Podcast appearances and mentions of Peyton Reed

Our exit today has us saying we've got spirit yes we do, we've got spirit how bout you? This week we are discussing Bring It On, written by Jessica Bendinger and directed by Peyton Reed. And we felt we couldn't do this leg of the Tripp alone, so we brought back one of our favorite passengers, Letterboxd's Mitchell Beaupre. Along the way, we discuss Gabrielle Union, Buffy, more Friday Night Lights, the great cinematic Nixons, Bob Fosse, the Criterion Closet, and a surprising amount of Doris Day and Rock Hudson. Plus, in previewing next week's episode, we dissect what might be the worst movie poster we've ever seen! Mitchell's conversation with Anna Kendrick. Thememusic by Jonworthymusic. Powered by RiversideFM. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CFF Films⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ with Ross and friends. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Movies We've Covered on the Show⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Letterboxd. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Movies Recommended on the Show⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Letterboxd.

BEST SHOW BESTS! In this classic clip, PEYTON REED comes to the Forever Dog studio to share some huge exciting news with Tom! (Originally Aired Wednesday, February 8th, 2023) New to the Best Show? Check out Best Show Bests, the greatest hits of The Best Show! Available every Friday on your podcast app. SUPPORT THE BEST SHOW ON PATREON! WEEKLY BONUS EPISODES & VIDEO EPISODES! https://www.patreon.com/TheBestShow WATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCH https://www.twitch.tv/bestshow4life FOLLOW THE BEST SHOW: https://twitter.com/bestshow4life https://instagram.com/bestshow4life https://tiktok.com/@bestshow4life https://www.youtube.com/bestshow4life THE BEST SHOW IS A FOREVER DOG PODCAST https://thebestshow.net https://foreverdogpodcasts.com/podcasts/the-best-show Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we're celebrating our latest milestone with McKenzie's pick of DOWN WITH LOVE (2003) as well as the news that Austin Danger Podcast is officially a part of the TAPEDECK Network! This is a great place to start if you're new to the show — join us in celebrating this podcast we absolutely love doing each week for you all (sorry in advance to Peyton Reed, you'll see why...) - Connect with us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ HQ at @austindangerpod. Send us a letter or voicemail at austindangerpodcast@gmail.com and we'll share them on our episodes. If you tag your reviews with "austindangerpod" on Letterboxd, we'll find them and also share them on the show! Follow ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Kev⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠McKenzie⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Letterboxd. Listen to Kev's other podcast, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ammonite Movie Nite⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Listen to McKenzie's other podcasts ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Criterion Connection⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ON LYNCH⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. NEXT WEEK: Mike's first big dramatic role in 54 (1998)!

In which the Mister and Monsters join me in reviewing BRING IT ON (2000), from writer Jessica Bendinger, the film is directed by Peyton Reed.   In this light-hearted high-school comedy, Torrance Shipman (Kristen Dunst) achieves her dream of becoming the Captain of her high school's championship-winning cheerleading squad. But her hopes of leading them to another championship are threatened when she uncovers the truth behind the squad's amazing routines.  The film clocks in at 1 h and 38 m, is rated PG-13 and can be found streaming on the Starz app but also to buy/rent on Prime Video. Please note there are SPOILERS in this review. #BringItOn  #JessicaBendinger  #PeytonReed  #KristenDunst  #TorranceShipman  #ElizaDushku  #Missy  #JesseBradford  #Cliff  #GabrielleUnion  #Isis  ⁠@Starz  @PrimeVideo  #FridayFamilyFilmNight         Opening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library --- Support this podcast: https://podcasters.spotify.com/pod/show/jokagoge/support

We review Bring It On (2000) on movie podcast The Collector's Cut. Bring It On is directed by Peyton Reed and stars Kirsten Dunst, Eliza Dushku, Jesse Bradford, Gabrielle Union patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight all links: https://linktr.ee/mildfuzz Audio version: https://the-collectors-cut.pinecast.co/

Diane and Sean discuss arguably the most anti-feminist feminist movie, Down with Love. Episode music is, "Here's to Love", music and lyrics by Marc Shaiman and Scott Wittman, performed by Renée Zellweger and Ewan McGregor, from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

“If I was Blipped and came back, I'd rather be dead at that point!” - Eric On this episode, we're doing our best to make our way through what could possibly be the nadir of the MCU, Ant-Man and the Wasp: Quantumania! How did they release this thing as-is with all the poorly rendered CGI? Did any of these actors actually want to be in this movie? Were they trying to wedge in a bad TV series with all these Quantum realm rebel characters? And who's excited for all these Tiny Toon Avengers to get their own movie (probably)? PLUS: Eric gets Pet Sematary'd by The Blip! Ant-Man and the Wasp: Quantumania stars Paul Rudd, Evangeline Lilly, Michael Douglas, Michelle Pfeiffer, Jonathan Majors, Kathryn Newton, Bill Murray, Katy O'Brian, William Jackson Harper, David Dastmalchian, and Corey Stoll as M.O.D.O.K. for some reason; directed by Peyton Reed. This episode is brought to you in part by Rocket Money!  Stop wasting money on things you don't use. Cancel your unwanted subscriptions by going to RocketMoney dot com slash WHM. That's RocketMoney dot com slash WHM. RocketMoney dot com slash WHM! Get your tix now for our next online digital experience where we're talking about, yikes, THE FLASH! We'll be LIVE on February 1st at 9:00pm to chat about this complete and total disaster! Be sure to bundle your ticket to get access to our post-show AFTER PARTY Q&A as well where we'll be doing another hour-ish after the show. Can't make it that night? We got you covered! The show will be available for replay for seven days after the event!  Want more WHM? Join our Patreon fam today and instantly unlock hours and hours of exclusive bonus content, including Ad-Free WHM Prime at the $8 level and up! Make the WHM Merch Store your one-stop shop for all your We Hate Movies needs! Including new Polish Decoy, ‘Jack Kirby', and Forrest the Universal Soldier designs!

Comedy writer, singer, co-host of the Las Culturistas podcast, and now Prince of Christmas, Matt Rogers is filling a musical comedy niche previously occupied by...well, no one at all. Is it possible that he got here by following his inner Torrance Shipman, aka Kirsten Dunst's character from the 2000 film Bring It On? Matt shares why the movie was important to him growing up, how he relates to it as a former high school star athlete, and how he found his way to his current Christmas throne.Then, Jordan has one quick thing about holiday horror hits.Listen to Matt's album, Have You Heard of Christmas?Matt sings with Meghann Fahey at Vulture Fest 2022Feeling Seen Merch! *** With Jordan Crucchiola and Matt Rogers

The year is 2000 and Brad Garoon and Jake Ziegler have swapped movie recommendations, resulting in wildly varying degrees of satisfaction. Jake asked Brad to watch Wonder Boys, Curtis Hanson's charming film about Michael Douglas getting a third (or perhaps fourth or fifth) chance at love (with Frances McDormand) if he can only get over his bad habits and help his misfit friends and students. Said circle of friends is played by Robert Downey Jr., Tobey Maguire, and Katie Holmes. They talk about the terrific cameos present, Douglas's rare turn as a nicer guy, and where this ranks in Downey and Maguire's filmographies. Brad then assigns Jake Bring It On, and Jake isn't happy about it. They discuss how Peyton Reed's movie fails when compared to other high school snapshots of the era, and how Gabrielle Union and Kirsten Dunst don't "bring" the level of quality we've come to expect of them. Can you guess which scene Brad thinks belongs in Tommy Wiseau's the Room? Other movies discussed in this episode: The Last Detail (1973), Wall Street (1987), Clueless (1995), Election (1999), GAEA Girls (2000), Princes and Princesses (2000), Almost Famous (2000), Keeping the Faith (2000), Shadow of the Vampire (2000), High Fidelity (2000), The Contender (2000), Memento (2000), O Brother, Where Art Thou? (2000), Best in Show (2000), Crouching Tiger, Hidden Dragon (2000), You Can Count on Me (2000), Requiem for a Dream (2000), Castaway (2000), The Emperor's New Groove (2000), Traffic (2000), Diary of a Teenage Girl (2015), The Edge of Seventeen (2016), Eighth Grade (2018), Are You There God? It's Me, Margaret (2023), Bottoms (2023).

This week we travel back to 2018 to discuss Peyton Reed, Paul Rudd and Evangeline Lilly's , Antman and the Wasp. Join us as we watch, review and rank this film! #multiverse #marvel #vibranium #mcu #blackpanther #avengers #infinitywar Follow us on Instagram https://instagram.com/multiversemonologues?utm_medium=copy_linkFollow us on Spotify for Weekly Podcast Shows! https://open.spotify.com/show/4gidMe4gtH9YhrhG7NQKlp?si=16bd4940f21b426dFollow us on Apple Podcasts for Weekly Podcast Shows! https://podcasts.apple.com/us/podcast/multiverse-monologues/id1598823220Intro theme from LEGO Marvel super heroes Outro theme is "The Book of Boba Fett (Synthwave Cover) by @Auralnauts https://youtu.be/nmBSCnKnNUE?si=MM1OjtzU868AnNYG Logo done by the fabulous @chameleo.angel on instagram. Big thank you to her. You can also check out more of her amazing art by going online to www.ArtPal.com/chameleo.

