Podcast appearances and mentions of Robert Rodriguez

Let's call it the luxury of restraint. This is what enabled Norway to avoid the fate of so many other countries when they discovered oil and it changed the mix of their economy overnight.Norway! It's expensive, wealthy, and abundant in resources. We're going to compare two of them in particular today: deep reservoirs of oil and icy waters full of salmon. While one resource was heavily in demand, the country had an oversupply of the other.In this episode, we learn how Norway built its wealth by carefully avoiding the pitfalls of discovering oil that have plagued countries in the past and how it creatively created demand for its raw fish abroad.How do you dodge the dreaded resource curse? What clever ways can you benefit from oversupply? And lastly, how do you get rich and stay that way?Featured Episodes:Norway Has Advice For Libya (2011)The Salmon Taboo (2015)Featured Terms:Resource curse / Dutch disease / paradox of plentyCoordination problemFree-rider problemSupport:NPR+Read: Our book: Planet Money: A Guide to the Economic Forces That Shape Your Life (Audiobook here) Our weekly longform Planet Money newsletterOur weekly Indicator link round-up newsletterFollow: InstagramTikTokYouTubeFacebookThis episode of Planet Money Summer School is hosted by Robert Smith. It was produced by Sophia Paliza-Carre and edited by Planet Money Executive Producer Alex Goldmark. It was fact-checked by Sierra Juarez and engineered by Cena Loffredo with help from Annlie Huang and Robert Rodriguez.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

How can building an audience in advance help your stories reach the people who make movies? And how can you prove there's demand for your book or screenplay before you've written it? Brooks Elms shares his advice after more than 20 years as a WGA screenwriter. In the intro, what doesn't work for book marketing and what does [Amy Chan SubStack; Unsingle; Rephonic]; Goodreads giveaway for Bones of the Deep; FutureVision XPrize. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to see the opportunity in AI when others only see the threat How to test a story with samples, and what a 16-second movie can do Building the trailer before you write the screenplay Letting your audience finance the film once they have validated the idea Why Hollywood still wants existing IP, and what makes them pay attention Feeling safe enough to write the truth, and finding a concrete path forward You can find Brooks on LinkedIn or email him at brooks@brookselms.com. Transcript of the interview with Brooks Elms Jo: Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. So welcome to the show, Brooks. Brooks: Thank you. It's awesome to be here. Jo: Fantastic. So first up— Tell us a bit more about you and how you got into screenwriting. Brooks: I started filmmaking first. A buddy came up to me in high school and said, “Hey, we're making a karate movie, do you want to help us?” I was like, “Oh my God, yes, that sounds amazing.” So next thing I know, I had this karate outfit on, and we were just making this completely ridiculous and totally fun movie, and it was amazing. It was so fun. Then it went to a whole other level when we shared it with a friend, this guy Jay Sharon, and he watched the movie and he laughed so hard he literally fell out of his chair. I was like, “Oh my God,” the fun I had making it could actually transfer to somebody else. I was hooked. So from there I went to NYU film school, and then made a few independent feature films which were good but not great in terms of how they were received. They were great for me in terms of enjoyment, but I knew I needed to iterate faster at that point. So then I was like, “Well, it's expensive and it takes a long time to make a movie,” at least back then. So I pivoted to screenwriting, and pumped out two, three scripts a year, got signed at UTA, got writing assignments, and basically launched a screenwriting career. Then I still tried to get some stuff going, but it's hard when movies are so expensive. It's not hard, it's just that it takes a lot of precision in the marketing, and a lot of conversations to find the right matches to finance something, and you're either interested in doing that or you're not. I just was like, “Well, I'll just mostly write screenplays.” Then I started teaching at UCLA Extension and then coaching after that, along with writing. Then all the way up to the future. What's great about moving forward is that with AI, shot-making is becoming very close to cinematic quality. You can actually match cinematic quality in moments in some genres, but probably by next year. Right now you could actually do a really good horror movie all AI for 10, 20,000 bucks, depending on how much you're doing yourself or getting other people to do. So the economics are going to absolutely explode. So I'm sitting on dozens of scripts that didn't get through the Hollywood packaging bottleneck because they're too expensive, and I now have this giant slate that's ready to go, and I'm just absolutely thrilled. It's been a lifelong dream for me. Jo: Oh, so much to come back on there. Where to start? I do want to talk about what you just said there, sitting on dozens of scripts and now seeing the opportunity. I actually wrote down in my journal about a year ago, I see what's coming with AI, and I think that the best thing I can do is create as much original IP as possible, so that I can make the most of the opportunity ahead. So let's just get into the AI, because a lot of people feel it's a super bad thing. Talk about the opportunities and the attitude that you've got [around AI], and that you've seen others have around this, for what is ahead in a positive way. Brooks: It's fascinating to see how people respond to AI. I wonder, when the printing press rolled around, if there was some sort of backlash. Books must be handwritten. They can't be mass-produced. Here's one of my theories. At a deep psychological level, it's so profoundly powerful that I think the default setting is, “Oh, crap.” When I was a kid, some things were hard, and that power imbalance, when something big, new and powerful comes along: I'm going to get screwed, and so this is somehow a bad thing. I think that's the base psychological thing going on with most of the noise. Obviously there are some legit problems, in terms of copyright infringement from learning models, or from some of the environmental situation. So I'm not saying it's all rainbows and butterflies, but I think 90% of the noise around it comes from a fear of change. Here's the other one—a fear of, “Oh, yikes, I'm going to get taken advantage of somehow by either robots, or the corporations are going to use the robots against me,” or something like that. I have real empathy for me when I feel that way a little bit, but I don't feel it much, and for other people that do feel it. The other thing is, you know what it is? I think they fear their own empowerment even