard Stone evolved from there into its current form, and then she started the next book, Wizard Wind and Wizard Storm. And we went that way through five and a half books. And my dad finally, when he retired from being a physicist, said he was going to, I always told you I'd get your published Dee, I'm going to take it down to the print shop and get a hundred copies made. And by this time I was working with you and a bunch of other great indie authors who were letting thousands of happy readers read their books through an independent platform. And I said, well, wait a minute. I could do better than that. So I convinced them to hire an editor that I had worked with, and I did the rewrites and got it through the pre-production process and hired a cover artist, very talented artist. And you and Meara Platt, another of my authors, gave me so much information and help. And we got it published in 2022, I believe. We had three ready to go. And we published those all within a month of each other. One a month for three months, and then four and five, and then six came. And I co-authored five, six, and seven because my mother was losing her sight and her hearing at that point. We got those done. We had six out and a lot of people reading them and loving them and reviewing them before my mom passed. And I think it's probably one of the most satisfying things I've done in my life, because not only do I love the books, and they're just a rip roaring, fantastic adventure-filled epic trip through this incredible world my mom invented. But when she was about to, one of the last things she said to me was, I told her how many people had read her books. I just went through the Kindle numbers and thousands of people in different countries and all over the world were reading and loving her books. And I told her that, and she said, that's all that matters. And she felt such a sense of pride in herself and accomplishment because they were being received for what they are, which is a brilliant creative flight of fancy, this magical world in the tradition of all the books she loved, always Tolkien. And so I promised her I'd finish it. So after she died, I published six and seven and I've got eight about 90% written now, and I'm hoping to bring that out by the end of the year, although I've been too darn busy with narration to really spend the time. I've got the big climactic Jonathan Moeller type battle at the end sketched in my head and on an outline, but I got to write that. And then we can get that out there and finish that too. Jonathan: Will you stop with eight or keep going after eight? Hollis: My feeling is that this series will culminate with book eight. It's been a long saga of Beneban, this young wizard who kind of gets flung off a mountain by his evil wizard master and has to master his fledgling wizardry powers and his magical sword to win his love Laraynia, a powerful sorceress, and save the kingdom. And that's book one. And there's ice dragons, and then they have kids, and then the later books have become much more about their kids. And the more I write, the more it's become about young women fighting with swords. Jonathan: Well, they say write what you know. Hollis: Defeating the bad guys. Plucky young women, overachieving, competing with men. And so I think that's all going to come to a head with book eight, and that will be the end of that series. But I do think I'm going to spin it off into possibly more on the younger characters. I don't know if it's going to be YA per se, I think it'll still be for adults, but more of a YA feel to it, the younger characters of the ice dragon riding school of battle and the wizarding school. I don't know if I want to make it schools necessarily, it might limit you too much. And that's kind of been done too. But I do think the ice dragons are going to figure largely in it. Oh, and I don't know, there's a plot point I probably shouldn't give away, but my mother's full name was Willa Dee Maltby. She writes under Dee Maltby and there is a character, a very magical character named Willa that shows up in this book eight. So I think Willa will be a big character going forward and the younger generation of women and some boys too. I like boys, I do. Jonathan: Well, I suppose if people want to know more, they will have to read and find out. Hollis: Yes. And please go to the website is deemaltbyauthor.com and everything you want to know (well, maybe not everything), but everything you can know for now is there. Jonathan: Well, I was going to ask you what you would say was the most rewarding things about publishing the books, but I think you covered that pretty well. On the flip side, what was the biggest unexpected challenge in publishing them? Hollis: The PR is hard. You seem to be great at it. I even did PR professionally to work my way through undergrad and then in between grad school and undergrad and after I graduated and I had an assistantship in it at my university. But the book world specifically is a whole different kind of PR and learning Amazon ads and Facebook ads and it's a lot. It's a lot. And again, you have been so helpful with it. And I mean, there are a lot of online resources out there too, which is great. But what I'm really finding, trying to do it part-time is overwhelming. You really need a full-time block of time to not only write the books, but then to publicize them the way they deserve to be publicized. Jonathan: Yeah, the tricky part is, as you said, book advertising is very different from anything else. I was talking with a guy who is an Amazon reseller for various toiletries and hygiene products and makes a good living doing that. I was telling him how much I pay per click on Amazon ads. He's just appalled. It's like, you can't make any money doing that. And then the flip side of that too is that Internet marketing is so different than any other form of PR, so it's just sort of constant challenge there. Hollis: I know, and I know I actually signed up for a TikTok account and I just don't, again at the time. Plus every time I turn it on, I'm like, I don't want to watch that. I'm allergic to the format. You'd think being an actor, being used to being on camera, I could come up easily with little things to do for the books and I probably could for TikTok. But again, just learning the platform and then applying yourself to it is just such a big time hack that I don't have that amount of time. I know that narrators are now more and more marketing themselves by recording themselves on camera narrating and putting that out there, which I can do, I guess. And that's why I got this ring light and everything. I can do that now. I haven't done anything with it, but I guess if some of the book work dries up, I'll be more motivated to do it. Jonathan: Well, that's how anything works. You try it and if you enjoy it and it works, keep doing it. And if you don't enjoy it and it doesn't work, no point in carrying on with it. Hollis: I think that's true. And you just have to keep learning too, as we know with everything. You got to keep learning new things. Jonathan: Well, this has been a very enjoyable interview and thank you for coming on the show. Hollis: My pleasure. Jonathan: Let's close out with one last question. You've obviously done a lot of theater, so what, out of all the productions you've done was the one you would say was your favorite or that you enjoyed the most? Hollis: I think I have to go back to Beatrice probably. I mean, the Alabama Shakes getting to play a man thing, that was a lot of fun. But Beatrice, we did a Wild West Much Ado about Nothing at Colorado Shakespeare. The premise was that I was the niece of Leonardo, who is the tavern keeper, the bar keeper in this Wild West world. And there was a bar fight opening this Wild West production, and I entered through a swinging tavern door with a six shooter in one hand and a bull whip in the other. And I shot the pistol and cracked the bull whip and broke up the fight and then got to do Shakespeare's incredible Beatrice and Benedict story from there. It was so much fun. Jonathan: It almost seems like the soundtrack could have been “I Shot the Sheriff.” Hollis: Yeah. Yeah, it really could. It was a heck of a lot of fun. Jonathan: Well, speaking of fun, it was good talking with you, and thank you for taking the time to be on the show. Hollis: Yeah, I am excited to start the next Cloak book soon. So I was going to offer to do a little snatch of you want the introduction for Cloak here? Jonathan: Oh, I think we'll save it for the Real Thing. Hollis: Oh, okay. All right. Well thank you, Jonathan. It's been a pleasure. Jonathan: It's been a pleasure. And see you soon for Cloak Mage #10. Hollis: Alright. So that was our interview with Hollis McCarthy. Thank you for coming on the show and giving us a very informative and entertaining interview. A reminder that the website with the Magic of Larlion books is deemaltbyauthor.com. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.

Maria chats with tv biologist and wildlife conservationist Jeff Corwin and The Brady Hunter Foundation's Josh Fox about CBS's New Saturday morning show Extraordinary World with Jeff Corwin, which premieres this Saturday January 4th! (check your local listings) The show focuses on animal welfare around the world!And is underwritten by The Brady Hunter Foundation which supports animal-rescue efforts. Give a listen and learn about the show; and don't forget to watch Saturday mornings!On CBS and Paramount+.