On this week's episode, Writer/Showrunner Bill Martin (The Unicorn, The Neighborhood, 3rd Rock From The Sun, and many many more) talks about his showbiz career and starting out writing in sketch comedy then eventually transitioning over to scripted. Tune in as he also talks about his experiences working with a writing partner.SHOW NOTESBill Martin's IMDB Page - https://www.imdb.com/name/nm0551979/Free Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAUTOGENERATED TRANSCRIPTBill Martin:When we got on board, we just got an overall deal with A, B, C. So we were assignable to this and we thought, this is insane. We'd love the commercials about anybody, but there's no way they're going to put on. So we thought it was just like, we'll help out a pilot, meet some new people, and then we'll do something else. It was shocking to us that they put it on tv.Michael Jamin:Oh, howBill Martin:Interesting. Because it just seems so unlikely, but with anything you do, you know how it is. Once you're given your assignment, you've got to find a way to take pride in it.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, welcome back to Screenwriters. Need to hear this. I got another great guest today Actually. Ordinarily I would never have a sitcom writer who's more successful than me on my show. I out of Insecurity, but I'm doing it today to prove that I'm more magnanimous than he is. And so welcome to the show, bill Martin, whose credits are fricking crazy good and he had so many great credits. I'm going to list some of the great credits and I'm also, maybe I'll throw in some not so great credits to humble you, to keep you humble.Bill Martin:There are plenty of,Michael Jamin:But you started in Living Color and I wanted to talk about that. I love that show. But then she tv, third Rock from the Sun, grounded for Life, and I'm skipping many. Okay, cavemen, the singles table. Hank How to Rock Malibu Country Soul Man, which I believe, I think we met on that and I think you guys beat us out with good reason.Bill Martin:That's what I'm really here for. Revenge.Michael Jamin:Yes. Right, right, right. Living Biblically. We'll talk about that. And the, the unicorn, the neighborhood, the unicorn, which you and your partner created and the neighborhood. Are you guys running that as well, neighborhood or no? We are. You are. Damn. What's it like to be welcome to the show and what's it like to be a working sitcom writer? What's it like working on a network TV show nowadays?Bill Martin:Yeah. Well, I mean, I will point out that it's fantastic and I know that because I've also been a non-working sitcom writer. Plenty. I mean, that's the awful thing about this life we've chosen is that every spring is the panic of, oh my God, am I retired? I just don't know it yet.Michael Jamin:What do you know? Brian Bihar? Do you know who he is?Bill Martin:Yes.Michael Jamin:He said me and he said to me that people in the business are retired seven years before they know it.Bill Martin:Yes.Michael Jamin:I hadn't heard that. I was like, oh God, is the clockBill Martin:Running? I knew that makes perfect sense though. Yeah, yeah.Michael Jamin:But the thing is not even about staffing season anymore now you don't even know when you're not working. You justBill Martin:True. True.Michael Jamin:So what is it like, how is it, honestly, haven't written on a network television show in many years we've been on cable or whatever, streaming. And how has it changed? How has Network changed? More notes, last notes.Bill Martin:That's the weird thing is it has not changed. I mean, we are preserved in Amber. The neighborhood is just the good old days. It's a big writer's room. It's run throughs, it's show nights. It's really almost unreal. When we took the job, we expected it to, COVID obviously jumbled everything up, but once the covid restricted to Lifted, it was like, oh, this is exactly the classic sitcom situation.Michael Jamin:See, one of my fears is that multi cameras will go away because there's so few people still doing it. I mean, do you feel that way?Bill Martin:Yeah, we keep thinking that they're done, but at the same time, people are still watching friends in Seinfeld and there still aren't that many single camera comedies that are that sticky with people. So I'm not sure that they're being given up on yet. I mean, there's pros and cons to them, but I think that kind of warmth that you only have when you're watching an audience show is something that people still crave.Michael Jamin:But I mean in terms of there's so few multi-camera shows being made now, then let's say in 10 or 15 years if they want to make more, who's going to know how to do it?Bill Martin:The breeding pool is, yeah, the breeding pool has shrunk to the point where we'll all be just inbred ligers. Yeah, you're right. Frankly, that's why I'm working because there's not a minor league for it anymore. Yeah, I know N B C and a BBC are trying them. They are developing them, but really right now it's Monday night on c b s and that's about it. So we are fully prepared to just turn off the lights when we leave and that'll be the end. ButMichael Jamin:Now tell me how you broke in, because I think your first creative was living single, I mean not living single, but living color.Bill Martin:Living color andMichael Jamin:Living, which, so there was a sketch show, which huge for the young people. I mean it, Jim Carrey and all these huge stars came out of that, which you couldn't have been imagined back then. It's one of the first shows on Fox. But how did that come to be? How did you get on that?Bill Martin:That was purely a situation where Keenan burned through writers so fast that they were always hiringMichael Jamin:Really.Bill Martin:And we got our first agent and this says 92, and she said, there's openings that in living color. There's always opening today in living color because Kena was demanding and he was hard to work for, but it was a great job. And so we went in and pitched, and I think it was kind of a conveyor belt of new writers coming in there all the time. And we actually managed to stick for the final two years of the show and not get fired, which is a very small club for people who've worked for Keenan, I think.Michael Jamin:And so you put together a sketch packet. How did you even know what to do? I wouldn't know what to do to get hired in a sketch show.Bill Martin:It was write a couple of sketches for existing characters and write a couple of sketches that are new ideas or commercial parodies or something likeMichael Jamin:That. And did any of those ever make it to air?Bill Martin:No, but I think because of how anal my partner Mike Schiff is what we came in with were very thoroughly thought out ideas. I think that's what must have impressed Keenan, was that we didn't come in pulling stuff out of our ass. We were prepared.Michael Jamin:It was such an amazing show. And then you went to she tv, which is interesting. That show was produced. I don't know if it's any interesting for anyone other than me and you, but it was produced by Tamara Rawitz who gave me my first Yes, sheBill Martin:And Tamara was also the producer of In Living Color, where she wentMichael Jamin:There. Oh, I guess I did know that. And she, TV was another sketch show, but it didn't last very long.Bill Martin:Yep. No, I don't even know if they aired all the episodes. It was a summer replacement show when that was still a thing, and it was produced by George Slaughter of Laughin Fame and it felt Laughin vintage even in the mid nineties. It felt a little like a good old fashioned throwback variety show.Michael Jamin:Interesting. Because she went on to produce the Mike and Maddie show, and so she hired me on that and then she jumped ship. I thought she was going to be a big break in, but alright. And then Third Rock on the Sun. I should make it clear we've never even worked together, but you're one of these people. I always felt like one of these days we're going to work together and just never happened. ButBill Martin:Yes. And we also have the Alschuler Krinsky Bridge between us. That's right. Weirdly, they're some of my oldest friends and I've never worked with them either.Michael Jamin:Oh, I didn't know thatBill Martin:Either it's inevitable or we're like the opposite ends of a magnet that can never work together.Michael Jamin:Yeah, right, right.Bill Martin:We'll find out.Michael Jamin:But also, yeah, Abramson Thompson, we worked with him for many years and we great guy. But alright, so then Third Rock from the Sun, another great show. Tell me a little about your experience on that.Bill Martin:Well, those days there were sketch writers and there were sitcom writers and we were sketch guys and we'd written lots of spec sitcoms. We couldn't get a job. We kept working on sketch shows and we had, after she tv, we actually did a House of Buggin in New York, the John Zamo.Michael Jamin:Right. He's great.Bill Martin:That was a blast. It was fun to work in New York, although our producer had to take a brown bag full of cash to some guy in Brooklyn so that we were allowed to film there. So we're kind of in Sketch jail. But Bonnie and Terry Turner, who created she TV then created Third Rock in the Sun. And because they'd come from Saturday Night Live and they'd written movies, they'd kind of done a lot of different things. They didn't have those expectations that you hire, sketch people for sketches and sitcom people for sitcom. So we had a great experience with them on ctv. So we were some of the first people they thought of for Third Rock. So they helped us break out of the sketch jail.Michael Jamin:And did it feel like that? Why does it feel like a sketch jail? It seems fun to me. IBill Martin:Don't know. I think it's just that it took such a specific skillset to just crank out, joke, joke, joke, parody, parody, parody. I think it was just, it may not have been a bad thing. I think it was just because there weren't a lot of people who'd had a track record with it that they were desperate to find you. Yeah, I don't really know. It wasn't fair though.Michael Jamin:I'mBill Martin:Never going back to sketch jail.Michael Jamin:Right. So you don't want to do that ever again. You don't want to write sketches again.Bill Martin:Well, I guess there aren't really any sketch shows left. The sketch shows now I think you should leave is the greatest thing I've ever seen in my life, but it doesn't need me.Michael Jamin:But you don't have, in other words, that craving, we've never done it. I was like, well, I wonder what that been like. ButBill Martin:Yeah, sometimes the idea for a fun parody, it's still hits you every so often and there's just no place for parity other than that. So yeah, I do find myself saying, oh, that's a good idea. I hope Saturday Night Live does thatMichael Jamin:BecauseBill Martin:That's kind of the last game in town,Michael Jamin:But it's a whole new skillset that you had to learn. I mean, what was that jump like to go into scripted narrative to television?Bill Martin:Actually, it was pretty easy just because that's what we set out to do when I met Mike in film school in New York, and we were just cheers fanatics. And so we had written seven or eight sitcom specs before we got that job at a leaving color. So it was all we wanted to do it just that Keller was a job we could get.Michael Jamin:Right.Bill Martin:Interesting.Michael Jamin:We worked with the Stein Kelner who ran Cheers a couple of years. Oh yeah. To me that was so exciting to be, I don't know, because I love Cheers. Cheers was everything. That's why I wanted to be a sit car writer. It was so exciting to be able work. By the way,Bill Martin:Our cheer spec, the plot of it was was a John Henry man versus Machine Cliff Klavin racing a fax machine. That's how long ago it was. SoMichael Jamin:One of the wordsBill Martin:That was a legit idea.Michael Jamin:So he would deliver a letter faster than a fax machine could.Bill Martin:He claimed he could beat a faxMichael Jamin:Machine. That's funny.Bill Martin:The fax machine still took 18 seconds, but it was faster than Cliff.Michael Jamin:That's pretty funny. I like that idea. Oh, well. So then tell me your career. Honestly, you've so many shows way more than we have, so, so then you just jump after Third Rock. How many seasons were you there? You were four Seasons?Bill Martin:Five.Michael Jamin:Five until the end.Bill Martin:Yeah, halfway through our fifth season we left to create Grounded for Life, but it was all at the Car Seat Warner Company, so we didn't really say goodbye. We just moved one building over.Michael Jamin:Now it's so interesting because what was creating that life? Because back then, back then you might leave a hit show to create your own show. I'm not sure you'dBill Martin:Do that to Yeah, no, I think And we didn't know better. And because it was all part of Cari Warner, the risks were low. If it had failed, we could've gone back to Third Rock. I assumeMaybe It felt like we had a net, at least we weren't jumping ship completely. But because at that point, Cy Werner had five or six shows on networks. They owned network comedy, and we thought, and we pitched the show and it sold that, oh, this is easy. You just have an idea. And then Ly Warner puts it on tv. It's great. We were batting a thousand and in very short order, we were batting a hundred and then batting 50. And we realized we had a very skewed idea about how easy the business was at that point.Michael Jamin:And how did you come up with that idea? Walk me through the whole process of,Bill Martin:Well, Mike Schiff, my partner is a bit of a jerk. He's a curmudgeon, he's a grumpy guy, and he was itching to do something different. He didn't want to just do a multicam that hit all the same notes we'd already been hitting for a while. And we went out for lunch one day with our friend Chris Kelly, who ended up writing on the show, and Chris told us a story about taking his daughter to the CAMA dome and having to wait outside the ladies room down those stairs. And it turned into a really horrible, awkward situation. And the story was just hilarious. And we came back from lunch and Mike said, why can't we make a show? That's as much fun as hearing someone tell a great story. And that's kind of the genesis of Third Rock, which was, it was a hybrid back before, the word hybrid was kind of thrown around, but it was a show where you started in the middle, something had happened and someone would say, what's going on here? How did this happen? And you'd go back and tell the story in single Cam. And so it's just a way to make stories more fun to tell, and much, much harder to produce. It was a nightmare because we'd shoot three days of single cam and then two days for the audience. So everybody you worked on, it was gratified by it, but it was hell.Michael Jamin:But did you think about that when you came up with it? Because that would've been on my mind, do I really want to produce this show?Bill Martin:At the time, we thought it was going to be a breeze.Michael Jamin:WeBill Martin:Just didn't know any better. We were young and we'd never run a single cam show before. And the problem also was directors. It was interesting. A lot of Multicam directors had no problem doing the single cam stuff, but then we had single cam directors who were absolutely gobsmacked by the Multicam, the demands, the Multicam.Michael Jamin:Yeah, it's veryBill Martin:Different. It almost killed some of them. DidMichael Jamin:You spend a lot of, how did you divide up time on set? Was it one of you guys on set at all times or what?Bill Martin:Yeah, we'd always thank God we were a partnership because someone would always be on the, we had 12 hour shooting days for the single cam, Monday, Tuesday, Wednesday. And one of us would always be down there, and usually whatever writer had gotten their name on that episode. And then upstairs we were keeping the sausage factory.Michael Jamin:And while the other person's writing the scripts or rewriting whatever, let's say, let's say you're on the set and you come back, what's your involvement with those scripts? If you are not a hundred percent on board at that point, are you, how do you handle that?Bill Martin:Yeah, you're in a partnership that's kind of, if you don't have a lot of trust in the other person, I mean, it could be a disaster. I've heard stories about shows, I don't name them, where the creator would spend the whole day on the set and then come into the writer's room at nine o'clock at night and throw everything out, and you just can't do that. And we would have lots of disagreements, but we also, we still had table reads, so we still had a chance to try things out and fix them. At that point, a lot of single cams weren't even doing table reads. The production demands were so intense that you just had to kind of go with it. But we loved having table reads, nothing like hearing it once and getting that one day to take a whack at it. And we also had hiatus weeks, unlike a lot of single cans. So we do three, but then we'd have a week to decompress and reload, and that made it a lot more doable.Michael Jamin:And how many episodes were you doing in a season? Most of the timeBill Martin:It was crazy. We got a 13 order, but then they asked for six more and then we got a full order. But then Fox canceled us in the middle of the third season. But WB picked us up and added more episodes. So we kind of had this weird staggered thing where it could be as few as 18 as many as 21. And it was crazy.Michael Jamin:I remember back, I haven't done multi-camera in a while, but we were on these multi-camera shows. That's not really true. I did one kind of recently, but towards the end of that long season, if it was like you're up to 20 episodes, you're just exhausted, man, and you're like, oh, how am I going to do another one? But we never ran one. And I think the amount of stress on a showrunner for that, that must've been something else for you guys.Bill Martin:Yeah, it was a lot. But you know what I got to say? The stress of working on a show where the cast is difficult, even if the writing is easy, is much, much more stressful than a show where the cast is great, but the writing is hard. And that's the thing is that for me, I get stressed out, but if I go to stage and the people there are good and they appreciate what you're doing, the stress is always, you can always maintain. Right. It's when you get called to the stage and it's going to be a nightmare and someone's mad, then that's when the stress boils over.Michael Jamin:Right. Because then you've got to do a giant rewrite and there's no time for it. Yeah. Yeah.Bill Martin:We've been pretty lucky on that front. And this was Donor Logan, Kevin Corrigan and Megan Price. They were just great actors and pros and we're thrilled to be there. And if something was wrong, they trusted us. And if something wasn't working, we trusted them. So despite the fact that the workload was grim, it never destroyed us.Michael Jamin:Some people don't realize that. Sometimes you'll get an actor on a show who, who's not that happy to be there, even though you're paying them and they auditioned or whatever, got an offer, they're not happy to be there. So it's odd, but okay. And then Caveman, which is based, that was based on a giant