more. I had a therapist who was really good. He said, people aren't so much afraid of failing as they are afraid of succeeding. Because if we fail, we're stuck in act one and we don't go anywhere. The fear is answering the call and going to act two, when everything effing changes in the new world. So I think people are afraid of how goddamn powerful they're going to be when they can have a team of AI agents helping them do everything they want in business or life or whatever. I think it's the same thing with the internet. People are like, “Oh, I don't like social media, blah, blah, blah.” And I get it. There's a lot of noise and a lot of crap. Yet we have access to billions of people, and the algorithms in social media right now I think are level three out of 10. They're just going to get better and better. Even as it is now, if I do a post about something and it gets ignored, that's on me. The algorithms are trying to match me to my people. So if I'm not unique enough and authentic enough and aware enough of how virality works, that's on me, and it's a learnable skill that I can embrace and then change and then get better at. So I think people then resist that change. They resist the empowerment of learning the art of virality, or learning the art of some sort of social media stuff or whatever. The last thing I'll say about this rant is, I don't want to act like I'm the guru on the hill that has all the answers. I refuse calls all the time. I'm scared about all sorts of things. I'm certainly not perfect. I feel frustrated when I'm trying to put my big ideas into action and I can't get this technology thing to work or that one, and I throw tantrums. I'm trying to come at it from a real human perspective, but by and large, I've got stars in my eyes. I'm like, “This is amazing. This is going to be so powerful.” For so many people, you just have to be ready to embrace it and just go along for the ride, because there's going to be some big-ass changes. There already are, and that's going to accelerate. Jo: You mentioned there learning the art of whatever it is. One of the things is, I've spent 20 years, and so have you, learning our craft and our art, and now it can be done very easily. I'm generating video, as you mentioned, which is a craft I haven't spent 20 years on, but now I can generate. So things have definitely changed in that way. Just coming to the screenwriting side. Probably about a decade ago now, I did my first screenwriting course. I've written screenplays. Then I looked at the game you have to play and, like you said, the conversations you have to have, the events you have to go and network at, all the things that you have to do to put a screenplay in front of the right person at the right time. I was like, “I cannot do that. It's just not going to happen. I can't do that along with everything else.” So I put it aside, but now I feel maybe it's time to bring it back because things are changing. So can you maybe talk about, if someone has a screenplay now that they've written, or some IP like a book that they have now— What would you recommend people do in terms of wanting to get that [IP] in front of somebody, or doing something with it themselves? Brooks: It's such a good question. By the way, not even a screenplay—you could do the same things with a novel. Let me try to be succinct here, which is a good challenge for me. A simple way to look at it is, you're giving samples. Let's say it's a lemonade stand, and you give out a little shot of your… maybe you have cayenne pepper lemonade, some sort of fun lemonade. If you give out a sample and people are into it, they're going to come back and they're going to tell friends. If you give a sample of the lemonade and they're not into it, then you go back to the kitchen and you mix up a different flavour. So that's some basic business, but the internet allows us to do that at scale. So what I like to encourage people to do when I coach them is come up with the minimum viable material. It can be a 10-second clip. There's a writer in my community who made a really beautiful 16-second movie. It's one shot. I love it so much. It's two wine glasses. There's a lipstick smudge on one of the wine glasses. They're half full, and it's just that shot. It's sitting there, and all of a sudden you hear this thundering, thumping down these stairs, dun, dun, dun, dun, dun, dun. Then you see out of the corner of the frame one person runs by, and then the other person behind her runs by and goes, “Wait.” That's it. That's the whole movie. It's 16 seconds. He did that with his phone. So there's so much going on. There's a couple of basic elements, but he just did it with his phone, and you can evoke enormous emotional impact on people through social media, whether it's just words. You guys have a big advantage as novelists because you're so good with words. Whether it's a little bit longer, like sudden fiction, that's a couple of pages or whatever. Even just copywriters are really in a good position for the future because they're super potent with two words or three words or 10 words. Then novelists are probably really advantageous because it doesn't cost anything to just put some words out on the internet. The point is, if you put something out, it's a signal, and you're talking about billions of people who could find that signal. If you do it and then you look at the response, and then you try again, you look at the response, we can do this iteration infinitely for free. So you can do it already. You've been able to do it for 10, 15, 20 years, just with words. But now you're going to basically be able to do that with movies or clips or trailers. So the thing that I'm leading in my community of writers is having people build trailers in advance, or clips. When a book or a movie is done, how the heck do we get people to see it? One way is a trailer or some sort of behind-the-scenes material. You can just do that stuff now before even writing the screenplay. I saw that you were doing this project, a trailer for this competition. And then you mentioned, “Oh, I've got to write the screenplay.” Not really. You have to develop the story enough to know what you're referring to, and then it's about studying the craft of either trailer construction, or whatever the clips are, or viral clips. They all have a structure, and then you just test it. If you enjoy that testing process, which I find absolutely thrilling, it feels like the filmmaking version of a stand-up comedian. If I did stand-up, I say a joke, they laugh or they don't laugh. It's really beautiful feedback from the universe. Nerve-wracking, right? But we can do that now as storytellers. We put a story out there in any format, and the audience responds. Just like you have to read any room, you have to learn how to read the engagement on social media. What do likes mean? What do shares mean? What do comments mean? How do you deal with trolls? All that is just part of the new art. Once you get good at