On this week's Love in Reality Podcast episode, I break down two returning shows. First, on Netflix, I recap season 6 of Too Hot to Handle, which featured some new twists and turns, including some returning cast to the villa. On CBS, we had the return of Big Brother 26, which will be the summer of AI, and I share my thoughts on the two-episode premiere. Support this podcast at — https://redcircle.com/love-in-reality/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Support Us Here! --> https://anchor.fm/politicana/support Hello and welcome to the Politicana Podcast, where Tyler, Prateek, and Nick keep you up-to-date on all things Politics. New episodes will be uploaded at the beginning of every week, so stay tuned and follow us on your favorite podcasting platform to be notified when new episodes are available. Please email Backofthemob@gmail.com with any comments, questions, or inquiries. -- Topics And Timestamps -- 00:45 - Marianne Williamson launches her bid for president, becoming the first Democrat to enter the primary Marianne Williamson, the self-help author and spiritual adviser launched her 2024 presidential campaign to become the first Democrat to enter the presidential cycle. 12:00 - Trump's Becomes the Knight in Shining Armor at CPAC Being the Focal Point and Winning the Straw Poll As the race for the White House begins to heat up, former President Donald Trump emerged from the Conservative Political Action Conference (CPAC) straw poll beating DeSantis by more than 40 points. The wide margin at the largest political conference potentially signals that he could win the Republican nomination for a third time. 24:15 - Trump calls for 10 Freedom Cities to be built on federal land. 36:40 - Biden launches battle on Capitol Hill with call for Medicare tax hike President Biden fired the opening shots of the battle over spending and taxes that will consume Capitol Hill this year when he proposed on Tuesday a 5 percent Medicare surtax on people who earn more than $400,000 a year. 39:00 - Biden to propose 5.2 percent federal pay increase, largest in 43 years President Biden is expected to propose a 5.2 percent raise for all federal employees in his budget set to be released Thursday — the largest increase the White House has put forward since Jimmy Carter was president. 54:45 - To Be A State or Not To Be…A Statehood Provision that Leaves its own Allies Shaking The Senate is set to vote Wednesday to overturn criminal law changes passed by the Washington, D.C., Council, a Republican-led measure that has divided Democrats and could undermine the movement for statehood. 1:02:00 - Former Maryland Governor Larry Hogan says he will not seek 2024 GOP nomination for president On CBS's Face the Nation, Former Maryland Gov. Larry Hogan said he will not seek the 2024 GOP presidential nomination. 1:03:20 - FBI chief says TikTok 'screams' of US national security concerns China's government could use TikTok to control data on millions of American users, FBI Director Christopher Wray told a U.S. Senate hearing claiming the Chinese-owned video app "screams" of security concerns. --- Support this podcast: https://podcasters.spotify.com/pod/show/politicana/support

The Rich Zeoli Show- Full Episode (02/24/2023: 3:05pm- According to the Associated Press, the United States has agreed to send an additional $2 billion in “long-term security assistance” to Ukraine. The package will include ammunition and high-tech drones. 3:15pm- During a Friday press conference marking the one-year-anniversary of Russia's invasion of Ukraine, President Volodymyr Zelenskyy warned reporters that if Ukraine is unsuccessful in defending itself against Russian predations, Vladimir Putin will order troops into NATO member states instigating World War III. 3:30pm- Eli Lake—Contributing Editor at Commentary Magazine & Host of “The Reeducation Podcast”—joins The Rich Zeoli Show to discuss his latest article at The Spectator, “America Has Too Many State Secrets.” Lake argues that the “national security state has far more secrets than it can reasonably be expected to protect.” You can read the full article at: https://thespectator.com/topic/america-has-too-many-state-secrets-classified/ 3:45pm- On Friday, the funeral for Temple University Police Officer Chris Fitzgerald was held at the Cathedral Basilica of Saints Peter and Paul. 4:05pm- Will President Joe Biden run for reelection in 2024? According to a Politico report, some Democrats are starting to suspect President Joe Biden may not run for reelection in 2024. The article explains that governors Gavin Newsom (D-CA) and Phil Murphy (D-NJ) and senators Bernie Sanders (I-VT) and Amy Klobuchar (D-MN) are all preparing to run in the event Biden “bows out.” 4:10pm- On Thursday, Transportation Secretary Pete Buttigieg visited East Palestine, Ohio—weeks after the area experienced a catastrophic train derailment that resulted in the release of toxic chemicals. While speaking to the press, Sec. Buttigieg blamed Trump-era policies for the causing the derailment. However, National Transportation Safety Board Chair Jennifer Homendy debunked that claim while appearing on CNN—explaining that “even with electronically controlled pneumatic brakes, the derailment would have occurred, the fire would have ensued, and the five vinyl chloride tank cars would still have to be vented and burned.” 4:15pm- Rich somehow weaves former President Benjamin Harrison into the conversation for the second day in a row…what are the odds? 4:20pm- While appearing on his “Verdict” podcast, Senator Ted Cruz (R-TX) asked, “what in the hell does Pete Buttigieg have to do to get fired?” Sen. Cruz listed the seemingly endless number of transportation issues the country has faced since Buttigieg was appointed to the Transportation Secretary.   4:30pm- Henry gets yelled at—which means Matt is having a great day. PLUS more Benjamin Harrison facts! 4:45pm- In his most recent Wall Street Journal, Joseph C. Sternberg argues that Europe needs to use Russian predations as a learning lesson. He writes: “disruption of the supply of energy imports from Russia is supposed to have highlighted the necessity of developing wind and solar (and now hydrogen) as a local alternative. Except that these energy sources are more costly and less stable than fossil-fuel or nuclear workhorses. They are worse for the environment once one considers the mess made while mining and refining the rare-earth minerals that go into renewable tech. And since China controls much of the global supply chain for those minerals, green energy merely replicates in Asia the form of energy dependence Europe now loudly bemoans regarding Russia.” Read the full article at: https://www.wsj.com/articles/awakened-by-ukraine-europe-wont-get-out-of-bed-energy-secuirty-russia-invasion-war-renewables-oil-1601cb50?mod=hp_opin_pos_6#cxrecs_s 5:05pm- Jimmy Failla—stand-up comedian & Fox News Radio host—joins The Rich Zeoli Show to discuss his up-coming opportunity to guest-host “Gutfeld!” on Fox News. You can hear The Best of Jimmy Failla every Saturday on 1210 WPHT. 5:25pm- According to the results of a new study, there is a correlation between respect for freedom of speech/a disinterest in “political correctness” and higher cognitive abilities. To help support the theory, Rich plays a clip of Professor Jason Johnson on MSNBC referring to the Republican party as a “front for a terrorist organization.” 5:40pm- Penguin Random House announced that children's author Roald Dahl will not have his classic books edited following widespread concerns about censorship. 5:50pm- On CBS's Face the Nation, host Margaret Brennan called out Senator Bernie Sanders (I-VT) for selling $95 tickets to a book event that, ironically, denounces capitalism. 6:05pm- Daniel Turner—Founder & Executive Director of Power the Future—joins The Rich Zeoli Show to discuss his latest article on The Daily Caller, “Radical Wind Farm Activists Blame Blue-Collar Fishermen for Whale Deaths.” You can read the article at: https://dailycaller.com/2023/02/24/radical-wind-farm-activists-blame-blue-collar-fishermen-for-wind-farm-whale-deaths/ 6:25pm- She's back! Former Congresswoman Tulsi Gabbard joins The Rich Zeoli Show to discuss reports that the United States has agreed to send an additional $2 billion in “long-term security assistance” to Ukraine—which includes ammunition and high-tech drones. Why is the Biden Administration making these decisions unilaterally?  Gabbard asks, “when are elected officials going to take a stand and fulfill their constitutional responsibilities?” The United States must stop inching closer and closer towards a direct, militaristic confrontation with Russia. 6:40pm- Gordon Chang—Columnist & Author of “The Coming Collapse of China”—to discuss reports that China is now calling for the initiation of peace talks between Russia and Ukraine. Should Chinese officials be believed when they say they're willing to negotiate a cease-fire in Ukraine?

The Rich Zeoli Show- Hour 3: Jimmy Failla—stand-up comedian & Fox News Radio host—joins The Rich Zeoli Show to discuss his up-coming opportunity to guest-host “Gutfeld!” on Fox News. You can hear The Best of Jimmy Failla every Saturday on 1210 WPHT. According to the results of a new study, there is a correlation between respect for freedom of speech/a disinterest in “political correctness” and higher cognitive abilities. To help support the theory, Rich plays a clip of Professor Jason Johnson on MSNBC referring to the Republican party as a “front for a terrorist organization.” Penguin Random House announced that children's author Roald Dahl will not have his classic books edited following widespread concerns about censorship. On CBS's Face the Nation, host Margaret Brennan called out Senator Bernie Sanders (I-VT) for selling $95 tickets to a book event that, ironically, denounces capitalism.