hit commercial, right?Bill Martin:It was a hit commercial and it was a hit show. It was just one of those shows that just America embraced. They loved it. And I think it went five seasons.Michael Jamin:I got to check the numbers there.Bill Martin:I can see your face going, wait, does he?Michael Jamin:I got the wrong show. I'm turning Red.Bill Martin:Oh, yeah.Michael Jamin:But that must've been hard because you guys developed that as well, right?Bill Martin:We did not, actually, that was one where the original directors and the writer of the original commercials developed it, and the studio felt they needed some experienced hands to come in and help. So we were actually brought in during the pilot after it was already mostly cast and on the way to production. So it was kind of a runaway train at that point.Michael Jamin:See, I love hearing stories when other writers were being tortured.Bill Martin:Yes.Michael Jamin:That's what I'm getting at. Yes. So is that what Yeah,Bill Martin:It was torture. And the weird thing was it wasn't, first of all, it wasn't a bad idea, it just that because it was perceived as such a cynical idea, the knives were sharpened for it. So I don't think any of us realized how ready critics would be to hate something that was based on a commercial, because that said, the creative people behind it were all fun and interesting and good. We ended up being friends with all the guys. It wasn't a bad creative situation other than it was a fool's errand. We were being sent into the Lion Stand, and once it got into production, a single cam show with a certain, the visual stylists of the show, the guys who did the commercials really wanted to be sleek and clean and neat looking and modern, like the commercials. And that was a high bar to reach. But add to that, that every single cast member had to be in makeup for four hours before they could shoot. I mean, literally by the end of the second episode, their faces were chafed and red and they were in agony, and they were upset and met. And these were good professional actors. Like Nick Kroll, wonderful, but you can only torture a man's face so many days in a row before they go, oh my God, what's happening? So it was almost reproducible.Michael Jamin:But that's interesting. You said, I think you're exactly right. There's something, it was already labeled with a cynicism of like, oh, okay, it's based on a commercial and therefore it can't be any good. But did you know that when you signed up, could you even possibly have thought about that when you got on board?Bill Martin:Well, when we got on board, we just got an overall deal with A, B, C. So we were assignable to this, and we thought, this is insane. We love the commercials budget, anybody, but there's no way they're going to put this on. Okay. So we thought it was just like, we'll help out a pilot, meet some new people, and then we'll do something else. It was shocking to us that they put it on tv.Michael Jamin:Oh, how interesting.Bill Martin:Because it just seems so unlikely, but with anything you do, you know how it is. Once you're given your assignment, you've got to find a way to take pride in it. You can't blow it off. So we dug in and the pilot had some issues, and the first episode that we ran, we kind of got into shape. It wasn't quite there. And then suddenly the third episode, I said, okay, that's funny. We figured out, and in no small part, Nick Kroll was a secret weapon, but by the time we figured out on episode three how we could make a show that we could be somewhat proud of, after the first episode aired, we were already dead. We were summarily executed, but go to YouTube and watch some of the later episodes of Caveman, which are still illegally out there. And it's actually a pretty funny show, and it's got a great cast. I'm not sure Steve McPherson was in his right mind when he picked it up.Michael Jamin:It's so interesting. I mean, you're absolutely right. No matter what show you're working on, you're going to find something that you love about it. You'll take pride and you'll lean into that. But yeah, you're right, because we did an animated show and for some reason they decided to put a laugh track on the first episode. And I remember yelling, why wouldn't there be a laugh track on an animated who exactly is laughing? Are we going to see the other animated characters in the audience who's laughing and lost that fight? For sure. And we got raked over the coals justifiably. So once you had that stink on you,Bill Martin:Yeah, yeah.Michael Jamin:We fought it. You can't fight. You can't win every fight. What are you going to do?Bill Martin:I don't think you can win any fight, can you?Michael Jamin:I wouldn't know what that's like.We did a show, oh my God. We did a show that was very low budget, and we had a slow mall budget for food. And so I sent the PA to go to the Whole Foods and get me these yogurts that I like that has the fruit on the side. It was a hundred dollars, whatever, just get some yogurt. And we submitted it in, and then we got yelled at by the studio saying, why is this bill from Whole Foods? And I remember saying, well, whatever, it's a hundred dollars. Does it matter where we spend it? And they go, yeah.Bill Martin:Oh no,Michael Jamin:You're not. A Whole Foods kind of show.Bill Martin:This is a Ralph's show.Michael Jamin:This is the Vaughn's Show. Yeah, that was So, yeah, you don't even win that fight, but maybe you wouldn't morph. I don't know. You must be able to win some fights.Bill Martin:Well, it's also one of the things, I think because I'm not an aggressive person, I always start every show with, I'm so lucky to have this. How lucky I got a parking space and a computer. I get to make a TV show. And sometimes I don't realize until I'm doing something I hate, I'll go like, oh, shit, I should have this. Didn't have to be this way.Michael Jamin:SoBill Martin:I think as we've gotten older, we've gotten crunchier, and we'll be a little more blunt about things, but certainly early on it was just like, pinch me. I can't believe you guys are letting me drive the car here. It'sMichael Jamin:Great. Yeah. But that's a big jump because was the first show you ran, was it grounded for Life?Bill Martin:No, the first show we ran was actually House of Bugging because of some weird politics. The showrunners got fired and we got bumped upstairs out of nowhere, and we were in our twenties and didn't know what we were doing, but we were already in Queens and they needed someone to,Michael Jamin:You were in Queens?Bill Martin:Yeah, we were the only ones in QueensMichael Jamin:WhoBill Martin:Could possibly do this job. So when we came back to do Third Rock, we had artificially inflated titles because we'd run House of Buggin. But then during the second season of Third Rock, the Turners tapped us to take over for them. Oh,Michael Jamin:I didn't even know that. I'm sorry. I didn't know that. Was that scary for you running?Bill Martin:You know what? It wasn't because it was the happiest place on earth and curtained. I mean, I hate to be Mr. Aw Shucks show business so fun. But that cast made work such a joy that there was no way it go wrong. Had an amazing writing staff, and the actors were delightful. It felt weirdly easy to do. I mean, we were stressed because we knew that we were being handed a baby and the baby was successful and 20 million people watching the baby every week. So there was certainly some pressure on us, but at the same time, we knew we could do it. And we knew that everybody had our backs with a very nice familial situation.Michael Jamin:It really was. I mean, that show really was, it was a big show. It was one of the shows everyone talked about if you were trying to break into show business, you had a spec for that show. It was a big responsibility. It was an honor to get tapped.Bill Martin:Yeah.Michael Jamin:Yeah. Everyone loved that. Yep. Then, okay, what shows should we talk about more? I don't know. What shows do you want to talk? They're all great. I dunno. Tell me some experiences that you've had. I don't want to go one by one, there's too many.Bill Martin:Yeah. Well, so far the ones you've skipped are good ones to skip. You steer running into caveman, but that's fine.Michael Jamin:I did.Bill Martin:I guess really for me, shows are divided up into the shows we ran and the shows you worked on. And typically, if you're not running a show, there are creative frustrations that you feel because you wish things were different. That said one of the most fantastic experiences of our career was working on trial and error because Jeff Astro of the showrunner and he'd worked for us. So we kind of had that, you got to listen to us a little bit, Jeff, and we helped get John Liko to agree to do it. And at that point, we'd been on a few Multicam that weren't great, and this was a real interesting single cam, fake doc with John, and he was super serialized, like a true crime series. And that was just a blast. And I'm still very proud of that season. We did not work on the second season. They sent it to Canada and shaved off half the staff and it killed Jeff Astro.Michael Jamin:Really? When you say,Bill Martin:Well, was Christian Chen, it was still a great season, but it was not as easy. It was kind of Warner Brothers was trying to cut every corner they could on it. SoMichael Jamin:When you say killed them, they overworked him and cut the staff. Yeah, yeah. People don't realize that I think be brutal. And then of course, the Unicorn, which went two seasons, and that's a big deal. That's really, when I think about it now, it's actually quite a big deal that you got your own show on a network these days when they pick up two shows a year, maybe it's nothing.Bill Martin:No, that was really threading a needle there because we had pitched it all over the place, and it's based on a true story, based on a friend of ours who went through this awful situation where he lost his wife when his kids were young. And we finally sold it c v s on the last day of selling anything. It was like October and Julie Per Worth calls the last second and said, we want to do it. We went, oh, no fucking way. So I mean, it was something that was both a passion project and just endless sadness for us. And so we started doing it and it went back and forth single multi, single, multi. We're trying to find the right guy to play the guy. And we knew, we'd always said, this is a single cam and it's going to be serialized and it should probably be on a streamer because that was when streamers seemed like the promised land, but c b s one, even though their forte was malteses. But then we met Walton Goggins who only came in because one of our producers is Peyton Reed, who's an old college friend of ours, and the guy who inspired the show and he'd worked with Walton on Antman. And so Walton trusted him and he came in for a meeting and Walton is just the greatest guy.Michael Jamin:SoBill Martin:He saw this, he found he had a personal identification with the guy, and once he jumped in, he said, I'll do it. I mean, it's going to be single, obviously, but I'm in. And David Nevins and everybody at CCBs were so thrilled that Walton Goggins wanted to do a sitcom that's like suddenly we were fast tracked and it was all the way onto television.Michael Jamin:Wow. Did you pitch it cool with the title The Unicorn? Because I was like, that's a smart title. I would think that, yeah,Bill Martin:It's funny. It did. And Mike Schiff never liked it.Michael Jamin:Oh really?Bill Martin:By the way, Mike's usually right, and I'm wrong about stuff, but I do like to Lord it over him. I assume he's going to listen to this. He didn't care for it. But it's one of those things, once it leaked out, people said, oh my God, oh my God, that's perfect. And the fact was it had to happened to coincide with a time when unicorns were everywhere. Unicorn kitty pools. And it was the unicorn moment anyway. Yeah,Michael Jamin:Yeah. I remember hearing about it. It was like, ah, damn, I'm surprised you said it took so long to sell. Like damn it, that one sells right away. That's an idea that sells. SoBill Martin:It's interesting.Michael Jamin:Yeah,Bill Martin:We didn't make up the title. It's whatMichael Jamin:I know.Bill Martin:Guys like Grady are known as on Tinder. They check all these magical boxes for what a perfect guy should be.Michael Jamin:Yeah, right. That's such a great, and then after that, the neighborhood which you jumped in, it had already been running for, no, tell me if I'm wrong.Bill Martin:Yes, it had, here's my vindictive tale of revenge. It's not vindictive at all by the way, but we had a pilot with Cedric. We had run his show, the Soul Man on TV Land for a couple of years.Great guy. We had a great time there. And when that ended, he said, let's do another show together. So we pitched out a show that it was his idea and his manager, Eric's idea, to do a show where he's a fire chief. So we pitched it and c b s bought it. We wrote it, it was a single cam, was kind of gritty because we wanted to do something that was hard to produce as usual. And at the end of the day, they didn't want to pick it up. But we were producing with Eric Kaplan, I should me, Aaron Kaplan. And Aaron quickly plucked Cedric out of our pilot and put him in the neighborhood, which was his other pilot. So we were basically just for him, a Cedric delivery system.So we weren't bitter because we knew Jim Reynolds. He's a great guy. And we were happy for everybody except that shit. And there goes our pilot. But it's funny, when we were producing the Unicorn, we were in the neighborhood's offices. It just happened to be that we were having the same line producer, pat Kinlin, who had done Third Rock with us. And Jim was in the midst of the first season of the neighborhood. And it was hard because first seasons are hard. And he was like, oh my God, this is killing me. And I jokingly said, don't worry when you get fired season three, we'll come in and take over. And it seemed hilarious at the time. And what do you know? It happens. And to Jim's credit, he did think it was funny that my smart ass remark had come full circle.Michael Jamin:And what was it like stepping into the show that wasn't yours? I mean, you've, not that you've done it before, but stillBill Martin:It's hard. Yeah, it's hard. And we came in with a whole new people. The feeling was clean slate, let's reboot this. And we had heard from Pat Kinlin the producer, you're going to love it here. It's the happiest set since Third Rock. And I was like going, yeah, yeah, yeah, nice try. But it kind of was, the cast had jelled and the crew was cool, and it was a very happy place. I mean, there had been issues, but we pretty quickly felt at home there. It was nice. And that's why we would love to stay there as long as possible.Michael Jamin:Maybe you will. I mean, well, we'll see what happens to the strike, but maybe you will. I mean, it seems like now they're giving shows a longer, tell me if I'm wrong, networks are giving shows a longer chance because it's too risky almost to not.Bill Martin:Yeah. Yeah. And I think for c b s shows built around someone that people love, said it's hard to recreate that when you have someone who's that warm and magnetic at the center of a show. You're halfway there already and the show is steadily. I mean, obviously all audiences are declining and atomizing all over the place, but it feels like the numbers have defied gravity a little.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.What's it like now? Because one of the biggest things, you've obviously staffed a million shows and you got to read specs from, you must stick through a pile of specs every season when you're doing this. What are you looking for in new writers?Bill Martin:Yeah, it's funny. For the last 10 years or so, you only read pilots because there aren't any spec shows to write anymore because there aren't any water cooler shows that everybody knows.So I mean, it used to be, and I kind of like it because someone could write a good per enthusiasm that sounded right and had the rhythms, but it might not mean they were capable of a lot of things. It just meant they had created a good version of this very specific thing. Pilots, the writer's whole personality comes out. And I think it's nice to you get a peek into how weird someone is, and we just want people who are different and weird, and you want that array of points of view to be very, you don't want eight Mike Schiffs lock, Lord, help us. And I think it's really just if someone catches you off guard with something you didn't expect to be funny. And people who just write characters, the one thing I hate more than anything, and if your spec starts with single people in an apartment talking about sex, I'm not going to read page two. It's like there's thousands of them, and it's very hard to get anything out of that.Michael Jamin:That's interesting. I've said the opposite. I've said to me, it's easier to read a speck of an existing show. I know the characters, I might know the characters, and it's easier for me to see do they get the voice. But if it's a pilot, it'sBill Martin:Easier. That's the key, Michael. It's too easy.Michael Jamin:But if it's a pilot,Bill Martin:Someone's,Michael Jamin:It's hard for me. Don't make me do more work. If I'm reading, that's the problem. If I'm reading an original pilot sometimes, okay, first I have to remember with the characters, okay, who's this character? What's their relationship? And then I'm like, okay, what's the tone here? It's hard for me to, are they trying to be big or is this just bad writing? You have to figure that out too. No, you're more of thatBill Martin:Mind. It's more work to read a pilot. It is, but I think when someone pops out of a pile, it's a bigger pop when they've created something entertaining whole cloth.Michael Jamin:Right. Well, that's true. That's true. AndBill Martin:Also for Multicam, s, jokes matter, but for single cams, you need a couple of people who write jokes. But also then it's a lot about story and character. And I think it's harder to get that from sitcom specs. It's easier to get that from something that's personal to somebody.Michael Jamin:Do you have a preference as to what you want a single or multi?Bill Martin:The artist in me wants to do single. The person who has to wake up and go to work and then get home and be happy, likes multi,Michael Jamin:But the Multicam, the hours are worse,Bill Martin:Is so great.Michael Jamin:Wait, multi. If you're doing a rewrite on a multi-camera after a network run through, you might be there at all midnight or whatever.Bill Martin:Never.Michael Jamin:Never. You always have good,Bill Martin:Well, no, by the way, yes, you're right. But on the neighborhood, I don't think we had dinner three or four times. There is, and that's not because we're so fantastic. It's because the show works. If a Multicam works, the hours are great. If a Multicam doesn't work, then you're right. If the run through is so bad that you're reworking the story. And we've been there too, and we had even Third Rock early on, we had some late nights. But in the ideal world, when a Multicam is working, it's the best job in the world, and Sedric knows what he wants. He's also approving the stories. He's