it, holy smokes, that's the key to the kingdom. You can build audiences in advance, and for movies you could even have them finance your movie in advance, if you've built an email list of 20,000, 30,000, 40,000 people because you kept putting out all these viral clips around your story, novel, or screenplay. Then you go, “Okay, now 30,000 people are on my email list and I tell them about me and my perspective and my world. We're going to make this darn thing with AI for 20,000 bucks. You guys have got to pony up some money. Put in a dollar, five, 10, or you get the VIP $500 experience.” It's like crowdfunding, but much more sophisticated, because most crowdfunding was like begging friends and family to donate to your crazy dream. What I'm talking about is going to the audience directly, developing enough of the story, then going to the audience second, and then only when they validate the idea, to the extent that you're happy with. You could do a crazy idea that's going to have a small audience, and you don't have to have a blockbuster audience. You get to pick the audience size that you want, and then put the samples out there and see if you have a relevant audience size for this next project. Once the audience tells you, “Yes, we want this,” then you go make it. So you're ultimately reducing risk to almost zero. It takes time and you have to learn how to do this stuff, but it's thrilling to me because we just have the capacity to test the material and listen to the audience upfront. The last thing I'll say, and I've rambled a lot, I'm sorry. When I made a movie in 1994, a feature film right out of NYU, it took me three years to find out what the audience thought about that movie. I had to make the damn thing, and then I ran out of money, and that took me years to edit it, and I finally got it, blah, blah, blah. And again, I loved it. I loved every facet of it, and it was fine, but it was super inefficient. Today, I could take those same elements, create an AI trailer this weekend, put it in front of hundreds of thousands of people, and they could tell me right away, “This sucks,” or, “This is interesting,” or, “Holy smokes, this is amazing. I want this.” If it's not, “Holy smokes, this is amazing, I want it,” I can go ahead and re-edit the whole damn trailer, and just keep reiterating at almost no cost. Then once the demand is there, I can take that demand and that audience and go to Hollywood, and that's when they're going to want to work with me. Then it doesn't take a million conversations and finding the needle in the haystack, because Hollywood sees the numbers and they go, “Oh, you're the people we do want to do business with. You've proven demand. We want to do business with you.” Jo: Yes, it's so interesting. I can hear people listening and they're like, “Easier said than done, getting an email list of 40,000 people.” And in fact— It's exactly the same as building up a career as an independent author. This is as a filmmaker, as a visual person, and the industry is visual, so doing a visual trailer is the obvious thing. And as you say, the tools I use just to do this one, I use Midjourney, and I've used Seedance as the main video model. It does take a while, but it is pretty fast now, if you have a visual image of what you want in your head, which obviously you're a visual person as well. But is it… Brooks: Hold on. I want to push back on that a little bit, because I think it's really important. So yes, that's true, but underneath that, my friend, it's a relationship. It's the relationship, and the media is secondary. You have been prolific in connecting with your audience, and that's why I think a lot of people like you, because you share and they get to know you in that sort of cadence. I saw you in another podcast, you mentioned Seth Godin, who just said, “Hey, I want to be the type of person that has this relationship with my audience. I'm going to share some of my thoughts every day.” He happened to do it with words, with his background in marketing, but you could do the same thing with still images. You could do the same thing with a five-second movie clip once a week. It's the relationship you want with your fans. I'm not saying you snap your fingers and you have 50,000 people on your email list. What I'm saying is, what else are you doing? If we're artists and our impulse is to create and share, and if you do it in this way, if I can create and share and inspire trust in this relationship with a stranger because they like my genre thing and they like the way they felt when they experienced my media, words, images, movies, it doesn't matter. They just like the feeling, and they go, “Ooh, I want more of that feeling. How do I get more of that? Oh, this person has this email list or community.” If I can do it with one, then I can scale it out. So getting the first one, or the first 5 or 10 samples, that is a whole process. But then once you do that, scaling up is more of a mechanical thing. It's not even that hard, especially when you can do paid ads. So you can scale up very quickly if you have the sauce. If you don't have the sauce, it doesn't matter who you're related to, you've got to get the sauce right. Jo: Yes, and again, it's so parallel to the indie author community. I've just got to ask you, in the olden days, an author might write a screenplay, or a screenwriter write a screenplay, and then they would send it. They'd find an agent. They'd pitch an agent, and I guess then they'd hope that someone would turn that into a movie. So is that just dead now? Is it realistically that you need to get yourself out there, build the audience in the same way that it often is for authors? Brooks: So, no. I've got two screenplay deals going right now. So here's how it's going to work. Think about Broadway, or the theatre district in Britain. It's like West End or East End or whatever… Jo: The West End. Brooks: Sorry for my American ignorance. West End, okay. So every town on the planet has a stage, but there's only one Broadway, there's only one West End, right? And every town has its own festival, but there are a few significant tastemakers. There's Cannes, there's Sundance, there's Toronto. Hollywood is always going to be a tastemaker in our lifetime, for sure. What they don't have anymore, what they enjoyed for the first 100 years of the industry, is that they had a stranglehold on basically the equipment, the financing, and the audience, and that's all going away. Do you want to hear a fun story about the birth of cinema? Do you know why Hollywood started in Hollywood? Jo: No. Brooks: So Thomas Edison invented the camera, or the type of model camera that they were using in, I don't know, 1910 or something around there. They didn't want to pay his patent. They didn't want to pay the patent to make these movies, so they went all the way across the country, a bunch of outlaws, and they set up shop in California because he couldn't enforce his patent that they were basically