“The Science™” says: Inject elite athletes to save their lives. Block the Sun to save the children. Shut-down the hospitals to “flatten the curve.THE THESIS: The World's technocrats think they are gods. Their hubris is deadly and we must confront them.THE SCRIPTURE & SCRIPTURAL RESOURCES: Ezekiel 28:2“Son of man, say to the leader of Tyre, ‘Thus says the Lord God,“Because your heart is lifted upAnd you have said, ‘I am a god,I sit in the seat of godsIn the heart of the seas';Yet you are a man and not God,THE NEWS & COMMENT:The Preface . . . For 30 years, this man has been wrong about the predictions he's made in his books. Still, 60 Minutes treats him as believable. [AUDIO] - “The next few decades will be the end of the kind of civilization we're used to.” Humanity is consuming 175 percent of what the earth can regenerate. Biologist Paul Erlich says that our current way of life is unsustainable.The teaser . . .From Natural News: After DECADES of denial, corporate media admits chemtrail terraforming is happening right now to “fight climate change” . . . but, that's “just ‘Natural News' saying that . . . The focus . . . Bills safety Damar Hamlin was taken off of the field in an ambulance after collapsing mid game. Prior to 2021, Athletes collapsing on the field was NOT a normal event.Berenson: The spin is already starting. Commotio cordis? Commotio cordis is incredibly rare and happens when a ball hits a skinny 15-year-old in the chest. This is going to be a very big deal - and the media and league will do whatever they can to avoid the obvious question…More Berenson: Update on the Damar Hamlin pieceA reader pointed me to this striking 2021 paper in the European Heart Journal reporting on two cases in which rugby players suffered severe heart rhythm disturbances following blunt chest trauma. In both cases the men had histories of myocarditis which appeared to have caused or worsened the arrhythmias. In the second case, the myocarditis was undiagnosed; the player died.The authors found that the episodes could be distinguished from classic commotio cordis (trauma to the chest wall causing a sudden heart rhythm crisis) by underlying myocardial scarring. They concluded that the aftereffects of myocarditis raise “the risk of lethal ventricular arrhythmias following blunt chest trauma.”1,616 Athlete Cardiac Arrests, Serious Issues, 1,114 of Them Dead, Since COVID Injection[AUDIO] - Holy smokes… Dr. McCullough claims 1,598 suffered cardiac arrest since vaccination compared to 1,101 in prior 38 YEARS…From Died Suddenly on Twitter: BBC News reached out for comment from #DiedSuddenly Tonight. Here was our response. We've also included the archive of evidence that the media is trying to gaslight you into ignoring. Never let them tell you what you're seeing isn't real. Here's the database they sent the BBC: https://airtable.com/shrbaT4x8LG8EbvVG/tbl7xKsSUIOPAa7MxIt's not just athletes . . . ‘Died Suddenly'? More Than 1-in-4 Think Someone They Know Died From COVID-19 VaccinesLawmakers in other countries are beginning to tell the truth! [AUDIO] - 'This is the time to draw a line in the sand... Common sense tells you there's something not right about all of this.' Andrew Bridgen MP joins Mark Dolan to discuss why he's calling on the Government to suspend the rollout of the Covid-19 vaccines.. . . and the ruin the technocrats laid on the “healthcare” system is having the easily predictable outcome. [AUDIO] - Dr Tim Cooksley tells Sky News that the NHS is under the most pressure it has ever experienced, including during the peak of the COVID pandemic.[AUDIO] - Royal College of Emergency Medicine, Ian Higgison: An emergency medicine spokesperson tells Sky News that pressures on emergency services are so great that effective treatment is not possible.”[AUDIO] - France… Doctors throw down their stethoscopes in protest of a failed health system… this is a global problem from not treating patients during covid. Now hospitals worldwide can not cope with the backlogWhich brings us back to these two stories. This man hates human life. Just like so many other technocrats, we is saying that either we need “five earths” or we need to see 7.5 billion people die. On CBS "60 Minutes" w/ @ScottPelley last night, @PaulREhrlich claimed a) humans are causing a "sixth mass extinction" & b) that it would require "five Earths" for all humans to enjoy a Western standard of living. Both claims are totally & utterly false.This company has decided God was wrong when he said “Let there be light.” From MIT Tech Review: A startup says it's begun releasing particles into the atmosphere, in an effort to tweak the climate; Make Sunsets is already attempting to earn revenue for geoengineering, a move likely to provoke widespread criticism.

Before his appearance on 60 Minutes Sunday night, President Joe Biden had not given a sit-down interview with an American journalist for seven months. It's easy to see why. On CBS, the president, who was known as a "gaffe machine" when he was a much younger man, kept up his tradition of saying something startling, weird, or newsworthy — and, sometimes, true.

C.J. Navas comenta el nombre de la Serie de la serie de El Señor de Los Anillos de Amazon, Los Anillos del Poder, las renovaciones y fechas de estrenos de las diferentes series de Star Trek, el gafe de Kyle Killen y muchas noticias más en su repaso diario al mundo de las series de televisiónTodos los enlaces disponibles en fueradeseries.comPATROCINADOR:- Realiza tus compras en Amazon desde amazon.fueradeseries.com. A ti te costará lo mismo y a nosotros nos estarás ayudando.SHOWNOTES:Follow Up:- Iñigo en el Grupo de Telegram (telegram.me/fueradeseries): Cuando comentas los estrenos de hoy, dices que 'Un Hombre de Honor' es una adaptación inglesa de la serie israelí original. Pero la que estrenan hoy es la adaptación francesa, creo

On CBS, Stephen Colbert hosted actor Bradley Whitford as he uncorkied cockeyed conspiracy theories like if the Congress doesn't pass HR1, they'll meet it in "internment camps." Negotiating with Republicans is like negotiating with terrorists. Who's the conspiracy kook now?

Trump's last-minute pardons include Bannon and scores of others (73 pardons and 70 sentences commuted). MyPillow CEO says Bed Bath & Beyond, Kohl's stopped selling its products. Trump's Census Director Steven Dillingham To Quit After Trying To Rush Out 'Indefensible' Report. Trump Pardons Lil Wayne, Kodak Black, and Kwame Kilpatrick. Jazmine Sullivan To Sing The National Anthem At Super Bowl LV + H.E.R. Will Sing ‘America The Beautiful’. Courtney Black’s Facts: Baby Cousin Dyymon Whipper-Young Breaks World Record. History Made At Super Bowl 55 On CBS. Super Bowl 55 Predictions. Tiger Has 5th Back Surgery. Mets Fire New GM After Reports Of Him Texting An Unwanted ERECT DONG Shot To Reporter. Kelly Loeffler On Verge Of Selling WNBA Team.  

HE IS A GRAMMY® AND EMMY AWARD-WINNING SINGER AND ACTOR. HIM AND HIS DAUGHTER HOSTS “UNITED WE SING: A GRAMMY® TRIBUTE TO THE UNSUNG HEROES,” TO BE BROADCAST SUNDAY, JUNE 21 ON CBS.

Host James Lott Jr comments on the latest development On CBS' The Young and the Restless of the characters of Traci Abbott and Cane!