approving the pitches early on. So we're not taking something to the table that he's not invested in. So I think, and if he were an ogre or had bad taste, it would be terrible. But the combination of him trusting us and us trusting him has made it a really sweet gig.Michael Jamin:So you'll pitch him, okay, I'm curious how it works. You'll start breaking a story. You won't get too far. Maybe you'll have some act breaks and then you'll bring it to Cedric. But you won't do more than that. You won't do more work than that. Right.Bill Martin:You never know when he'll say, and sometimes he does that thing too, where he'll go like, no, I don't know about that. How about that? Instead like, oh, okay, that fine. That's easy to do. He's great at having that natural story sense of what his character would do.Michael Jamin:Now, did you ever pitch him or anybody else? This is my fear. You pitch them, here's a great story idea for you. And they go, oh yeah, they love it. And then you go take it to the room and you go, I don't know how to break this.Bill Martin:Yes,Michael Jamin:I thought I know how to break it, but I don't how to break it.Bill Martin:That is what I would do if I didn't have a super anal partner. But Mike, and we know we still have those times, but once I have an idea, I'm good to go, Hey, look at this great idea. Let's go. But Mike's only like, I need to stare this for a day. So we say we give Cedric ideas early in the process, but the fact is we send them through the ship Aron 8,000 beforeMichael Jamin:TheBill Martin:Upgrade, they get out of the room.Michael Jamin:And so I'm just curious. So it's a couple of you may spend, let's say two or three days on a story idea and then bring it to him.Bill Martin:Yeah. I mean, some are easy, some are one day, some we will break five different times and still get it wrong. And the six time will do it. I mean, we work hard and Lord knows when we go back into production and we're going to have a three minute pre-production period, we're going to be fucked. But last season we had eight weeks. It was plenty of time to find our rhythm there,Michael Jamin:Right then. Okay. Then after that, you still got a picture to the studio and then the network, and they can still say no or to you saying, well, Cedric really likes this.Bill Martin:Yes, we do. And the thing is, it's not just Cedric, it's also Wendy Trilling who used to be the head of CCB ss. And she is cool, and she's smart, and she's not afraid to hurt our feelings, which I love about her Eted, her trust her. So in a weird way, by the time the network sees it, they know Wendy likes it. And if Wendy and Cedric like it, they tend to say, in fact, at a certain point, we said, can we stop doing outlines and go, we have a very detailed story document. Can we just go to script? And they'll say, okay. So that also helped us that they would trust that process.Michael Jamin:Yeah, that's actually, it's a big advantage that Wendy's producer in the show because yeah, she knows what the network wants. They trust her. And so it's almost like it almost removes an obstacle in the future. You get it out of the way. Now that's interesting.Bill Martin:And also, it's something that we want to do, and Wendy has signed off on it. It's like, we don't have to be dick's. We can say, I know, but let's see it on its feet because everybody over here likes it. It usually works for us.Michael Jamin:And are they bringing audiences back now? How does it work?Bill Martin:They started to, the problem we had last year was they did the whole season before we got there, block and shoot, because they had no choice. And it frankly made everybody a little relaxed because it was very easy lifestyle. And the fact is, when you have an audience that's basically crew and extras, it's easy to not go hard for the laughs on the other side when you have Tashina Arnold and Cedric, the Entertainer, and Max and Beth, these are people who swing for the fence every time. So I honestly don't think you can tell they weren't doing it for audience because they're selling it so hard in a great way. So last season we still did block blockage shoot, and we kept saying, the audience is going to be back any second. We're about to go back to audiences. But it was working. WhatMichael Jamin:Do you do? So now that you're on strike, what is it like for you now on strike when you don't have these creative muscles to flex? What, are you craving anything? Or are you doing anything on the side, a novel or something?Bill Martin:No, I mean, I think me and Mike are revisiting things that we had to put aside and doing brain work on them, because we don't want to waste this time completely. But early on, early on, it had been a long time since we had an off season where we knew we had a job to go back to. Third Rock was like that, and Grounded was like that. But it's been years since we had a non panicky off season. And this finally, we had a pickup. This was like, ah, I'm going to go on vacation, A real vacation. And that vacation turned into the strike, but I was like going, it's a strike, but still, we're going back. It's September. And it just gradually dawned on me like, oh, this is really hurting the show. So I've kind of been in denial that I needed to worry.I mean, all signs are that when the strike is over at whatever, we are going to go back to work. And people still want the show, and Cedric's still ready to go, but it takes some of the fun out of it, obviously. And I shouldn't be complaining because we're still in such an ideal position. The last strike, we had to walk off the set on cavemen and let other people edit the show and completely divorce ourselves from that. We've been killing ourselves on and getting force majeure out of a deal. I mean, it just destroyed our career completely. This is a much less terrifying strike, even though it's plenty terrifying.Michael Jamin:It's so interesting because howBill Martin:About you? I mean, are you able to function creatively? Are youMichael Jamin:Retaining yourBill Martin:Wife?Michael Jamin:No. Well, I have definitely both, but I have a book that I'm writing on the side, so that's my little passion project that keeps me entertained writing and performing it. But in terms of, it's interesting that you still panic about that next job. And for me, it feels like, wow, I guess I stopped panicking a long time ago. I don't know why, but you're so successful and you always get that next job and don't know.Bill Martin:That's how it looks. I'm looks,Michael Jamin:I'm looking at your I M D V page. It definitely looks that way,Bill Martin:Yes. But it's a lot of times where we were falling off the building and grabbed onto the ledge with our fingernails, and we took a lot of jobs that were under our quote just to keep working. We've had our feast and famine. Certainly I M D B looks chock full of stuff, butMichael Jamin:We've taken jobs who always, I mean, plenty of jobs under our quote. I mean, it's just like, while it's that unemployment, so you take the job, yeah.Bill Martin:After you take three jobs in a row under your quote, it's no longer a quote.Michael Jamin:Well, I remember on that first one, I was like, we have a quote. We have no anonymous quotes anymore, so why is it a quote? What's going on here? But yeah, it's so interesting that you still have that feeling looking at, for me, from where I stand, wow, the grass is really green where UI guys are. So it's interesting. Well,Bill Martin:I hope I'm relaxing now. I finally got my kids out of college, so this was my first year without tuition payments.Michael Jamin:Interesting.Bill Martin:In 25.Michael Jamin:What are they going to do now? Are they going to get in Hollywood in theBill Martin:Business? Nope. Nope. None of them are interested. I mean, one of them in particular certainly should be, he's hilarious. But the thought of putting himself out there creatively in a business that has no easy way in anymore, I think he just is very happy to be a barista, not put himself out there because it's nerve wracking. And I get it.Michael Jamin:How do you see most people, the new people that you're working with, the young kids, how are they breaking in then?Bill Martin:Yeah, I don't know. That's the scary thing about this tipping point we're at right now is when I hear stories about young writers who make a year out of four mini rooms on shows that they've even heard of. I mean, the fact is that the business has become so diffuse that those clear paths, pa, writer, assistant writer's room, job, those are so few and far between now. I can't figure it out. People aren't going through these main arteries. They're going through these weird tiny capillaries to weird things.Michael Jamin:Right?Bill Martin:Pretty good analogy.Michael Jamin:I love it. You should be a doctor. But don't ask, would they show up? I mean, you have a staff and you don't ask 'em where the script has somehow got on your desk to an agent or a manager, and you're like, okay, you're hired, basically.Bill Martin:But the thing is, on the neighborhood, it's quite a few standups,And it's a few people that we know and trust from years of working with them and a couple of young people who were writer assistants who are knocking on doors. But it's funny because we had so many people in place, it wasn't like we were out beating the bushes for new voices that were coming out of nowhere. But I'm sure that's true in a lot of places. It's just that when you're at a C B S studio show that's already running, it's kind of like that old fashioned machinery that's feeding you. These writers is already there.Michael Jamin:Yeah. Yeah. It's so interesting because I don't know, I'm not sure how people are doing it. We gave a talk at, I think at L M U, and there's a young woman, and she just made a hit podcast, and then that got her discovered. It was like a scripted podcast. I was like, oh, tell me about that. Interesting. So do you have advice then for people listening, words,Bill Martin:Encouragement? Last night, I was giving advice to this year's crop of interns from the U N C Chapel Hill, which is where I went to college. In fact, look, there it is. And I had to apologize because I said, look, here's the traditional way in. If you want to get in the writer's room, become a pa. And I also admit that that way of getting into the business may disappear. And if you have other creative outlet, if you can do a great podcast, if you put stuff up on YouTube or you have TikTok, there's a lot of ways to express your comic voice that aren't writing sitcom specs and waiting for your turn in the writer's room as a dinosaur. I'm not really the perfect person to ask,Michael Jamin:But I think you're right. It's about put the creative energy out there, stop begging for work, start making your own opportunities, and probably good things. Good things may come your way, I guess. Right?Bill Martin:Hopefully. And I also would like to think as the strike goes on, people will periodically say, why doesn't someone do what Charlie Chaplin did? Do United Artists start a creator, talent driven production? And I do feel like when I listen to a great podcast like Valley Heat, which we were talking about before we went on, you realize there are ways to create an entire world for a show for no money. And in my mind, valley Heat, everyone should listen to this thing.Michael Jamin:Yeah, listen to it. TheyBill Martin:Should just take that, put it on camera, it's ready to go. I mean, it's a show that is fully developed that no one owns a piece of. And I guess that would be what my hope is, that if we don't like working within the system with these jerks, if you're young and have that energy, make something. Yeah. And who knows? I mean,Michael Jamin:See, we agree on that. We didn't agree on spec versus original pilots, but we agree on this.Bill Martin:That turned into a pretty ugly fight.Michael Jamin:It was contentious.Bill Martin:But that's the kind of heat that I think gets these podcasts to catch on.Michael Jamin:I think so. But also as you're learning your craft, you're getting better at it. And I don't know. I see it happening. I see people making a name for themselves. I was on the picket line, I think it was at Disney, and I ran into this guy. He was on my podcast, and he recognized me, and he was a joke writer on Kimmo. I go, how did you get that job? He goes, well, I was just tweeting Day and Jokes. I like doing it. And after about a year or two, they found me and they hired me. Good for you. But he was putting the work out. He was doing the work and getting better, and that's how he got hired. SoBill Martin:GoodMichael Jamin:For him.Bill Martin:And it's been, I guess, shit, my dad says was the original tweet becomes a show, andMichael Jamin:We all rolled eyesBill Martin:That from the caveman syndrome of cynicism about how are you tuning it Twitter into a show? But if you're funny, people will find you.Michael Jamin:Yeah. But like I said, I remember that happening, really? Is this how it works now? But they were just at the forefront and yeah, that's how it works now.Bill Martin:Yeah. Yeah.Michael Jamin:Damn right. I'm always late to the trend. So Interesting. And I guess before I wrap up, what is it like for you working? People want to know, working with a writing partner, how does that dynamic work with you guys?Bill Martin:Well, there aren't a lot of writing partnerships that last this long. I mean, you guys and Al and Krinsky, there's a few. And I think for me, it's having that yin yang thing. I'm not a worrier, I'm not detail oriented. I don't tend to stress out, and Mike does, and I only really want to do half the job of running a show. Luckily, he can do the other half. So I mean, I think a lot of partnerships are based on people having the same sense of humor and just getting along, and that's great. But for me and Mike, we don't actually get along all that great, but we do agree on what's funny and we respect each other and it makes the job doable.Michael Jamin:Wait, you said you don't get along that great?Bill Martin:Well, we get along great, but I mean, one of us is a drunk pot smoking redneck from Florida who doesn't give a shit. And the other's an incredibly neurotic, buttoned up Jewish guy from the priest side. The only thing we have in common is Cheers and Albert Brooks.Michael Jamin:But you met in school, right? In film school,Bill Martin:Yes.Michael Jamin:Right.Bill Martin:Yeah. We just met because he was the only person in our writing class first year who I thought was funny. And so we just kind of found each other because we're the two guys writing comedy in that big screenwriting workshop.Michael Jamin:And you leapt into each other's arms. Yeah.Bill Martin:Yes.Michael Jamin:It's so interesting. But it is so funny when you said about it, you only want to do half the job of a showrunner. Yeah, it's a lot of work. It's a big job. That's something my partner and I say all the time, I don't really want to make this decision. Can you make it? It's a lot of work.Bill Martin:Yes.Michael Jamin:And a lot of times we'll punt it to even a hair and makeup. Well, what do you guys think? All right. You guys seem to got a good handle on what the wardrobe should be that you do it. Yeah. SoBill Martin:Interesting. I'm always very happy to let someone else do that.Michael Jamin:Yeah,Bill Martin:We do take turns firing people. That's the one awful, horrible thing. We haven't done it a lot. But the last guyMichael Jamin:Are talking about writers or other people.Bill Martin:Anything. Anybody. Yeah.Michael Jamin:Interesting. Because when we were on set on a single camera show, if one of us has to run onto the stage to give the actor a note or the director a note, it's always like, you do it. You do it. I don't want to, how many times am I going to go on set and tell them they're doing it wrong? Can't you tell them they're doing it wrong? I don't want to be that guy all the time. Yeah.Bill Martin:We had a great run for several years where whenever we would get a pickup, I'd be on stage and get to announce it, and every timeMichael Jamin:We Good news gotBill Martin:Our order cut, Mike would be on stage and it was hilarious. I was the hero with the, and it was killing him. It was happening over and over again, just by God smiling onMichael Jamin:Me. Oh, that's so funny. That's freaking great. We did an episode, I think it was Andrew shoot me, we're writing a script and I was adamant that this joke was going to work, and Seever it was like, I don't even get it right. And I'm like, no, this joke is great. You have no idea what you're talking about. And so we take the descrip, I guess it got to the table somehow, and at the table we hit this joke, nothing, and the room's just silent. And I just start busting out laughing. I was like, oh my God, I can't believe how wrong I was. And I'm laughing at her wrong. And then afterwards, everyone's looking at Seabert. They're like, assuming it's his joke because I'm laughing at him and now I'm laughing even more pushing him under the bus. But yeah, there's that. But yeah, there's always, I guess I feel like maybe you feel the same way. If he comes up with a line, great. That's one last line I got to come up with. You know what I'm saying? It's mine now. Anyway, so yeah,Bill Martin:For me, the great thing about writing teams is, well, you're a single writer. You turn on a draft. When a team turns in a draft, it's a third draft because you've already fought it and it just makes things better. I mean, everybody has their partners. It just may not be there, someone they write with, but when you take it to the table or you take it to the writer's room, everyone's going to get a whack at it anyway. But for me, I think it just makes that initial idea, everything has to kind of, you beat things back and forth and you find 'em out and you end up with better drafts.Michael Jamin:Yeah, I totally agree. I always see that with writing teams. Their scripts just tend to be a little tighter. Just somehow they're a little tighter. They've already fought it, fought over it. So yeah. That's interesting. Well, bill Martin, thank you so much for doing this. This is a real pleasure. Honestly, it is an honor to have you on this and talk about your experience as a showrunner and a creator of really great television and yeah, it really is an honor. Thank you.Bill Martin:This has been great for my self-esteem. I don't normally talk about myself a lot, but man, I come off great.Michael Jamin:You certainly do. I'll fix that in editing. I'll ask these questions then put a long dead pause before you answer. People are like, what's wrong with this guy? Why is he taking so long to answer? But thank you again so much. Anything you want to promote or plug other than your shows orBill Martin:Watch Season six of the Neighborhood when it comes on sometime in 2024? Yes.Michael Jamin:Hopefully that's sad. Yeah, that is sad. Well, thank you again so much. Alright, everyone, another great episode. I have to say of my podcast screenwriters, need to hear this. Keep following me and keep writing more. Good stuff coming. Thank you. Again,Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five-star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music, by Ken Joseph. Until next time, keep writing. I.