stealing. And reason number two, LA enjoys amazing weather almost all year round. The weather here is either nice or really nice. You have mountains, you have beach, you have desert, you have all these different locales. So when it was really important to be on location, LA was the perfect place. Anyway, that is all going away. For many decades, more people could make movies. In the early '90s, Robert Rodriguez made a movie for 9,000 bucks. There was a book in the '80s that I bought that I loved, it was Feature Filmmaking at Used-Car Prices. This guy, Rick Schmidt, I think his name was. There were the independent filmmakers really in the '60s and the '70s. So the cost has been going down and down and down, and now it's less than ever. Once social media came along, now you have access to the audience, so why do you even need Hollywood? That being said, there are tons of people. There are 400,000 people already working in the movie and the TV industry here. And they're voracious. We have a voracious demand. Humans need stories. We need big stories, long stories. We need stories, and Hollywood is so good at giving them stories. And so they have a need for these things, and they're still spending a lot of money on those budgets. So yes, there's still a demand for turning books and optioning them and turning them into movies. Books are great. Any sort of existing IP is great because there are marketing efficiencies there. People already know that stuff, know the vibe of it, and so it's easier to market than something that's totally creative and new. When you're spending that much money, you want those marketing efficiencies. They're really important. So the point being, the power is shifting away from Hollywood. Hollywood will still be a tastemaker, but you and me can reach anybody on the planet now. Almost. Billions of people. If it's making a movie, right now you could make a movie that most people wouldn't realise is an AI movie. If it was a horror film, I know a handful of people that could make a feature-length horror film right now with AI and 99% of the audience couldn't tell, if it was professionally written. Jo: I think the point here though is, I'm an author, the people listening are authors, and we don't want to make movies. We want to license our IP to people who want to make movies. Brooks: Yes. Great. Okay, good. So then you could, if you wanted, build an audience. Hollywood loves when something's already proven, so that's that IP thing, right? So if you just have a great book, then it's all about the sales. You guys have Dragons' Den, we have Shark Tank here. And what's amazing about that show is these are people or entrepreneurs pitching an idea, and there's an amazing rhythm that happens. They say, “We've got this great idea. It's this sort of company.” And the sharks, or the dragons, will listen. And there's a huge turning point when they reveal sales. They're either really excited about the idea and then they go, “Well, how are the sales?” And the person goes, “Well, we don't have any sales yet.” And they go, “Uh,” and they're not interested. Or they might even be like, “Eh, it doesn't seem like a good idea.” And they're like, “Well, how are the sales?” And they're like, “Oh, well, we've sold through the roof.” And then all of a sudden they perk up. So it's all about the sales. So step one is writing something that you want. Step two is making sure other people in your target audience are also loving it as much as you do. Step three is proving in some way at scale that there's real demand for it. So you could do that with trailers, you could do that with clips, you can do that as an indie publisher. There's all sorts of things that you can do. Humans are much more persuaded by concrete data than they are by just vibes. So if you can bring Hollywood concrete data of any type, like viral videos, like audience, like obviously bestsellers. Awards mean something, but not quite as much as sales. Then you're going to get Hollywood's attention because that reduces risk for them. So even now, when Hollywood's definitely shrinking and contracting, there's still very significant money being spent because it's a huge demand. If you ever walk around a studio lot, those things are opulent places. It's stunning. Like, how are they paying for all this stuff? These lots are enormous. It's because humanity is voracious for stories, and movies are one premium type of storytelling. The demand for stories is steady if not going up. It's just that we have a wider variety of types of stories that we can do, whether we're an indie author. So anyway, did I answer the question? You get me too excited with these questions, Jo. It's a problem. Jo: Yes. I think there's a lot of opportunity and a lot of ways in, but the parallels with being an indie author I think are quite clear. One of the things I found interesting about your profile and what you do is that you help clients who are already accomplished but not quite breaking through, and that sounds like a lot of mid-list indie authors, probably a lot of mid-list screenwriters, mid-list filmmakers. This is a hard place to be because, on the one hand, we are grateful for what we have achieved and what we can do, and yet wanting more, wanting that big Hollywood deal or the Netflix deal, or wanting the massive bestseller or whatever. So if someone wants to get to that next level, what are some of the ways that they can perhaps try and get there? Brooks: It's a great question. Coaching is a really wonderful way to learn anything of this sort of complexity and challenge, especially if it's a hyper-competitive business. We need two things, I think, to write a great novel or screenplay or both. A, we need to feel profoundly safe in our space. If we can't really feel deeply authentic about the things that are embarrassing, or that we feel shame about, or just our shadows, or anything that we don't feel completely comfortable saying and sharing in public usually. We need to be able to touch those things, and be articulate about those things, and that's one part of it. Then we need a concrete path forward. Maybe you're thinking about some tragedy that you had in childhood, and how you dealt with it and how difficult that was. So you need to be able to be real precise in those observations about what it felt like, and how you tried to compensate for it, and that didn't work and it made it worse. Whatever your observations are about your life journey, you need to be really specific and really deeply felt. A good coaching relationship allows you to be in that space, to be really honest with yourself and authentic. g Aood coach will push you back and say, “You know what? That sounds interesting, but maybe not quite as true to you deeply.” So that's one piece of it. Then there's a concrete path forward. You need to have the emotional access to that truth, and then you need to know what to do with that truth in a step-by-step way. Because most people, the ones that you're