Show Summary: (Full Transcript Below) ROY SAMUELSON is one of Hollywood’s leading voiceover talents in film and television. Currently Roy is leading the way in the area of DESCRIPTIVE NARRATION / AUDIO DESCRIPTION, an aspect of television and filmmaking that allows Blind/Visually Impaired viewers to get audio description during a show without interruption and fills in the void as the action is not always obvious. For example, the movie Castaway is nearly silent during the first half of the movie.  This is where Roy steps in with his descriptions. Roy Samuelson is a professional Audio Describer for some of the latest Hollywood productions. Movies like First Man, Venom, Jurassic World: Fallen Kingdom, Spiderman: Homecoming, Jason Bourne, The Magnificent Seven, Get Out, Skyscraper, Atomic Blonde and television shows like Lethal Weapon, NCIS, Blue Bloods and Criminal Minds.   Join Roy and Jeff in the Blind Abilities Studio and find out how Roy got involved in Audio Description and how his voice makes it to your TV and Movie Screens across the world.   Contact: You can Follow Roy on Twitter @RoySamuelsonand be sure to check out his latest works and send in some feedback. Roy is always happy to hear from you.   Thank you for listening! You can follow us on Twitter @BlindAbilities On the web at www.BlindAbilities.com Send us an email Get the Free Blind Abilities Appon the App Store. Full Transcript: Audio Describer and Voice Artist for Hollywood Movies and TV Shows: Meet Roy Samuelson Jeff Thompson: Blind Abilities welcomes Roy Samuelson, one of Hollywood's leading voiceover, audio description, and voice narrative artists. Jeff Thompson: A sharp dressed man steps from the train, pulls out a cane, and proceeds to go towards a building. Jeff Thompson: Including films First Man, Venom, Jurassic World, Spiderman: Homecoming, Jason Bourne, The Magnificent Seven, and TV shows Criminal Minds, CIS, Blue Bloods, and Lethal Weapon. Jeff Thompson: He enters a door where the sign says Blind Abilities Studios. A young lady looks up from the desk. Speaker 2: Good morning. Jeff Thompson: Good morning. Speaker 2: You've got Roy Samuelson, Studio Three. Jeff Thompson: Okay, thanks. I'm going in. Speaker 2: All right. Blind Abilities Studios. Uh-huh. Jeff Thompson: He proceeds down a hallway. He stops at a door and reads the Braille. It's door number three. He enters and sits comfortably in his chair, reaches over, flicks a few switches, pulls his boom microphone down. He pulls on his headphones, and then reaches for the big red switch and flicks it up. From the hallway, the sign above the door now glows brightly, On The Air. Jeff Thompson: Welcome to Blind Abilities. I'm Jeff Thompson, and today in the studio, we have Roy Samuelson, who is out in Hollywood leading the way in voiceover, audio description, and descriptive narrative. How are you doing, Roy? Roy Samuelson: Hey, I'm doing great, Jeff. It's good to be on your show. Jeff Thompson: Well, thank you very much. I'm sure our listeners are excited to hear from someone who does voiceover, audio description for movies and television shows. Roy Samuelson: Yeah, I'm really passionate about it. This is really wonderful work. I really, I like it a lot, and I'm going to stop using the word really. Jeff Thompson: Now you've got me thinking about it. I'll probably be using it. Let's first tell the people what kind of movies you have been doing and television shows. Roy Samuelson: Oh sure. There's a few series that are on right now. On CBS, there's NCIS and Criminal Minds, and on Fox, I'm doing description for Lethal Weapon. Jeff Thompson: Oh, you're busy. Roy Samuelson: Yeah, it's a great season this year. There's a bunch of movies and there's another one that's coming out next month, and right now there's two movies that are out in the theaters, and they're really fun on the descriptive narration side. Jeff Thompson: Yeah, I saw the likes of, what was it, Spiderman? Roy Samuelson: That's right. Yeah, the more recent one. I was on Spiderman: Homecoming. Jeff Thompson: Wow. You even did Jurassic World. Roy Samuelson: Yeah, the most recent one, mm-hmm (affirmative). Jeff Thompson: So what do you do in your spare time? Roy Samuelson: That's a great question. The things that I love about audio description have kind of started to spill into my own personal life. Some of the connections that I'm making through social media are turning out I'm getting some more friends on that side, so it's been fun to correspond with them and some people that have been listening to audio description. As far as other things, I really enjoy hanging out with friends. There's nothing like a night out, cooking some dinner at home, and having some fun, laughs, and conversations. I'm pretty low key when it comes to that. Jeff Thompson: Yeah. Well, when it comes to audio description, there's so many different areas that people can receive their movies or television shows now that some people are cutting the cables and all that or in theaters, and now they're starting to hear your voice. What got you into giving audio description to movies? Roy Samuelson: That was a long ... I can trace it backwards. I can say from where I'm at now, I can look back and say all these steps led back to one person who introduced me to someone who introduced me to someone, and I did an audition, and I'm hesitating, because it's hard to say how it exactly happened. I think a whole bunch of things happened to come together at the right point and at the right time, and a lot of the work that I do in voiceover has certainly carried over into what I do with audio description, so I think I was kind of ready for it. Jeff Thompson: So you took to the microphone. Roy Samuelson: Yeah. My first paid job was down at Walt Disney World for the Great Movie Ride, which is no longer around, but they had a gangster take over the ride, and the ride was maybe 60 people looking at different movie scenes kind of going through the movies on a ride, so with all the distractions going on, I was on mic as a gangster, so trying to figure out what's the best way to say what I needed to say, but not get in the way of what the audience members are trying to appreciate, but still getting the message across. The more that I thought about the comparison between audio description and that first job, there's so many overlaps. It's really amazing to think about it that way. Jeff Thompson: Oh yeah. That was one of the questions I was going to ask is how do you find the space? Like you were just saying, that gap, that space, that little pocket where you can describe something without taking away from the audio itself. Roy Samuelson: That's a great question. There's a script that's given to me. I don't write it. There's some really talented describers who look at the movie sometimes four or five times or even a TV show, and what they do is use a special program that gives me the words that I say as a narrator in between audio cues and between dialogue, sometimes in between visual cues. They give me a script with any one of those things, whether it's a time code where I'm looking at a screen that shows kind of like a timer countdown or a stop watch that shows all the time code, and that time code is a cue for me to say the next line. And sometimes they'll say this line needs to be brisk. You'll hear narrators talk a little faster than they normally do just to try to get it in. Jeff Thompson: Oh yeah. You have to nail it between those two points. Roy Samuelson: Yeah. Jeff Thompson: And so by doing that, you do that in your own studio? Roy Samuelson: For the jobs that I mentioned, those are done at a studio. I guess it is possible that I could remotely do it. However, there's a few things that it's kind of to my advantage to do it in studio. First of all is having the time there at the office. I get to interact with the people there. It's not just going in and doing the job. I'm not socializing and hanging out at the water cooler, but a friendly hello to someone, these are the people that I work with, and that's pretty special. The other thing is there's a lot of legal requirements. I think with the internet, it's easy for things like content to get lost in the internet and get into some hands that might not use it for the intentions needed, not that I'd do it, but the studios as well as the networks are pretty protective of their content. Jeff Thompson: Plus they're pretty much isolated there. You've got all the equipment, the room, the booth, there you go. You're at work and you don't have the phone going off or someone knocking at the door at home. Roy Samuelson: Yeah, exactly. It's very focused. People talk about being in the flow, and I appreciate that so much, being able to go in and do my job while experiencing the movie, and it taps a lot of really good synapses in my brain. Jeff Thompson: So I have a question, and this is kind of personal for me, I guess, but I'm sure listeners might be curious too. As you're taking in the script and the movie, you are a narrator. You do a narrative to it, the audio description, but do you, like you said, you get brisk or do you go with the flow of the movie? Roy Samuelson: Yeah. I'm given the script, and then two minutes later we start recording, so there's no time to really look at what is about to happen, so it is ice cold. I can watch a trailer for a movie ahead of time or some of the series that I'm on, I get a sense of what the characters are and the kinds of things that they would normally do, but when it comes to ... let me make sure I'm answering your question correctly too. Roy Samuelson: I think when I'm doing the narration, my goal is to not be the spotlight. I don't want people who listen to audio description think, oh wow, that narrator sounded so good. If anyone thinks that, I'm not doing a good job because the attention should be on the storyline, the content that I'm sharing, whether it's the TV show or the movie. I don't want to get in the way of that. I think I want to enhance it. I don't want it to be all about me, so I try really hard to be within the tone or the genre of the film or TV show, and as that changes try to go with it so that it's not jarring or unexpected. Jeff Thompson: Oh, that makes sense. Now that I think about listening back to movies, the narrative or the audio description just wants to fill in those gaps, so you get the script and you hit the marks. Roy Samuelson: Yeah. I want to be part of the story. I don't want to be the story. Jeff Thompson: So Roy, when you're doing voiceover and work like that, did you see yourself doing audio description some day? Roy Samuelson: Maybe five or 10 years ago, I was unaware it existed. There are so many great opportunities for voiceover. There's narration for instructional videos. There's what they call voice of God where at a special event someone announces someone who's next on the stage. There's commercials, promos, all sorts of experiences, and I've done my best to enjoy those, but when I found out about descriptive narration, I've never felt so laser focused. Everything about it just rang so true to me in my experience and what I was excited about. Jeff Thompson: So what is it that you found in your voice that made you a talent? I mean, I don't know if that sounds bad or something like, but someone must have recognized something that you got the voice for doing what you're doing. Roy Samuelson: I can't speak to how I get chosen, but I will say that prior to doing descriptive narration, I spent about 10 years almost every week going to a script writing group as an actor. In this group, it was a really special group of maybe about two dozen writers, and they would bring in 25 pages of their script, and these are all produced writers, so the quality was really high. As an actor, I would go in and we'd been given a script ice cold, and I'd read 25 pages of it, and afterward the feedback would be given to the writer and not the actor. Roy Samuelson: My experience with that was the first few times I was like, oh, I need to do the best I can. I need to be an actor, and then I realized that the story was what people were focused on, so what I tried to do was when I was doing my acting, I was still acting, but I was trying to bring the story into it because I saw that that's what the writers were focused on, and I think that the combination of ... how many hundreds of times of doing scripts through the years every week, there definitely was a skill of cold reading, there was the attention to the story, the writing ... I'm sorry, I keep talking about the story, I get so excited about, story, story, story, but with all these things, I think it kind of paved the way for a nice foundation so that when the opportunity came to do descriptive narration, there's definitely a lot of nuance. There's still a lot of things that I needed to learn, but I really took to it pretty quickly. Jeff Thompson: Well, that's great because the blindness community really appreciates all the audio description that they are employing today in today's movies. It's getting to the point like when there's not one, it's like hey, hey. Roy Samuelson: Oh, that's great to hear. I saw on some website, I posted on Twitter the link, I can't recall the exact address, but I think