The Nerd Skool leaps into Antman & Wasp while sidetracking about Jim Carrey movies, Terence Stamp, Peyton Reed, Milestone Generations, Pee Wee Herman, Only Murders In The Building, Salena Gomez, Kat Dennings' Cleavage, Hoopla, Marvel Snap, MLB The Show, Taylor Swift as Dazzler, Of course when we're on topic, we discuss Paul Rudd, Randall Park, Michael Douglas, Michelle Pfeiffer, Janet Van Dyne, Hope Van Dyne, Hank Pym, Stan Lee, Jack Kirby, Ernie Hart, Nadia Van Dyne, Bill Foster, Black Goliath, Laurence Fishburn, Archie Goodwin, George Tuska, Roy Thomas, and John Romita Sr., Randall Park, Jimmy Woo, Darren Cross, Simon Burch, Thunderbolts, Ghost, Scott, Cassie Get your Nerdskool Merch:  https://www.redbubble.com/shop/ap/74089719?asc=u Music by D Jones Hip Hop!

The only features Peyton Reed has directed for the past decade have been Ant-Man films for Marvel. Before that, for a brief period in the late aughts, he was the studios go-to for adult romantic comedies. Before that, his finest (two) hour(s) — all due respect to Bring It On — was the Rock Hudson/Doris Day riff, Down With Love, a period parody filled with a digitally '60s Manhattan and pre-sexual revolution, pre-Mad Men glee. On this episode, guest Lani Gonzalez and I discuss:- Pillow Talk, the most specific parody subject for Down With Love;- the Oscar-winning lineage of Hudson/Day series;- why Lani, lover of Bring It On, disagrees about it being Reed's finest (two) hour(s).Also:- Peyton Reed's pre-MCU work, from Mr. Show to the Back to the Future Saturday morning cartoon;- how Reed turned a pitch for a pre-MCU '60s-period Fantastic Four into most of Down With Love's New York “locations”;- and his post-Love period of adult romantic comedies.Lani Gonzalez writes about film for both Book and Film Globe and, alongside her husband (and former guest-host) AJ, their blog Cinema Then and Now.Both Down With Love and Pillow Talk is available to buy and rent digitally and, also, on physical media.