talking about, they're accomplished in something else. What happens is when we first start writing, and maybe this happens with novelists, but for sure it happens to screenwriters, you just start typing words. But you haven't really thought through the theme, the concept, the structure, the character, all the deeper questions that really matter. The milestones, like a North Star: winning a major award, or getting a publisher. That's the direction that we're heading towards, and then you set it and forget it, but you want to keep checking it every week, every month or whatever. But you want it very specific. “I would like to sell a book, or sell a book to Hollywood, or write a screenplay, or get a producer attached to a screenplay.” Whatever the milestone is, make it really specific, really concrete, and then reverse engineer. This is what I do on the concrete path. I reverse engineer every step to get there, starting with a really tiny one we can do today, and I make sure they feel really safe, and then we just walk through. Then what happens is, if you do that, if you feel safe, if you're showing up authentically and you have a process that's repeatable, not just willy-nilly, it's got to be something that's proven to work. It wasn't an accident I wrote 45 scripts. I've got a whole system. But by the way, the first five scripts took me forever. The last movie that I made took me three years to write that script. I can write a better script with those same elements in three months now, because I know I have a concrete path. So if you want to do something new, whether it's playing the piano or getting six-pack abs or writing a screenplay, work with somebody who's got a system that's already proven, and make sure you relate to them, and then just follow the system. Then when the doubts come up, and they will, that's where the feeling safe is really important. Because, oh, I want the six-pack abs, but I don't feel like going to the gym. I want the extra donut. If I'm working with a really good trainer, they go, “Dude, do you want the six-pack abs or not?” And then you go back and forth, and I go, “Okay, now I can make peace with myself and say I can take one tiny bite of the donut and then still do my workout,” and then I'm moving towards that North Star. Does that make sense? Jo: Yes. I think, like many independents, I resist anything that is systematised. I'm a discovery writer, and I follow the muse, and all of that kind of thing. I think I would say something in a similar vein, which is sustainable creativity for the long term, because your 45 scripts are also years of work, and my books are years of work, and we get better at what we do. So my system, I do have a system really, because— My system is that I do the work, and I write my stories, and I get them out there, and I do the marketing. So even if it's not as systematised as such, it's still a process that I have repeated over and over again. Brooks: That's fascinating to me. Would you consider yourself a pantser? You're like, “I've got an idea,” and you just start writing? Jo: I don't use the word pantser. I guess I call it discovery writing, which is… Brooks: That's a better term. Jo: Yes. What I'm writing for this prize, for example, I know the characters, I know now what's happening. When I had the idea, it was very much a vision and a theme, and the competition has a theme: a positive future with AI and technology. But the things that came around that, I then started playing with ideas around the treatment. I haven't written the screenplay yet. I don't do a plot, or I don't follow Save the Cat or any of that kind of thing. When I write a novel, I just explore and I never write in order. Then at some point I stop and then I have to think about the structure and putting it all together, so the edits are quite big. But my fun is in that discovery, really. Brooks: Oh, that's awesome. Okay, so let me ask, that's really fascinating. And by the way, that doesn't, to me, negate the system that I use. The one that I use is ultimately… the thing is, these questions, the audience is wanting your unique answers to. You don't necessarily need to do it in a certain order. I think that's actually really cool that you write out of order and you have a few elements in mind. All that stuff sounds awesome. The only thing that then makes me curious is, how's your pace? Are you actually completing novels at a pace that feels good, or do you feel like you go too fast, too slow? Jo: I do one or two a year at the moment. Well, two a year, really. But I would say I'm not as successful as I'd like to be, so I'm not saying that my system is the best. I'm saying I want to be better. It's just that my fun is this sort of creative chaos, which I then try and control later. One of the things I really like about screenplays and treatments and doing this kind of thing for film is that it is much more structured, I think, than a 70,000-word novel. You can go in all kinds of directions, whereas with screenwriting you do have to be more disciplined really. Brooks: Yes, so this is going to be fun probably, to hear my view for your audience, and the differences as I see them. For starters, you're talking about what, 10, 20, 30 hours reading a novel sometimes, or maybe less, whereas a movie's a 90-minute experience, right? So that's different. Or if it's a TV series, you might see an hour and then an hour. So that's a very different experience. What happens is when it's condensed like that, you're loading up layers. So every scene is stacked with exposition beneath the drama, and done in a certain way. So specifically, movies are only what you can see and only what you hear. Whereas novels, if you can think it, you can write it, it can be in there. So you don't need to have a plot, but if you want to sell your book to Hollywood, it helps. So I was very resistant about structure. I went to NYU film school, where we really just made short films. It was funny, I had friends that were in the dramatic writing department, and I was like, “You guys are wasting your money. You're just learning to write scripts. We learn to write the scripts and make the movies.” What I hadn't realised is it's a different skill set to hold somebody's attention across an hour-long play, or a 90-minute movie, than it is to make a movie that holds their attention for two minutes or five minutes. I found out years later when I made a feature that was like a lot of shorts patched together, and people were not… They liked it, but they didn't love it. I was like, “Well, what's going on?” And so then I learned to really love Save the Cat in particular. It completely changed me. What happened was, I got a big old slice of humble pie. I had made my second feature, and I put everything I had into it, and it had loose structural beginning, middle, end, blah, blah, blah. But I was still, “Eh, Hollywood BS. What do they know? It's all fake.” So I was very anti-Hollywood structure. Then I was like, now I've got