there's 2200 titles available right now for audio description, and that's just unique descriptions. That's not overlaps. I thought wow, that's great, let's keep that number going up. Jeff Thompson: Oh yeah. I hope it does keep going up, especially with all these rules about the ADA and making things accessible, and it just shows that a Hollywood production that puts out a movie and takes the extra measure to put in the audio description, it just is more inclusive. It just makes people feel like hey, we matter, and I really appreciate what you're doing to bring that to light. Roy Samuelson: Ah, thanks for saying so. It's been great to be a part of that. The studios and the networks and even the streaming services are aware that yeah, this is audience. It's in everybody's ... it's such a win-win-win situation that I can't stand it. Everybody wins. Jeff Thompson: So Roy, if a movie's coming out, how soon do you get notified about working on the movie for the audio description piece, and when you're done with it, how soon does the movie get released after that? Roy Samuelson: Ah, great questions. My experience is pretty limited, so they give me sometimes a week's notice, sometimes a day or two's notice for a film that's coming out. It's usually about maybe three to five days. We set aside a day for it. It usually takes about maybe ... I can do a movie in about four hours. Sometimes it takes the full day depending on how they need to do it, and then once I'm done with it, it's pretty close to release date. The audio description is one of the last things to get done in post-production sound. Everything else is pretty much locked as far as the picture's locked and the sound is pretty much locked. Everything is kind of good to go to the theater, and then audio description is a special track that kind of lives above and beyond the whole movie. For my work to match up with what they do, as far as the dominoes falling, I think audio description has to be one of the last. And I guess the second part of your question, a movie can come out sometimes within a week of the work I do- Jeff Thompson: Oh, really? Roy Samuelson: And sometimes a few weeks to a month. Jeff Thompson: So you're one of the last guys on that assembly line. Roy Samuelson: Yeah, and they do take it seriously. The quality control, at least the company I work for, and I'm sure all the other companies, they really do take it seriously. They want to make sure all the characters are consistent and that there's not mistakes in the story. They genuinely care about what they're doing. Jeff Thompson: Oh, that's great, and who would have thought that 10 years of cold reading scripts and something of passion that you love to do, obviously you did it for 10 years, would lend into doing something like this? Roy Samuelson: Isn't it funny? I think about other people that have talked about the things that they've I'm going to say invested in for the joy of doing it. I had no intention of oh, I'm going to spend the next 10 years working on this so that I could be an audio descriptive narrator. It did happen in parallel in some ways, but for the most part, it's great to see how that seems pretty common with a lot of different businesses. I really like looking at that. Jeff Thompson: Well, it's really nice when you have a passion for doing something and then all of a sudden, it just leads into something else that someone wants you to do, and you find yourself doing it, and who would have thought? Roy Samuelson: Yeah, yeah. I think, if I could jump on that a little bit, Jeff, there's an openness, almost like a growth mindset that I think comes along. I do my best to keep a growth mindset as opposed to a fixed mindset. I think if I had the fixed mindset, I'd think oh no, I need to make sure I stay focused on just one thing, and when some opportunity like audio description would come up, I'd think oh no, that's outside of my wheelhouse. I've never done that before. I don't know enough about it. I haven't heard about that, so it could almost be dismissed, and here's this great opportunity that can come up, and I use this example. I'm kind of digging my own pit here and my point. I think what my point is that having an almost curious eye and looking at things maybe not necessarily from the most familiar way, seeing things a little differently can open up a whole bunch of new opportunities. Jeff Thompson: Mm-hmm (affirmative). Well, that's great. So I'm curious. Since your tool is the microphone and your voice, do you have your own microphone, your own recording, or a preference? Roy Samuelson: Oh yeah. I've got a whole studio set up in my house. It's called a Whisper Room, just basically a four foot by six foot building, and it's moved along with me a few times. Inside there, there's one side where I can sit down and I do audiobooks on that, because those are usually long form, and then the other side is a stand-up thing, so I've got the mic almost coming from the ceiling, and I read along either auditions on an iPad or if I need to call in for a project that I'm recording remotely, I can do an ISDN connection or even a file, FTP upload. It kind of gives me the freedom to stand and kind of play around with moving my arms around and kind of get into the story a little bit more. Jeff Thompson: Oh, I suppose, especially with the audiobook, yeah. Roy Samuelson: Yeah, mm-hmm (affirmative). Jeff Thompson: So what's your go-to microphone? Roy Samuelson: You know, at the studio where I work, they have a Neumann, and it's one of those condenser microphones. I think it's the 102. I'm trying to think. I'm pretty sure it's the ... anyway, it's a nice Neumann. Jeff Thompson: Typical thousand dollar-plus Neumann. Roy Samuelson: Yeah, and then for my home studio, I really like the Bluebird by Blue. It's just got a nice, for my purposes for auditioning, it's got a nice kind of warm open sound, and yeah, I still get a lot of sibilance though, so I have to kind of process that out a little bit. Jeff Thompson: Now when you say sibilance, can you tell our listeners what that is? Roy Samuelson: Sure. Sometimes S's can come across really hard. It's almost like the microphone is picking up a little too much on the letter S. It just makes it- Jeff Thompson: Kind of like that whistle sound. Roy Samuelson: Yeah, and the microphone just loves it, and it's like a magnet. It just sucks it right up, and so it makes it a lot louder and the experience on mic is a little too much, so that's one example of sibilance. Jeff Thompson: Yeah. Well, that's great. Yeah, the Whisper Room. I've got to remember to use that. I've got to tell my wife about making myself a Whisper Room. Roy Samuelson: Yeah, it's a brand from, if it's not Kentucky, I think it's Tennessee. They specialize in that for a lot of musicians and such, but there's other kinds of quiet rooms and all sorts of, especially in Los Angeles, a lot of voiceover actors like to have custom-made ones. Jeff Thompson: Oh yeah, I follow the Booth Junkie, and he's always building his little booth and going inside it and coming out. So the Whisper Room, you can actually break that down and move it with you. Roy Samuelson: Yeah, and there was one time, Jeff, I did it myself, and I probably need to remember to have a friend come along. That's definitely not a one-person job. Jeff Thompson: So Roy, with all the work that the studios are doing to make audio description available to them, what suggestions would you have for our listeners that appreciate the audio description that they're receiving? Roy Samuelson: Yeah, so a lot of the studios and the networks, they've got so many things on their plate. They're advertising, they're trying to put things together. It's easier for them to not gloss over, but kind of, I guess the best thing to say is if you're watching movies and TV shows and you appreciate the audio description, let the studios know and let the networks know and let the streaming services know that this is something that's really valuable, and that you want more of, and I think that kind of message will help everybody out. It gives more content to viewers who appreciate audio description. Roy Samuelson: In Los Angeles, we get a lot of traffic, and audio description is great for commuters who want to catch up on their TV shows or enjoy a movie when they're trying to fight traffic on the 405. It is kind of like an audiobook that's fully produced, so by trying to get commuters into the audio description game, that can only help audience members who also appreciate it for audio description. It's kind of a win-win for everybody, but I really think letting the studios and the networks and streaming services know how much this service is appreciated and liked, that helps everybody. Jeff Thompson: Oh, for sure, for sure. It's available to us. We use Comcast, and we have that on our phones, and it has audio description so my wife can use her phone to watch a TV show, but she has audio description so she considers it watching TV, and it's like a book like you said. Roy Samuelson: Yeah. Oh, very good, and that's the Comcast cable? Jeff Thompson: Yeah, Xfinity, Prime Video. There's [crosstalk 00:18:43]. Roy Samuelson: Oh, excuse me for the product placement there. Jeff Thompson: No, it's great. I like people to know that because it's available and it's working, and just turn it on, but everybody's a different individual here, and some people like a lot of description, some people like a little, but it's getting better, and as you said, there's what, over 2000 available titles out there with audio description. Roy Samuelson: Yeah, and that's just based on that one website I found, and who knows. There's probably some other options there too. Good to know. Jeff Thompson: You mentioned earlier when we were talking, I think this was before we started recording, your mother went to a show, a movie that just came out, and was trying to use the audio description in the theater. Roy Samuelson: Oh yeah, and it turned out great. The manager gave her and her guests a movie credit for it, but the opportunity for her was to try out the headset for audio description at the movie, and it just so happened that that morning there was an electrical glitch in the theater, so all the power went out and turned back on, and that audio description somehow got reset, and it was important for her to step out and let a manager know, but she was enjoying the movie and she didn't want to stop and interrupt her experience, but as theaters get more and more accessible, particularly with audio description, the more they understand how the ropes work, so to speak. Jeff Thompson: Yeah. It's kind of interesting that she wanted to hear her son. Not too many people get- Roy Samuelson: [inaudible] there. Jeff Thompson: Yeah, not too many people get that opportunity, but that's great. Roy Samuelson: So hopefully the next time she goes to the theater, she'll be able to hear it. Jeff Thompson: Well, that happens with technology, especially when you have like theaters that the workers are going to college or doing other things and stuff like that, and they have this device, and when they work, they work great. It's getting more and more available to people. I love that the entertainment industry is making audio description more available to people and I really want to thank you for what you're doing, creating the voice that people are listening to without interrupting the show. Roy Samuelson: Well, that's the goal, and I always strive for that. Thanks for saying so. Jeff Thompson: Sometimes being in the background is just as important as being in the limelight. Roy Samuelson: Yeah, it's definitely ... I feel like part of the team. Jeff Thompson: Well, great. I want to thank you for what you're doing and for taking the time and coming on the Blind Abilities and sharing this with our listeners. Roy Samuelson: Jeff, it's a real pleasure talking with you. Thanks for having me on. Jeff Thompson: You bet. Jeff Thompson: It was really nice to learn from Roy Samuelson what he does, how he does it, and his interest in it, and he's really motivated. Like he said, contact the studios that are putting out audio description. If you like it, let them know. Let's give them feedback, and you can follow Roy on Twitter  @RoySamuelson. That's R-O-Y-S-A-M-U-E-L-S-O-N on Twitter. Jeff Thompson: So as always, thank you for listening. We hope you enjoyed, and until next time, bye-bye. Jeff Thompson: Jeff removes his headphones, turns off his mixer, pushes his boom microphone up towards the ceiling. He sits back in his studio chair, looking satisfied. He reaches towards the red switch and flicks it down. The On the Air sign outside Studio Three fades to black. [Music]  [Transition noise]  -When we share -What we see -Through each other's eyes... [Multiple voices overlapping, in unison, to form a single sentence] ...We can then begin to bridge the gap between the limited expectations, and the realities of Blind Abilities. Jeff Thompson: For more podcasts with the blindness perspective, check us out on the web at www.blindabilities.com, on Twitter at Blind Abilities. Download our app from the App Store, Blind Abilities. That's two words. Or send us an email at info@blindabilities.com. Thanks for listening.