This week, we consume a dangerous amount of Pym particles in order to shrink our brains down to the appropriate size to talk about 2023's Antman 3. The movie may not have been our cup of computer animated tea, but the conversation, and the drinks, made for a fun time regardless! Directed by Peyton Reed. Written by Jeff Loveness. Starring Paul Rudd, Ebangeline Lilly, Michael Douglas, and Michelle Pfeiffer.

We like three months late to reviewing this but we try to cover most Marvel stuff for the views. SPOILERS not big fans of it. Series Synopsis: Ant-Man and the Wasp: Quantumania is a 2023 American superhero film based on Marvel Comics featuring the characters Scott Lang / Ant-Man and Hope Pym / Wasp. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the sequel to Ant-Man (2015) and Ant-Man and the Wasp (2018) and the 31st film in the Marvel Cinematic Universe (MCU). It was directed by Peyton Reed, written by Jeff Loveness, and stars Paul Rudd as Scott Lang and Evangeline Lilly as Hope van Dyne, alongside Jonathan Majors, Kathryn Newton, David Dastmalchian, Katy O'Brian, William Jackson Harper, Bill Murray, Michelle Pfeiffer, Corey Stoll, and Michael Douglas. In the film, Lang, Van Dyne, and their family are accidentally transported to the Quantum Realm and face off against Kang the Conqueror (Majors).

Comic fan Zach Woliner joins Perry this week to discuss 2018's Ant-Man and the Wasp. We discuss the changes from the comics, how this film compares to both its predecessor and sequel, and how underrated it is in retrospect.Follow Zach on Twitter and TikTok.Want to tell us what you think? Have any questions or comments for Perry about superheroes in media or comics? Leave a voice message to play on the show. You can also apply to be a guest on the show.Patrons get to listen to episodes before everyone else, no ads, and they also get access to my exclusive companion podcast, the Superhero Cinephiles Book Club. If you want to join in, please consider supporting us through Patreon!This episode is brought to you by BlendJet. Use my special link, zen.ai/supercinemapod12, to save 12% at blendjet.com. The discount will be applied at checkout!FacebookTwitterInstagramContact

This week we review the Marvel film Ant-Man and the Wasp Quantumania. Starring: Paul Rudd, Evangeline Lilly, and Jonathan Majors. Directed by: Peyton Reed

All the drama of the last two weeks has led us here! This is the reason the 1993 film was made. Does Fantastic Four live up to the hype? 1:35 - Fantastic Four intro and fun facts (including a VASTLY different potential cast from former director, Peyton Reed) 12:38 - Our overall thoughts on the film 17:22 - We imagine what it would be like to have this cast included in the MCU multiverse 21:21 - Favorite characters 30:48 - Structure, writing, anything we'd cut or change 43:15 - Our ratings Be sure to come chat with us on our socials about how YOU feel about this quartet!   You can follow us on Twitter, Facebook and Instagram or if you would like to support us you can donate to our KoFi.

In this very special episode of The Letterboxd Show, we ditch the watchlists and awards shows to talk to filmmaker Peyton Reed about directing one of Mia Lee Vicino's Four Favorites: Down with Love (2003). That's right; it's the 20th anniversary of this Renée Zellweger and Ewan McGregor-starring ode to the Doris Day-Rock Hudson sex comedies of yore, such as Pillow Talk (1959) and Lover Come Back (1961). Mia and Peyton chatted about the difference between Barbie and Barbara Novak shades of pink, which classic romances inspired screenwriters Eve Ahlert and Dennis Drake, the origin of that grand finale musical number and the belated cultural embrace of this misunderstood feminist masterpiece. Even if you haven't seen it, if we did our jobs right, maybe you'll end up adding it to your own watchlist. Cheers, here's to twenty years of Down with Love! Credits: Recorded in Los Angeles. Edited by Slim. Theme music: “Vampiros Danceoteque” by Moniker. Editorial producer: Brian Formo. Production manager: Sophie Shin. The Letterboxd Show and Weekend Watchlist are TAPEDECK productions. Lists & Links: Lists of movies mentioned Reviews: Sean Baker & Sree⁠ & Ayo Edebiri⁠'s Down with Love reviews

Jordan and Brooke are joined by Mia Vicino (Letterboxd) for 2003's absolutely perfect, no notes screwball rom-com! If you haven't joined the "Down With Love" army, now's the time. There's chocolate! There's beautiful mod 60s outfits! There's Ewan McGregor in adorable glasses! We discuss how Peyton Reed's underseen classic is a takedown of patriarchal gender roles, the unexpected lavender marriage it sets up, "Know" vs. "Now," and how our best comedies can be both funny and insightful – what a concept!Follow us on Twitter and IG! (And Jordan's Letterboxd / Brooke's Letterboxd)Follow Mia on Twitter, Letterboxd, and listen to Weekend Watchlist!

SAMMY SHELDON (Costume Designer) was born in Manchester and started her career at the Royal Exchange Theatre as a costume maker, then studied Costume Design at Wimbledon School of Art 1990 to 1993. After graduating with a degree, she moved into designing costumes for pop promos and advertising, before becoming an assistant designer on films including Ridley Scott's & and Jake Scott's. She went on to design costumes for Ridley Scott's Hawk and the mockumentary & starring Orlando Bloom. Sammy has received BAFTA Film nominations for her work on Morten Tyldum's “The Imitation Game”, starring Benedict Cumberbatch and Keira Knightley. “The Merchant of starring Al Pacino and Jeremy Irons, and a BAFTA TV nomination for the BBC's modern adaptation of The Canterbury Tales: The wife of Bath”. Costume Designers Guild Award nominations for Excellence in Period Film “The Imitation Game”, and Excellence in Fantasy Film “Ex Machina”, “X-Men: First Class” and “V for Vendetta”. Other film credits include “Kick-Ass Hellboy 2: The Golden Army. Differs more recent film credits include “Assassin's Creed” directed by Justin Kurzel, Marvels “ Ant- Man” directed by Peyton Reed, “Annihilation” directed by Alex Garland and “Jurassic World, Fallen Kingdom” directed by J A Bayon. Her most recent films are “Eternals“ directed by Chloe Zhao, and "Ant Man and the Wasp: Quantumania."

Get your spirit fingers ready because Shay and Allie are cheering on Peyton Reed's 2000 masterpiece Bring It On!  LISTEN TO BLACK WOMEN and don't forget to stretch! 

| Review | Ladies and gentlemen, the next era of the Marvel Cinematic Universe has officially kicked off with Ant-Man and the Wasp: Quantumania. While deeply flawed in many ways, the latest Peyton Reed flick does give us more of the fantastic actor Jonathan Majors. There's also some fun quantum realm aliens and Paul Rudd. Everybody likes Paul Rudd!

BEST SHOW BESTS! In this classic clip from The Best Show on WFMU with Tom Scharpling, Tom gets a call from a Star Wars "Insider" who may or may not be Peyton Reed. (Originally aired in December 2000 on WFMU; intro to this clip originally aired on July 21st, 2015) New to the Best Show? Check out Best Show Bests, the greatest hits of The Best Show! Available every Friday on your podcast app. WATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCH https://www.twitch.tv/bestshow4life SUPPORT THE BEST SHOW ON PATREON: https://www.patreon.com/TheBestShow WATCH VIDEO EPISODES OF THE BEST SHOW: https://www.youtube.com/bestshow4life FOLLOW THE BEST SHOW: https://twitter.com/bestshow4life https://instagram.com/bestshow4life https://tiktok.com/@bestshow4life THE BEST SHOW IS A FOREVER DOG PODCAST https://thebestshow.net https://foreverdogpodcasts.com/podcasts/the-best-show Learn more about your ad choices. Visit megaphone.fm/adchoices

Another bumper episode of the Empire Podcast this week, folks, as Chris Hewitt chats with Raine Allen-Miller and Vivian Oparah, director and star respectively of the effervescent new rom-com, Rye Lane. This may actually be the first pod interview where one of us is on a boat. Which one? Find out by listening! Then Chris sits down for a chat about movies and movie history with Marlowe star, Liam Neeson, and there's a taster of our Ant-Man And The Wasp: Quantumania spoiler special interviews with that film's director, Peyton Reed, and writer Jeff Loveness. The spoiler special itself will be up on Monday. Then, in the virtual podbooth today, Chris is joined by Helen O'Hara and James Dyer for a fun episode that celebrates all things St. Patrick, discusses the greatest living Irish actors (and probably leaves out someone incredible), talks about the Oscars, James Gunn directing Superman Legacy, Quentin Tarantino's final film, and more, and reviews Rye Lane, Shazam! Fury Of The Gods, 65, Boston Strangler and Ti West's Pearl. We've specified his name here because we think we forgot to mention him in the review. D'oh! Whether you're on a boat or dry land, this is a belter. Enjoy!

Will Htay, the production designer of Marvel Studios' Ant-Man and the Wasp: Quantumania, sits down with Angélique to talk about his work on the film. Will discusses how he collaborated with director Peyton Reed and other departments like art, props, and cinematography to achieve the incredible look of the Quantum Realm (and the rest of the film)!

It's still NOT ON DISNEY+ MONTH on Escape From Vault Disney! And for our second week of Not On Disney+ Month, the randomizer goes all the way back to 2003 to pick a Disney-acquired 20th Century Fox romantic comedy that asks the bold cinematic question, "Hey, remember when romantic comedies didn't suck? Remember when they were actually romantic and actually funny and you'd actually enjoy watching them? Yeah, us neither, but apparently the director of that cheerleader movie does, and he somehow convinced Obi-Wan Kenobi, Bridget Jones, Niles Crane and the lady from Leap of Faith to star in his Rock Hudson/Doris Day fan film, so what the hell, let's market it so piss-poorly it won't even really develop the cult following it'll richly deserve!" Join Tony Goldmark, Kit Quinn, Renie Rivas and Jen Seggio as they gotta get up to get DOWN WITH LOVE! Please donate to David Ganssle's car crash injury recovery fund: https://www.gofundme.com/f/recovery-fund-for-dave-ganssle Rent Down with Love on YouTube: https://www.youtube.com/watch?v=5YDMZCakSgw  Check out my guests' stuff! KIT QUINN  Twitter: https://twitter.com/missi0nbreakout Podcast: https://anchor.fm/krt-trio RENIE RIVAS Instagram: https://www.instagram.com/renie_rivas  Podcast: https://ringringpodcast.podbean.com Twitter: https://twitter.com/Renie_Rivas JEN SEGGIO Blog: https://upontheshelfreviews.wordpress.com Instagram: https://www.instagram.com/jenseggio YouTube: https://www.youtube.com/user/TheITinFIT And check out this show on social media! Twitter: https://twitter.com/efvdpodcast Host's Twitter: https://twitter.com/tonygoldmark Facebook Group: https://www.facebook.com/groups/972385353152531 YouTube: https://www.youtube.com/tonygoldmark Hear new episodes early by supporting this show on Patreon: https://www.patreon.com/tonygoldmark 

Welcome to the latest episode of Night at the Movies, where we discuss Marvel Studios' latest movie, "Ant-Man and the Wasp: Quantumania". As two avid Marvel fans, we have a lot to say about this latest installment of the Marvel Cinematic Universe, and overall, we thought it was an alright film.Directed by Peyton Reed, "Ant-Man and the Wasp: Quantumania" brings back Paul Rudd as Scott Lang, a.k.a Ant-Man, and Evangeline Lilly as Hope van Dyne, a.k.a The Wasp, who team up again for another adventure. The movie also sees the return of Michael Douglas as Hank Pym, Michelle Pfeiffer as Janet van Dyne, and introduces Jonathan Majors as Kang the Conqueror, who is set to be the next big villain in the MCU.While the movie had some moments showcasing some impressive visual effects and action sequences, it didn't quite have the same level of excitement and impact as some of the other Marvel movies. The humor was there, as we've come to expect from Paul Rudd's character, but it wasn't quite as consistent or memorable as in some of his previous appearances.That being said, the movie does have some important themes that are worth exploring, such as the consequences of time travel and the responsibilities that come with power. It also sets up some intriguing storylines for future movies, including the possibility of a "Young Avengers" team-up.Overall, we think "Ant-Man and the Wasp: Quantum Mania" is an alright addition to the MCU. It's not the best Marvel movie out there, but it's also not the worst. We give it a solid 6 out of 10 Pym Particles.If you're a Marvel fan, we still recommend giving it a watch and tuning in to this episode to hear our thoughts and insights. Who knows, you may have a different opinion than us! And as always, don't forget to download, listen, and share this podcast with your fellow Marvel enthusiasts.So, whether you loved it, liked it, or thought it was just alright, join us in discussing "Ant-Man and the Wasp: Quantumania" on this episode.Glad to be back. Let's discuss.