two independent films out there, people saw them, liked them, whatever, but it wasn't getting me consistent work. It wasn't really advancing my career in the way that I wanted. And I was like, “Well, maybe there is something to the Save the Cat.” So I went to the Save the Cat workshop with Blake when he was still alive, and he was delightful, a really awesome guy. He's got this kind of cutesy style, for people that don't know. For context, Blake Snyder was a working Hollywood screenwriter, and he had this system called Save the Cat, which actually has some really interesting ideas. He's got this very light, breezy sort of style. A lot of people don't like him and some people really love him, and everything in between. But I took his weekend seminar, and it completely changed me, because at that point, like I said, I took three years to write a script. Then once he had a process and he had a way of thinking about craft that was just much more screenwriter-friendly, I was like, “Oh my God.” It was so much easier, because I was just focused on the right thing at the right time. So it just sped everything up. After that, I was banging out two to three scripts a year, and better and better quality. So for me, because I went from winging it and wrote five scripts in 13 years, and then wrote two to three scripts every year, I became a huge proponent of system and process. Then my own system really came from that, but it's modular. I have a nine-step system, but you don't necessarily have to go in that order, other than the last three steps, but I won't get into the details. Sometimes you kind of jump from two to three and then back to two and then back and forth. So I love that you get the feel for those elements, and then you just felt your way through. But writing screenplay pages doesn't make sense until you really understand concept, you get a deep sense of beginning, middle, end, character arcs, and these other threads. There are just way better tools for those jobs than screenplay format, because it's a really weird format. It's got these weird slug lines at the top that are all in caps, because a screenplay is a blueprint for somebody else to make the movie. It's not an end-user document like a novel. I don't let my clients even go to that format because it just gets them focused on the wrong things. What they really need to know is, what is your perspective about this theme? What happened in your life that you're fascinated with, that you'd even want to write about this? And tell me what your real life lessons are. So we go into… again, I go back to relationship. What's your relationship to the universe? And what's your relationship to your best friends, or where you got your heart broken, or whatever you want to write about. And then we get that clarity, and then I show you how to express it in terms of developing a screenplay. It's really long-form storytelling, and then the structure just makes it build on itself. But with the structure, because you're talking about so much money and people involved to make it, at least traditionally, what ended up happening was narrative structure that was not so much rigid. Because here's the thing, you can look at 50, 100 years of European cinema and you can look at Hollywood cinema, and Hollywood laps them. When I taught at UCLA Extension, I had lots of foreign students. Let's say there'd be two or three students… if there were 12 people in the class, two or three people would be from America, and everybody else would be from other countries. I would go around, I'd be like, “What movies and TV shows have you been watching?” Almost in every single country, they watch half from their own country, half from Hollywood. So Hollywood storytelling works, that's just the data, and they're dominant. The reason it works is what Aristotle was saying thousands of years ago.. There's a way of thinking about beginning, middle, end that just deeply speaks to the psyche, and you can ignore it if you want. I think Godard said, “You need beginning, middle, and end, but not necessarily in that order,” right? Which is great. Just the way we experience life, there's a beginning, a middle, an end to this podcast interview. There's a beginning, middle, end to the day, a beginning, middle, end to me eating lunch. So if you don't lean into the beginning, middle, end psychological aspect of your story, you're going to bore your reader. But to your point, you don't necessarily have to sort that out in the beginning. It's more efficient probably if you do, but you don't have to. Go into it wherever the muse tells you to go, and then at some point, like you do, then you go, “Okay, now I go back and I edit.” If you're saying there's another level, you have another gear in you, then yes, I'd be curious to slowly go through how you're making those decisions. Because what's happening probably is there are ways you're holding back a little bit. There's maybe something you're afraid of being vulnerable about. That's usually where me or other writers are holding themselves back, and we can take a look at that. There are different ways I show writers to do it. Then you can go, “Oh, I was doing it here, and now I can do it there.” And it could be with process, or just a certain creative choice. With story, it's clear and compelling. Those are the simple things. So, is this clear enough? Is it compelling enough? And there are almost always ways to up-level on any facet, whether it's one sentence, or a sentence that describes the whole concept of the book, or a chapter. Each one of those can be looked at with that lens and we can just say, “Hey, this is 70%, 80%,” whatever, and then we say, “Well, how do we get a little bit more?” And then when you do that enough, it piles up. Then especially if you bring in an audience and people are flipping out for your work, they'll tell you. Jo: Yes, I love a challenge, so thank you for everything you've shared today. So where can people find you and everything you do online? Brooks: Well, one way you can find me—if anything I said seemed helpful for you, if you have questions about Hollywood or you have a screenplay in your heart—you can just email me, brooks@brookselms.com. You could look me up on LinkedIn. I'm at Brooks Elms. I also have a Skool community called Screenwriter Marketing, but it's really for any sort of storyteller, and it talks about my favourite way to engage an audience and get through it. So anybody can jump into that if you like my vibe. If you really think anything I've said, or the way I said it, seems like it could be helpful for you, just reach out. Let me know what you're up to, and maybe there's a way I can help you. Jo: Fantastic. Well, thanks so much for your time, Brooks. That was great. Brooks: You're welcome. It was a total pleasure. It was lots of fun, and I really appreciate you.The post How To Prove The Demand For Your Stories And Get The Attention Of Hollywood With Brooks Elms first appeared on The Creative Penn.