Check out 90 Day Live this Sunday on TLC! I’ll be on with Michelle Collins from Sirius Radio & Fresh Batch Podcast and other super fans & recappers. Don’t miss it right after 90 Day Fiance airs. LIVE TV!! This week in RealiTV, TLC’s 90 Day Fiance (0:00) brings all the boys to the yard. Actually, it just brings David to his sister’s rental to ask for money. BINGO! Molly cleans out Luis’s hoard while Nicole makes herself at home at Azan’s house. It won’t be for long if Robbalee can stop the wedding! Pedro doesn’t do himself many favors this week, but neither does River or Thirsty. #DehydrationStation. On CBS’s big summer hit Big Brother (31:00), Jodie dares to understand the game. As a BB virgin, the game is complex but the players’ personalities aren’t. Find out who Jodie cannot stand the most & help her figure out this game, please!    Leave a 5 Star Review on iTunes & Fi [...]

Interview with Actor JQ Cole - Seen in the tv show S.W.A.T. On CBS , Safe Auto commercial, Sexless on Black & Sexy TV, Scott's Lookalikes (Denzel Episode) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/the419grind/message

Starling Tribune - Season 5 Edition – The Recruits (A CW Network Arrow Television Show Fan Podcast)   The Official Arrow Podcast of the Gonna Geek Network   Episode:               “The Recruits” [Season 5  Episode 2] Air Date:              Wednesday, October 12, 2016 Director:              James Bamford                 http://www.imdb.com/name/nm0051466/?ref_=tt_ov_dr                 The stunt coordinator turned director | 5x Arrow - last season's “Brotherhood” and “Code of Silence,” last week's “Legacy” and is slated to direct episode 5.8                 Writers:                Speed Weed                 http://www.imdb.com/name/nm2373535/?ref_=ttfc_fc_wr4 5x Arrow | 7x Haven | 23x Arrow - co-executive producer   Beth Schwartz                 http://www.imdb.com/name/nm2584087/?ref_=ttfc_fc_wr5   18x Arrow | 2x Legends of Tomorrow | 23x Arrow - co-executive producer Promo: https://www.comicbookmovie.com/dc_tv/arrow/the-emerald-archer-assembles-a-new-team-in-the-promo-for-arrow-season-a145727   Weekly Ratings   Episode # / Episode Title / Episode Air / Date  / Rating 01 Legacy 5-Oct-16 1.89 02 The Recruits 5-Oct-16 1.94 03 A Matter Of Trust 5-Oct-16 04 Penance 5-Oct-16 05 Human Target 2-Nov-16 06 So It Begins TBA 07 Vigilante TBA 08 TBA TBA 09 What We Leave Behind TBA   Part 1: The Plot, Themes and Characters What was the overall theme for this episode / What was the link to the ep. name Ollie building team; Ollie becomes Bratva Fight scenes & Stunts: Share your thoughts RIng the bell fights are brutal, great choice for Bam Bam to direct Church v. Ollie - round 2 Flashbacks: Share your thoughts Brutal, just brutal Ollie: Protecting himself from being left again Actually does some work as Mayor “I have failed these recruits as a leader” Finally listens to Felicity for the right reasons Decides to form team Honor legacy of father Been 10 years for him - 5 for us Diggle Getting setup bad. Who will save him Finds peace being told what to do - chain of command Genesis day effect - illegal nuke tech tied to Genesis Day Moment in this week's episode of Flash revealed impact of Flashpoint on Diggle Thea Super competent as chief of staff Still not missing the hero life at all Gets through to Lance - offers him Deputy Mayor job (Michelle called it!) Felicity Gives Ollie the lectures he needs Lies to new BF - like Ollie had to do to her in season 1 Starts to feel guilty when she hears Ragman's story Lance Still drinking - late for security work at clinic event Offered job by Thea Interesting moments with Thea Curtis Tries the salmon ladder - not successful Gives Ollie the “we need to trust and respect you” speech Wild Dog Doesn't like code name Says Arrow won't be the boss of him Disobeys order to not engage - gets piece of rag; “evidence” Ragman After Amertek because their tech built nuke - Genesis Day Chooses to help Ollie over vengeance Decides to join Ollie after “Honor fathers” speech Tobias Church Has $100 million to buy weapons from Amertek Stops man from helping Amertek boss - to save him money Prometheus Gets the jump on Tobias Church - the Arrow is mine! Reveals name   CURRENT EPISODE DC EASTER EGGS & POP CULTURE REFERENCES   Season Episode  “The Recruits” (Date: 12  Oct 2016) Article: http://comicbook.com/2016/10/13/arrow-5-things-you-might-have-missed-in-the-recruits/    Return of the salmon ladder - Curtis is shown attempting the salmon ladder, and the salmon ladder is an actual thing and not created for the show Amertek -Even before they were the manufacturers of the Genesis Day missiles, Amertek were pretty sketchy characters. Amertek Industries is a weapons manufacturer, tech conglomerate and defense contractor arguably best known for their biggest gun (literally and figuratively), the "Toastmaster" BG-80. Designed by John Henry Irons, their brutality turned him off of weapons-making and he left Amertek to go into hiding, taking on the name Henry Johnson. The guns would later make their way into the hands of street gangs in Metropolis and Washington, DC. Seeing his weapons on the streets, coupled with the then-recent death of his idol Superman, led Irons to take on the armored superhero identity of Steel. Ragman - In the show, Ragman's family was killed when the missile hit Havenrock. In the comics, Ragman is a Gotham-based vigilante who wears the mystical Suit of Souls, from which his powers come. Created by Robert Kanigher and Joe Kubert, Ragman has a bit of a Ghost Rider thing going on, with the costume allowing him to take the souls of the guilty -- except that in the case of Ragman, he can summon their abilities later in battle. By being used in this way, the evil can actually earn redemption and passage to Heaven.   ARROW NEWS:   Supergirl and Arrow Boss Says Ollie and Kara won't get along (Date: 11 Oct 2016) As per Andrew Kreisberg regarding the crossover “Part of Oliver's [Stephen Amell] journey in those episodes is he's kind of hit his breaking point for things he's willing to accept. He's had Mirakuru soldiers, the Lazarus Pit, magic, and Damien Darhk, but flying aliens who can incinerate you with their eyes is one beyond the pale for him. He's keeping his distance, which is a very Oliver thing to do. Even Kara comments, ‘Does he not like me?' Barry's like, ‘No, that's kind of how he treats everybody.' Link: http://screencrush.com/supergirl-arrow-crossover-oliver-reaction/ Guillermo del Toro has an open invite to direct Arrow (Date: 8 Oct 2016) del Toro teamed up with Arrow executive producer Marc Guggenheim for Trollhunters, a new animated series.  Guggenheim was asked about NYCC if del Toro might appear to do an episode of Arrow.   "I'd be lying if I said I never broached the topic with him," Guggenheim says. "He's so busy and he is filming right now actually up in Toronto." "He's got a standing invitation," Guggenheim concludes.             