Join us as we get sucked off into the Quantum Realm, lead the charge against Kang (and Kodos), and see what effect cocaine has on a bear, all while chatting both ‘Quantumania' and ‘Cocaine Bear' with the help of that great man, Sam, from Movie Reviews in 20 Q's! Find Sam and his wonderful show on twitter @MovieReviewsIn or on his website https://mritqs.podbean.com/ Ant-Man and the Wasp: Quantumania is a 2023 American superhero film based on Marvel Comics featuring the characters Scott Lang / Ant-Man and Hope Pym / Wasp. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the sequel to Ant-Man (2015) and Ant-Man and the Wasp (2018) and the 31st film of the Marvel Cinematic Universe (MCU). The film was directed by Peyton Reed, written by Jeff Loveness, and stars Paul Rudd as Scott Lang and Evangeline Lilly as Hope van Dyne, alongside Jonathan Majors, Kathryn Newton, David Dastmalchian, Katy O'Brian, William Jackson Harper, Bill Murray, Michelle Pfeiffer, Corey Stoll, and Michael Douglas. In the film, Lang and Van Dyne are transported to the Quantum Realm along with their family and face Kang the Conqueror (Majors). Cocaine Bear is a 2023 American comedy horror film directed and produced by Elizabeth Banks and written by Jimmy Warden. It is loosely inspired by the true story of the "Cocaine Bear", an American black bear that ingested millions of dollars of lost cocaine in 1985. The film features an ensemble cast that includes Keri Russell, O'Shea Jackson Jr., Christian Convery, Alden Ehrenreich, Brooklynn Prince, Isiah Whitlock Jr., Margo Martindale, and Ray Liotta. The film marked the posthumous release for Liotta who died on May 26, 2022, with the film being dedicated to his memory. We Watched A Thing is supported by Dendy Cinemas Canberra. The best Australian cinema chain showing everything from blockbusters to arthouse and indie films. Find them at https://www.dendy.com.au/ If you like this podcast, or hate it and us and want to tell us so - You can reach us at wewatchedathing@gmail.com Or, Twitter - @WeWatchedAThing Facebook - @WeWatchedAThing Instagram - @WeWatchedAThing and on iTunes and Youtube If you really like us and think we're worth at least a dollar, why not check out our patreon at http://patreon.com/wewatchedathing. Every little bit helps, and you can get access to bonus episodes, early releases, and even tell us what movies to watch.  

On this exciting new episode, we review Ant-Man & The Wasp: Quantumania! Paul gives his graphic novel recommendation for the week and much, much more! Enjoy and thanks for listening!

On this weeks episode is Peyton Reed! The Ant Man and the Wasp: Quantumania director chats with Giles Alderson about making the movie.The discuss-The Volume. Working in a new space-Directing giants of the acting game-How he learnt film-making from making films and watching other directors work-The disappointments - Fantastic Four-Pitching to Marvel-Why you have to passionate about the project-Success and making mistakes-and why relationships with the crew is vitalAnt-man and The Wasp: Quantumania is OUT NOW in cinemasSUPPORT INDIE FILMThree Day Millionaire OUT NOW in the UK on Prime and the USA and Canada and will be on NETFLIX UK now! Go watch & SUPPORTManFish on Prime now https://www.amazon.co.uk/gp/video/detail/B0B8TJFZZ8/ref=atv_dp_share_cu_rCinema for a Pound - https://princecharlescinema.com/PrinceCharlesCinema.dll/WhatsOn?f=25893799PATREON Big thank you to:Lee HutchingsMarli J MonroeKaren NewmanJoin our Patreon The Filmmakers Podcast is hosted, produced, written and edited by Giles Alderson @gilesaldersonSocial Media by Kalli Pasqualucci @kallieepMarketing Huw SiddleLogo and Banner Art by Lois Creative Theme Music by John J. Harvey Hosted on Acast. See acast.com/privacy for more information.

Our latest guest on Soundtracking is Peyton Reed, director of Ant-Man & The Wasp: Quantumania. The third instalment of the series, it follows our eponymous heroes as they explore the magnificently realised Quantum realm, encountering all kinds of fantastical creature on the way As with the previous two films, Quantumania is scored by Christophe Beck

Editors - Laura Jennings and Adam Gerstel Ant-Man and The Wasp: Quantumania editors Laura Jennings and Adam Gerstel jumped in with both feet when director Peyton Reed suggested that he wanted to have a "unified" cutting room unlike any Marvel movie that had come before.  The result?  A director's cut driven by two editors, one Avid, a pair of dueling Bluetooth keyboards, and no regrets! In Ant-Man and The Wasp: Quantumania, which officially kicks off phase 5 of the Marvel Cinematic Universe, Super-Hero partners Scott Lang (Paul Rudd) and Hope Van Dyne (Evangeline Lilly) return to continue their adventures as Ant-Man and The Wasp. Together, with Hope's parents Hank Pym (Michael Douglas) and Janet Van Dyne (Michelle Pfeiffer), the family finds themselves exploring the Quantum Realm, interacting with strange new creatures and embarking on an adventure that will push them beyond the limits of what they thought was possible. Jonathan Majors joins the adventure as Kang. LAURA JENNINGS Although she's joining the Marvel family for the first time, Laura is no amateur when it comes to VFX heavy features, having previously edited films such as MALEFICENT: MISTRESS OF EVIL and EDGE OF TOMORROW (aka LIVE DIE REPEAT). ADAM GERSTEL Although this is also Adam's first tour of duty in the MCU, he's no stranger to the "StageCraft" virtual set technology used in this movie.  Adam worked with similar models when cutting THE LION KING and THE MANDALORIAN: SEASON TWO. Editing Ant-Man and The Wasp: Quantumania In our discussion with Ant-Man and The Wasp: Quantumania editors Laura Jennings and Adam Gerstel, we talk about: Tandem cutting with Bluetooth keyboards Teaching "twelve year-olds" about KEM rolls What to do when they knock five months off your schedule When your character has a giant head, every shot is a close-up Location scouting with VR headsets The Credits Visit ExtremeMusic for all your production audio needs See which Media Composer offering is right for you Hear editor Laura Jennings discuss cutting Maleficent: Mistress of Evil Listen to editor Adam Gerstel talk about his work on The Lion King and The Mandalorian Subscribe to The Rough Cut for more great interviews with the heroes of the editing room Got an idea for the show, leave a message on The Rough Cut website Visit The Rough Cut on YouTube

Episode #142 of The MediaFiles. Today on the show, Kyle and Sean from RPGera explore the Quantum Realm in the latest Marvel movie from Peyton Reed... Ant-Man and the Wasp: Quantumania! Email the show at themediafilespodcast@gmail.com with suggestions, comments, or whatever else you have to say! We want to hear from you! Special thanks to Executive Producers: Jexak & Xancu. SUPPORT RPGERA Patreon: https://patreon.com/rpgera CONTACT US Website: https://rpgera.com Discord: https://discord.gg/cC73Heu Twitch: https://twitch.tv/therpgera Twitter: https://twitter.com/brucetoph Instagram: https://instagram.com/brucetoph/ Facebook: https://facebook.com/leveldowngaming MUSIC CREDITS Intro Song: "Higher Up" by Shane Ivers - https://www.silvermansound.com Outro Song: "La Pompe Du Trompe" by Shane Ivers - https://www.silvermansound.com Ad-Read Song: "Song of Elune" is copyright by Blizzard Entertainment --- Send in a voice message: https://anchor.fm/the-mediafiles/message

Spoiler Warning! Chris and Taylor review the 2023 superhero film, Ant-Man and the Wasp: Quantumania, directed by Peyton Reed and written by Jeff Loveless. It is the sequel to Ant-Man (2015) and Ant-Man and the Wasp (2018) and the 31st film of the Marvel Cinematic Universe (MCU).  In the film, Scoot Lang and Hope Van Dyne, along with Hank Pym and Janet Van Dyne, explore the Quantum Realm, where they interact with strange creatures and embark on an adventure that goes beyond the limits of what they thought was possible. The film stars Paul Rudd, Evangeline Lilly, Jonathan Majors, Kathryn Newton, David Dastmalchian, Katy O'Brian, William Jackson Harper, Bill Murray, Michelle Pfeiffer, Corey Stoll, and Michael Douglas. Follow us on:Instagram: https://www.instagram.com/thepotentialpodcast/Facebook: https://www.facebook.com/thepotentialpodcast/?ref=pages_you_manageTwitter: https://twitter.com/thepotentialpodBetterHelp: Get 10% off your first month of therapy with BetterHelp by going to https://betterhelp.com/potential

Episode 179!? This week we are switching things up and giving our thoughts on Ant-Man and the Wasp: Quantumania! We are also reviewing Kang the Conqueror: Only Myself Left to Conquer Ant-Man and the Wasp: Quantumania is a 2023 American superhero film based on Marvel Comics featuring the characters Scott Lang / Ant-Man and Hope Pym / Wasp. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the sequel to Ant-Man (2015) and Ant-Man and the Wasp (2018) and the 31st film of the Marvel Cinematic Universe (MCU). The film was directed by Peyton Reed, written by Jeff Loveness, and stars Paul Rudd as Scott Lang and Evangeline Lilly as Hope van Dyne, alongside Jonathan Majors, Kathryn Newton, David Dastmalchian, Katy O'Brian, William Jackson Harper, Bill Murray, Michelle Pfeiffer, Corey Stoll, and Michael Douglas. In the film, Lang and Van Dyne are transported to the Quantum Realm along with their family and face Kang the Conqueror (Majors). Plans for a third Ant-Man film were confirmed in November 2019, with Reed and Rudd returning. Loveness was hired by April 2020, with development on the film beginning during the COVID-19 pandemic. The film's title and new cast members were announced in December 2020. Filming in Turkey began in early February 2021, while additional filming occurred in San Francisco in mid-June, ahead of principal photography starting at the end of July at Pinewood Studios in Buckinghamshire and ending in November. Ant-Man and the Wasp: Quantumania premiered in Los Angeles on February 6, 2023, and was released in the United States on February 17, 2023, as the first film in Phase Five of the MCU. It received mixed reviews from critics, with the screenplay and storyline receiving criticism, while the performances (especially those of Rudd, Majors, and Pfeiffer) and visuals were praised. The film has grossed over $284 million worldwide, becoming the third highest-grossing film of 2023. Kang the Conqueror: Only Myself Left to Conquer The time traveler known as Kang the Conqueror has led many lives across many eras. He has been a pharaoh, a villain, a warlord of the spaceways — and even, on rare occasions, a hero. Across all timelines, one fact seemed absolute: Time means nothing to Kang. But the truth about the Conqueror is much more complex! Kang is caught in an endless cycle of creation and destruction, dictated by time and previously unseen by any but the Conqueror himself. A cycle that, once revealed, could finally explain the enigma that is Kang. And a cycle that begins and ends with an old and broken Kang sending his younger self down a dark path… COLLECTING: Kang The Conqueror (2021) 1-5 These sort of reviews usually go on our Patreon page so join up! The link is below! Join our discord and help us build the community! https://discord.gg/EUtHXHjJWF Support The Wednesday Pull List! https://www.patreon.com/wednesdaypull Learn more about your ad choices. Visit megaphone.fm/adchoices