July 28, 2026- We're joined in the studio by Robert Rodriguez, president and CEO of the Dormitory Authority of the State of New York to talk about New York's multi-year investment in building out its swimming pool infrastructure.

Erst vor zwei Wochen haben wir über den ersten „Machete“ gesprochen, der uns trotz Kultstatus und Staraufgebot eher kalt gelassen hat. Deshalb stellt sich diesmal die spannende Frage: Wird die Fortsetzung noch schlechter, oder kann sie uns vielleicht doch überraschen?Als der mexikanische Einzelkämpfer Machete (Danny Trejo) vom US-Präsidenten persönlich auf eine Mission geschickt wird, muss er einen größenwahnsinnigen Verbrecher stoppen, der mit einer Atomrakete die Vereinigten Staaten bedroht. Was folgt, ist ein völlig entfesselter Mix aus Action, Satire und purem Wahnsinn.Wir sprechen über Robert Rodriguez' Fortsetzung, den absurden Plot, den prominenten Cast mit Mel Gibson, Charlie Sheen und vielen weiteren bekannten Gesichtern sowie die Frage, ob „Machete Kills“ gegenüber seinem Vorgänger zulegen kann oder dessen Schwächen sogar noch verstärkt. Als Gast mit an Bord ist Marcel Ostrowski vom Podcast Schelle links, Schelle rechtrÜber Marcel OstrowskiPodcast: Schelle links, Schelle rechts⁠⁠Marcel auf Instagram⁠Actionkult auf den sozialen Medien⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Das Actionkult-Intro ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠"Cracked Shell" by Furlong ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Furlong auf den Sozialen Medien⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Über Actionkult: Früher wurde über Filme geschrieben (kult.ch), heute wird darüber gesprochen. Meine Gäste und ich freuen uns immer über Feedback oder sonstige Anmerkungen und Ideen. Kontaktieren könnt ihr uns auf Instagram, Facebook, Bluesky, Threads - oder herrlich old school via E-Mail: actionkult@gmail.com.

In this special episode of Star Wars: In a Galaxy, Eli and Jacob discuss their favorite things about the feared bounty hunter, Boba Fett.Among their discussion:– Boba Fett's origins (both Holiday Special and San Anselmo County Fair)– Boba Fett and pre-marital sex (no, seriously).– Who is Jodo Kast? – Patton Oswalt on Parks & Recreation and The Book of Boba Fett.– The legacy of Jango and how it impacts his cloned son.– Temuera Morrison's star power.– Why Han Solo is such a perfect foil to Fett. – Jon Favreau, Robert Rodriguez, and the characterization of Boba Fett.The next episode of Star Wars: In a Galaxy will release on August 21, 2026.Listen to Davor's episode on the Mandalorian diaspora (referenced in episode): https://podcasts.apple.com/us/podcast/episode-xiii-mandalore-and-me/id1525926729?i=1000505484874&l=es-MXFollow us on BlueSky and Threads: @inagalaxypod.bsky.social/@inagalaxypodFollow our spinoff trivia show on BlueSky: @inagalaxytrivia.bsky.socialFollow Eli everywhere: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/_ochifan327⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Leave us a 5-star rating and review on Apple and Spotify! It really helps!You can email us at swinagalaxy@gmail.com

Today's callers: Andy from Sarasota weighs whether the path to scalability for his live game show business is through personality or product. Then, Marissa from Tampa wants to recapture sales for her fairy tale-inspired teas after taking a hiatus to focus on her family. And Vince from New Jersey wonders how to allocate marketing dollars for his sustainable baby gear company..Plus, Curt reflects on the importance of focus in sustaining OtterBox as a leading tech accessories brand over 30 years.Thank you to the founders of Mr GameShow, Gilded Coach Teas, and Evrloop for being a part of our show.If you'd like to be featured on a future Advice Line episode—where Guy and former show guests take questions from early-stage founders—leave us a one-minute message that tells us about your business and a specific question you'd like answered. Send a voice memo to hibt@id.wondery.com or call 1-800-433-1298. And be sure to listen to OtterBox's founding story as told by Curt on the show in 2019. This episode was produced by Carla Esteves with music by Ramtin Arablouei. It was edited by John Isabella. Our audio engineer was Robert Rodriguez.You can follow HIBT on X & Instagram and sign up for Guy's free newsletter at guyraz.com and on Substack.