Link: http://comicbook.com/2016/10/08/guillermo-del-toro-has-a-standing-invitation-to-arrow/ Arrow's Wild Dog to feature in DC/CW's Invasion crossover  (Date:11 Oct 2016) Rick Gonzales, who plays Wild Dog, tweeted out a picture of his mask with the Flash's mask. It was later confirmed that Wild Dog will be part of the crossover event. Link:http://www.cbr.com/arrows-wild-dog-to-feature-in-dccws-invasion-crossover/   DC TV NEWS Flash Hits a Series Low Rating (Date: 12 Oct 2016) The latest episode of The Flash, titled Paradox, hit a series low 1.0/4 in the rating share and drew in 2.75 million viewers overall. The season started off with a dip in ratings, as the premiere episode averaged a 1.2 in the demographic and drew in 3.1 million viewers, which was down from 3.6 million in its season 2 premier Link:http://comicbook.com/2016/10/12/the-flashs-paradox-episode-hits-a-series-low/ Supergirl premier rockets CW ratings to 8-year high  (Date: 11  Oct 2016) Supergirl premiere got 3 million viewers and a 1.1 18-49 demo rating. This episode is the most-watched Monday night show on the CW since a 2008 episode of “Gossip Girl.” On CBS, the season 1 finale drew in 6.1 million viewers and a 1.3 rating in the 18-49 demo Link:http://www.cbr.com/supergirl-premiere-rockets-cw-ratings-to-8-year-high/               Arrow Boss Teases Most Ambitious Crossover yet (Date: 13 Oct 2016) The arrival of the Dominators will force the Arrowverse's superheroes to team up for what Guggenheim calls their “most ambitious” crossover yet. “This year,” Guggenheim continues, “we're doing by far the most ambitious crossover we've ever done. It's basically a huge three-part story that also brings in Supergirl, so it's crossing over all four shows. It's telling one big epic movie of a story. It's not setting up any other spin-offs, it's just big, bombastic, huge action. There's also some really poignant character moments. There's a lot of plot lines, particularly I would say in Flash and Legends, that come to fruition in the crossover. It's by far the most ambitious thing we've ever attempted. I want to say it's by far one of the most ambitious things anyone in network television has ever attempted. It's completely insane.” Link:http://www.ew.com/article/2016/10/13/arrow-flash-supergirl-legends-crossover-spoilers   Supergirl will not Move into the Flarrow ‘verse (Date: 8 Oct 2016) Fans had speculated and hoped that a move to the CW might unify Supergirl with the Flarrow universe during the upcoming crossover.  Executive Producer Andrew Kreisberg explain how the jump will work saying "Not for her entire world, but Kara will be traveling from her dimension to our dimension, “our” being the world that The Flash, Arrow, and Legends lives in." Link: http://comicbook.com/2016/10/08/supergirl-will-not-be-moved-into-flash-arrow-and-legends-dimensi/ James Olson Becomes Guardian on Supergirl (Date: 12 Oct 2016) James Olsen (Mehcad Brooks) is about to make the move from faithful sidekick to kickass masked vigilante later this season on The CW'sSupergirl. Via Andrew Kresberg: “James has a pretty big turn coming up. These next few episodes are going to make him realize that being a photographer… is not enough for him, so he's going to go on a pretty exciting career trajectory that we're really pumped by. James is going to decide that he can no longer sit back and be a sidekick, so he's going to decide to become a vigilante and he's going to become Guardian — complete with the shield — which is going to cause a massive problem in his relationship with Kara [Melissa Benoist], because he has decided not to tell her. Now there's this new masked vigilante, and she has her own feelings about vigilantes, and it becomes a push and pull about who gets to decide who gets to be a hero? He's recruited Winn [Jeremy Jordan] to help him, Winn is his man in the van, so the two of them are doing this together. Winn and James together is comedy gold. Watching Winn, as he takes his job at the DEO, but then he's lying to everybody about how he's spending his nights, because he's going out with James, and how he walks in exhausted or walks in with a black eye and says he walked into a door, is the fun excitement of building these first 10 episodes.” Link: http://www.blastr.com/2016-10-12/james-olsen-become-dc-comics-vigilante-guardian-cws-supergirl Did Flashpoint create a future Legends of Tomorrow superhero? (Date: 13 Oct 2016) While Barry visited Felciity in this week's episode of The Flash, he learned that Diggle has a son now. Could this be the John Diggle, Jr. we met in the Legends episode called “Star City 2046”? Link:http://www.cbr.com/did-flashpoint-create-a-future-legends-of-tomorrow-superhero/   ARROW CAST & CREW INTERVIEWS From NYCC: Matt Ryan is Open To Returning as Constantine on Arrow (Date: 8  Oct 2016) DC was doing a panel for the upcoming Justice League Dark cartoon.  During the panel Matt Ryan was asked if he's be open to returning to Arrow.  Ryan said that this is the first time he's been free in awhile, but in this crazy ride of acting, he's learned to not rule anything out." He said that in terms of an Arrow return, he's open to it because: "I love the character." Link:http://comicbook.com/2016/10/09/nycc-matt-ryan-open-to-returning-as-constantine-on-arrow/ NEXT EPISODE   Promo for Next Week: Episode - “A Matter of Trust” (Date: 12  Oct 2016) Article:https://www.comicbookmovie.com/dc_tv/arrow/arrow-season-5-episode-3-promo-a-matter-of-trust-a145949   Episode:   “A Matter of Trust” [Season 5  Episode 3] Air Date:       Wednesday, October 19, 2016 Summary:    WRESTLING STAR CODY RHODES BRINGS THE SMACK DOWN TO STAR CITY —Now that Oliver (Stephen Amell) has his new team, they are ready to hit the streets but Oliver doesn't feel they are ready. Headstrong Wild Dog (guest star Rick Gonzalez) defies the Green Arrow's orders and sets out on his own after a new drug dealer, Derek Sampson (guest star Cody Rhodes), who is terrorizing Star City. Sampson proves more powerful than Wild Dog and it is up to the Green Arrow to go head to head with Sampson to save his teammate. Gregory Smith directed the episode written by Ben Sokolowski & Emilio Ortega Aldrich Director:       Gregory Smith Writers:         Ben Sokolowski and Emilio Ortega Aldrich IMDB: http://www.imdb.com/title/tt5584144/?ref_=ttfc_fc_tt   Join The Starling Tribune each week as we stream live on Thursday nights at 9:00 PM eastern or 8:00 PM Central at www.geeks.live. Join the fun chatroom and interact with the hosts live. Contact us: @StarlingTribune - starlingtribune@gmail.com - www.starlingtribune.com - www.facebook.com/starlingtribune - 612-888-CAVE or 612-888-2283.   Starling Tribune is proud to be a member of the GonnaGeek network found at GonnaGeek.com. For more geeky podcast visit GonnaGeek.com.   You can find us on iTunes under ''Starling Tribune." We are very thankful for all of our positive iTunes reviews. You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.starlingtribune.com   This podcast was recorded October 13th, 2016.   Thank you for listening and we hope you enjoyed the show!   Audio Production by Stargate Pioneer of GonnaGeek.com.