Ant-Man and the Wasp: Quantumania directed by Peyton Reed and written by Jeff Loveness is finally here! Does the newest MCU movie live up to the hype? But first, Anthony tells us about his guest appearance on the podcast Matt Spectro Thru the Multiverse where he talked Kang and Avengers: Earth's Mightiest Heroes. Are we VIP podcast guests? Is this the worst Ant-Man movie? Does Cody care about Scott Lang's family? Does this movie feel like one long episode of Rick and Morty? Is Disney outsourcing their SFX artists? Did anyone actually like Cassie? Was the Quantum world and its inhabitants forgettable? Does Quantumania suffer from losing Scott's crew, especially Michael Pena? Does Disney practice what it preaches? Was Bill Murray's acting wasted in this movie? Why is Michael Douglas so cool? How does this movie compare to Avatar: The Way of Water? Did we like M.O.D.O.K. in this movie? Would we go down on Michelle Pfeiffer? What is the worst Marvel trilogy? Would the movie be better if it was more comic accurate? Why didn't Evangeline Lily have a lot of screentime? What was our favorite scene in the movie? Were Kang and Janet the best characters in this movie? Are we hype for James Gunn has in store for Guardians of the Galaxy Vol. 3? Did the guy sitting behind Anthony ruin his movie experience? Or was he just our subconscious nerd come to life? Has the MCU been declining? Are we excited for anymore Marvel movies? Does the future of the MCU look bright with Jonathan Majors and his Kang variants in the spotlight? Does Kang live up to the same hype as Thanos? Is this movie just setup for Kang? Plus what did we think of The Flash trailer? Does Anthony have any nostalgia for Michael Keaton Batman? Is Reverse Flash the villain of the movie? And who the hell is Jake's newest creation N.E.P.O.B.A.B.Y. ?! Check out our website: https://www.comicsandchronic.com/ New episodes every THURSDAY Follow us on social media! Instagram // Twitter // TikTok : @comicsnchronic YouTube: www.youtube.com/channel/UC45vP6pBHZk9rZi_2X3VkzQ E-mail: comicsnchronicpodcast@gmail.com Cody Twitter: @Cody_Cannon Instagram: @walaka_cannon TikTok: @codywalakacannon Jake Instagram: @jakefhaha Anthony Instagram // Twitter // TikTok : @mrtonynacho YouTube: youtube.com/nachocomedy

On this episode we will be discussing Marvel's Ant-Man and the Wasp: Quantumania. There will be spoilers of the movie, so please be warned. If you would like to give us feed back on how were doing follow us at: @senornerdpod on Twitter. Movie Description: Ant-Man and the Wasp: Quantumania is a 2023 is a superhero film based on Marvel Comics featuring the characters Scott Lang / Ant-Man and Hope Pym / Wasp. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the sequel to Ant-Man (2015) and Ant-Man and the Wasp (2018) and the 31st film of the Marvel Cinematic Universe (MCU). The film was directed by Peyton Reed, written by Jeff Loveness, and stars Paul Rudd as Scott Lang and Evangeline Lilly as Hope van Dyne, alongside Jonathan Majors, Kathryn Newton, David Dastmalchian, Katy O'Brian, William Jackson Harper, Bill Murray, Michelle Pfeiffer, Corey Stoll, and Michael Douglas. In the film, Lang and Van Dyne are transported to the Quantum Realm along with their family and face Kang the Conqueror

Dallas and Lee review a double bill of Women Talking & Ant-Man and the Wasp: Quantumania

Ant-man and the Wasp: Quantumania Ep 232: The MCU finally goes full Star Wars! Your hosts hit the teeny tiny cantina as they discuss Antman and the Wasp: Quantumania. Does Kang conquer this film? Is Phase Five off to a small start or a big box office run? Is the world ready for MODOK's buttcheeks? Tune in to Normies Like Us to find out! Drink the goo! Click the links! @NormiesLikeUs https://www.instagram.com/normieslikeus/ @jacob https://www.instagram.com/jacob/ @MikeHasInsta https://www.instagram.com/mikehasinsta/ https://letterboxd.com/BabblingBrooksy/ https://letterboxd.com/hobbes72/ https://letterboxd.com/mikejromans/

Welcome to Episode 203! After a 3 week break we're back and ready to do the HON thing. This week we have 2 reviews for you. FIrst up is Spoiler Alert (now streaming on Peacock). We had so much to say about this one. Next up we talk about Peyton Reed's Ant-MAn and the Wasp Quantumania. What did we think of the newest MCU submission? Rest assured that we definitely give our honest opinions. That' s putting it lightly. Of course there's more and the show breakdown looks a little something like this: Dan is going to see Duran Duran Spoiler Alert Review The Flash trailer and Why We're Horrible People A New Social Media Creed 3 Trailer ThoughtsAnt-Man and the Wasp Quantumania Review The Next Reed Richards (You're Welcome) We really don't want to take a long break between shows again but for now we're playing it by ear. We can tell you that we'll be back soon and we hope it's much sooner than later. Until then, Friends...

Nikko, Nick Jr. and Zeddy are back this week to give their spoiler review for Peyton Reed's "Ant-Man and the Wasp: Quatumania" and discuss whether the different flavors of Batman is going to work in the DC Universe?  Socials: https://twitter.com/Vigilante1939 https://twitter.com/NikkoCaruso https://twitter.com/NCarusoJr https://twitter.com/NickZednik

Mark and Mo Lightning (@molightning on Twitter) discuss the 2023 Marvel Cinematic Universe film Ant-Man and the Wasp: Quantumania. Directed by Peyton Reed, and starring Paul Rudd, Jonathan Majors, Evangeline Lilly, Kathryn Newton and some ants, the movie kicks off the fifth phase of the MCU and also features Ant-Man throwing a nice front kick. In this episode, they also talk about Michael Pena, terrible ideas, and the excellence of Jonathan Majors.

Your heroes go sub-atomic to talk about Ant-Man and the Wasp: Quantumania!  In this spoiler-filled episode, we peer beyond the comic book panels to discuss what we thought of the movie, the villain Kang, and where the MCU is headed. Ant-Man and the Wasp: Quantumania is directed by Peyton Reed; written byJeff Loveness; and stars Paul Rudd, Evangeline Lilly, Jonathan Majors, Kathryn Newton, Michelle Pfeiffer, and Michael Douglas.Follow ComiClub on Instagram @ComiClubPodcastComiClub is hosted by Blaine McGaffigan and Adam Cook.

This episode of Kinda Funny In Review we rank, review, and recap the 2022 Marvel Studios MCU Movie AntMan 3 directed by Peyton Reed and starring Paul Rudd. Time Stamps - 00:00:00 - Start 00:07:00 - Housekeeping 00:07:30 - The Facts 00:13:43 - The Overall Thoughts 00:35:55 - Ads 00:36:57 - The Plot 01:40:09 - The Podcasts Within Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode of Kinda Funny In Review we rank, review, and recap the 2022 Marvel Studios MCU Movie AntMan 3 directed by Peyton Reed and starring Paul Rudd. Time Stamps - 00:00:00 - Start 00:07:00 - Housekeeping 00:07:30 - The Facts 00:13:43 - The Overall Thoughts 00:35:55 - Ads 00:36:57 - The Plot 01:40:09 - The Podcasts Within Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Fellow Paul Rudd fans, good news: some primo, top quality, high grade Paul Rudd nonsense is about to hit your eardrums. Also along for the ride are his castmates from the third Ant-Man outing, including Evangeline Lilly, Katherine Newton, Jonathan Majors and Michael Douglas - plus their director, Peyton Reed (lest we forget). Talking about breaking, CGI chicanery, fan interactions and plenty of other teeny tiny bits and pieces, quite a lot it covered in this Giant-Man-sized interview special, so please do enjoy.

THIS IS A HUGE ONE! PEYTON REED makes his triumphant return to share some HUGE NEWS with Tom that, let's just say, is the payoff of a lifetime! MARC MARON visits the Forever Dog studio for the first time and talks to Tom about his upcoming HBO special From Bleak To Dark and much more! Plus, Tom gets a troubling call from NJ Congressman, SEAN Y. CONGRESSMAN! Click play and fasten that seatbelt!!! WATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCH https://www.twitch.tv/bestshow4life SUPPORT THE BEST SHOW ON PATREON: https://www.patreon.com/TheBestShow WATCH VIDEO EPISODES OF THE BEST SHOW: https://www.youtube.com/bestshow4life FOLLOW THE BEST SHOW: https://twitter.com/bestshow4life https://instagram.com/bestshow4life https://tiktok.com/@bestshow4life THE BEST SHOW IS A FOREVER DOG PODCAST https://thebestshow.net https://foreverdogpodcasts.com/podcasts/the-best-show Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we discuss our favorite Halloween candy and movie, and ask the question: "Is candy corn a hit or miss?" Keeping with the spooky vibes, we see the return of Tobin Bell to the Saw franchise for "Saw X: We Seen this Before" is it time to AXE Saw? We also discuss Tim Burton and his experience working with Disney and if he should direct a Marvel movie and he gives us an "update" on Bettlejuice 2. Marlon Wayans gives us an update on White Chicks 2, while giving us his views on cancel culture. James Gunn and Peter Safran will oversee DC studios as the new CEOs, respectively. Will they deliver what we have been needed from DC? We shall soon find out. Speaking of superhero films, we share our thoughts on the new trailers for Ant-Man & the Wasp: Quantamania, directed by Peyton Reed, with Paul Rudd, Evangeline Lilly, Jonathan Majors, Kathryn Newton & Guardians of the Galaxy Holiday Special directed by James Gunn. With Chris Pratt, Pom Klementieff, Dave Bautista, Bradley Cooper (and Kevin Bacon!) . Lastly, we bring back the popular Cameron Corner segment with some more James Cameron classic disses. "Oh James"... Let us know your thoughts on Twitter. Do you have questions, topics, or movie recommendations for us?? Tweet us @watchfultweet or #watchclosely, we love talking movies online and we'll discuss any related topic or questions on the show. Have a great week! --- Support this podcast: https://anchor.fm/watchclosely/support

Tom welcomes RONALD BRONSTEIN, co-writer/co-editor/co-genius of every Safdie Brothers film! And if one movie titan wasn't enough, PEYTON REED swings by the studio and DROPS A MAJOR ANNOUNCEMENT... Phones ring on the topic, WHAT ARE THE DUMB THINGS YOU BELIEVED AS A KID? Plus, DARREN FROM WORK calls Tom to catch up and ask for a small favor!