The moment almost none of us have been waiting for is here. Floyd Mayweather fights Andre Berto this weekend on Pay-Per-View, for way too much money, under the guise that this will be his final bout. As you can see, we're really excited about the prospect of paying $75 to watch Floyd fight a guy who lost to Jesus Soto Karass and Victor Ortiz. At least the undercard (Badou Jack vs George Groves, Roman Martinez vs Orlando Salido II, Ishe Smith vs Vanes Martirosyan) isn't laughable. Earlier Saturday on NBC, Peter Quillin fights a guy named Michael Zerafa (just go look on the internet yourself, trust us), and Cornelius Bundrage fights for the first time in about a year against Jermall Charlo. Austin Trout fights tonight (Tues) on FoxSports 1, but on Friday light heavyweight champion Adonis Stevenson continues to face sub-par opposition when he defends against Tommy Karpency on Spike, from Premier Boxing Champions. Talented welterweight Errol Spence Jr. fights in the co-feature. On CBS last Sunday from PBC, Anthony Dirrell won a ho hum decision over Marco Antonio Rubio, and in the co-feature Jamie McDonnell again defeated Tomoki Kameda by controversial decision. It's been a mediocre year, as you all know. But there's news about Scott Quigg and Nonito Donaire being nearly finalized, some pointing and laughing to do about upcoming cards... And joining James Foley of Bad Left Hook and The Fight City's Patrick Connor once again this week is Matthew Swain of The Queensberry Rules. Thanks for tuning in! (Photos: Lucas Noonan/PBC)

Dick Tracy had a long run on radio, from 1934 weekdays on NBC's New England stations to the ABC network in 1948. Bob Burlen was the first radio Tracy in 1934, and others heard in the role during the 1930s and 1940s were Barry Thompson, Ned Wever and Matt Crowley. The early shows all had 15-minute episodes. On CBS, with Sterling Products as sponsor, the serial aired four times a week from February 4, 1935 to July 11, 1935, moving to Mutual from September 30, 1935 to March 24, 1937 with Bill McClintock doing the sound effects. NBC's weekday afternoon run from January 3, 1938 to April 28, 1939 had sound effects by Keene Crockett and was sponsored by Quaker Oats, which brought Dick Tracy into primetime (Saturdays at 7pm and, briefly, Mondays at 8pm) with 30-minute episodes from April 29, 1939 to September 30, 1939. The series returned to 15-minute episodes on the ABC Blue Network from March 15, 1943 to July 16, 1948, sponsored by Tootsie Rolls, which used the music theme of "Toot Toot, Tootsie" for its 30-minute Saturday ABC series from October 6, 1945 to June 1, 1946. Sound effects on ABC were supplied by Walt McDonough and Al Finelli. Directors of the series included Mitchell Grayson, Charles Powers and Bob White. Cast members at various times included Walter Kinsella as Pat Patton, Helen Lewis as Tess Trueheart and Andy Donnelly and Jackie Kelk as Junior Tracy. Announcers were Ed Herlihy and Dan Seymour. TODAY'S SHOW: April 11, 1938. NBC network. Sponsored by: Quaker Cereals. Not auditioned. The announcer mentions that the program is "electrically transcribed." It is therefore possible that even though the series was being broadcast on NBC at this time, these might be syndicated versions, as no system cues are heard. Vernon Kyle is terrorizing the citizens of the Yukon to getting their radium ore (pitchblende). . 14:56. April 12, 1938. NBC network. Sponsored by: Quaker Cereals (Dick Tracy Club offer). Not auditioned. The system cue has been deleted. Vernon Kyle continues to terrorize the Yukon town of Pitchblende. What was the weird cry in the night? "The Purple Rider" offers to help Dick Tracy and the Mounties. As the dog teams pass through "Dead Man's Pass," Vernon Kyle causes an avalanche. . 15:01.

Dick Tracy had a long run on radio, from 1934 weekdays on NBC's New England stations to the ABC network in 1948. Bob Burlen was the first radio Tracy in 1934, and others heard in the role during the 1930s and 1940s were Barry Thompson, Ned Wever and Matt Crowley. The early shows all had 15-minute episodes. On CBS, with Sterling Products as sponsor, the serial aired four times a week from February 4, 1935 to July 11, 1935, moving to Mutual from September 30, 1935 to March 24, 1937 with Bill McClintock doing the sound effects. NBC's weekday afternoon run from January 3, 1938 to April 28, 1939 had sound effects by Keene Crockett and was sponsored by Quaker Oats, which brought Dick Tracy into primetime (Saturdays at 7pm and, briefly, Mondays at 8pm) with 30-minute episodes from April 29, 1939 to September 30, 1939. The series returned to 15-minute episodes on the ABC Blue Network from March 15, 1943 to July 16, 1948, sponsored by Tootsie Rolls, which used the music theme of "Toot Toot, Tootsie" for its 30-minute Saturday ABC series from October 6, 1945 to June 1, 1946. Sound effects on ABC were supplied by Walt McDonough and Al Finelli. Directors of the series included Mitchell Grayson, Charles Powers and Bob White. Cast members at various times included Walter Kinsella as Pat Patton, Helen Lewis as Tess Trueheart and Andy Donnelly and Jackie Kelk as Junior Tracy. Announcers were Ed Herlihy and Dan Seymour.

The Black Pearl Of Osirus (2-08-38) and Pat Goes Overboard (2-09-38) Dick Tracy had a long run on radio, from 1934 weekdays on NBC's New England stations to the ABC network in 1948. Bob Burlen was the first radio Tracy in 1934, and others heard in the role during the 1930s and 1940s were Barry Thompson, Ned Wever and Matt Crowley. The early shows all had 15-minute episodes. On CBS, with Sterling Products as sponsor, the serial aired four times a week from February 4, 1935 to July 11, 1935, moving to Mutual from September 30, 1935 to March 24, 1937 with Bill McClintock doing the sound effects. NBC's weekday afternoon run from January 3, 1938 to April 28, 1939 had sound effects by Keene Crockett and was sponsored by Quaker Oats, which brought Dick Tracy into primetime (Saturdays at 7pm and, briefly, Mondays at 8pm) with 30-minute episodes from April 29, 1939 to September 30, 1939. The series returned to 15-minute episodes on the ABC Blue Network from March 15, 1943 to July 16, 1948, sponsored by Tootsie Rolls, which used the music theme of "Toot Toot, Tootsie" for its 30-minute Saturday ABC series from October 6, 1945 to June 1, 1946. Sound effects on ABC were supplied by Walt McDonough and Al Finelli. Directors of the series included Mitchell Grayson, Charles Powers and Bob White. Cast members at various times included Walter Kinsella as Pat Patton, Helen Lewis as Tess Trueheart and Andy Donnelly and Jackie Kelk as Junior Tracy. Announcers were Ed Herlihy and Dan Seymour.

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Dick Tracy had a long run on radio, from 1934 weekdays on NBC's New England stations to the ABC network in 1948. Bob Burlen was the first radio Tracy in 1934, and others heard in the role during the 1930s and 1940s were Barry Thompson, Ned Wever and Matt Crowley. The early shows all had 15-minute episodes. On CBS, with Sterling Products as sponsor, the serial aired four times a week from February 4, 1935 to July 11, 1935, moving to Mutual from September 30, 1935 to March 24, 1937 with Bill McClintock doing the sound effects. NBC's weekday afternoon run from January 3, 1938 to April 28, 1939 had sound effects by Keene Crockett and was sponsored by Quaker Oats, which brought Dick Tracy into primetime (Saturdays at 7pm and, briefly, Mondays at 8pm) with 30-minute episodes from April 29, 1939 to September 30, 1939. The series returned to 15-minute episodes on the ABC Blue Network from March 15, 1943 to July 16, 1948, sponsored by Tootsie Rolls, which used the music theme of "Toot Toot, Tootsie" for its 30-minute Saturday ABC series from October 6, 1945 to June 1, 1946. Sound effects on ABC were supplied by Walt McDonough and Al Finelli. Directors of the series included Mitchell Grayson, Charles Powers and Bob White. Cast members at various times included Walter Kinsella as Pat Patton, Helen Lewis as Tess Trueheart and Andy Donnelly and Jackie Kelk as Junior Tracy. Announcers were Ed Herlihy and Dan Seymour.