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In der Hitze des Sommers zieht es uns ins bekannterweise stets ausgesprochen kühle Mexiko, wo wir kernige Herzensbrecher dabei erleben, wie sie allerlei Erstaunliches aus dem Gitarrenkasten zaubern, das sexy Zupfinstrument genauso wie ein gefährliches Waffenarsenal. Wir sprechen über "Desperado" von Robert Rodriguez, mit Antonio Banderas in der Titelrolle, doch auch über den Film, der davor kam. Und nein, damit ist nicht der Vorgänger "El Mariachi" gemeint, über den wir aber auch plaudern, sondern dessen Hongkong-Remake von 1994 namens "Run", der hierzulande unter dem Namen "No Way Back" seinen Weg in die Videotheken fand. Wir, das sind in diesem Fall Martin und Marc vom auf B- und Kultaction abonnierten Youtube-Kanal "filmVERKEHR", der einem launigen und überraschend nerdigen Gespräche sehr aufgeschlossen gegenüber stand. Wir hoffen, der Spaß überträgt sich aufs Publikum. Viel Spaß!Folgt uns auf⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Sergejs Letterbox⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Martins Letterbox⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Und besucht:https://www.actionfreunde.de/https://liquid-love.de/forum/Music Intro: https://www.purple-planet.com

The Batman fans, brace yourselves: Part II just slid all the way to February 2028, and the guys have thoughts on whether it should even happen. Before Frank ships out for a two-week cruise, he and Jonathan clear the week's biggest geek headlines, from a live-action Princess Tiana penned by Colman Domingo, to a major God of War series recast, to Steve Buscemi joining the Far Cry show and a quick DC and Marvel roundup covering Blue Beetle, Supergirl, and Nova. Then the episode shifts gears for a standout interview with writer and director Stephanie Hubbard, the creative force behind the new fantasy comedy A Fairy Tale. She breaks down her leap from hairstylist to filmmaker, how Pure Magic Pictures built a fully connected nine-film universe on indie budgets, the real trading card game (Dino Guru) her cast learned to play on set, and why a thriving Discord community beats chasing Netflix. It is a genuinely fun look at building fandom from the ground up. Timestamps and Topics 0:00 Intro and Frank's Vacation Catch-Up 1:01 Colman Domingo's Live-Action Princess Tiana 6:08 God of War Series Recasts Kratos 10:27 Far Cry Series Adds Steve Buscemi 16:05 The Batman Part II Delayed to 2028 23:18 DC and Marvel Roundup: Blue Beetle, Supergirl, Nova 33:11 Guest Interview: Stephanie Hubbard on "A Fairy Tale" 1:07:46 Weekly Picks and Wrap-Up Key Takeaways The Batman Part II is delayed to February 18, 2028, and the hosts debate whether the six-year gap makes the sequel worth finishing at all, especially with a separate DCU Batman on the way. The God of War series is recasting Kratos after actor Ryan Hurst suffered a torn bicep. With two seasons filming back to back, four already-shot episodes will need a full reshoot. Colman Domingo is writing a live-action Princess Tiana that tells a new New Orleans story rather than remaking The Princess and the Frog, which the guys see as a smarter path than the recent one-for-one remakes. Noah Hawley and Rob McElhenney's Far Cry series lands its first big villain casting in Steve Buscemi, with the hosts riffing on possible settings and story angles. Stephanie Hubbard's A Fairy Tale is the ninth feature in Pure Magic Pictures' fully connected cinematic universe, premiering July 23 at 7:30 PM Eastern, with the studio on track for four films in 2026. Pure Magic built real fan infrastructure around the movies: an actual trading card game (Dino Guru) the cast learned on set, a Discord community that names things like their coffee blend, and a heavy convention presence. Quotes "Not all fairies are good at their job." (Stephanie Hubbard, on the premise of A Fairy Tale) "When I try to be someone's savior, it doesn't go very well. I'm just a person." (Stephanie Hubbard, on the film's message) "No excuses. The cavalry isn't coming." (Stephanie Hubbard, on the Robert Rodriguez mindset that pushed her into filmmaking) "We make movies, but we're truly artists first, and this is our art." (Stephanie Hubbard, on community and creating) "Maybe in 30 years, we will make Time Pit." (Stephanie Hubbard, on the running in-universe reference in every Pure Magic film) Call to Action If you enjoyed the episode, subscribe wherever you listen so you never miss a drop, leave a rating and review to help new listeners find the show, and share it with a fellow geek on social using #GeekFreaksPodcast. Links and Resources GeekFreaksPodcast.com, the source for all the news discussed in this episode A Fairy Tale premieres July 23 at 7:30 PM Eastern through the Pure Magic Pictures season pass Follow Us Facebook: https://www.facebook.com/thegeekfreakspodcast Threads: https://www.threads.net/@geekfreakspodcast Patreon: https://www.patreon.com/GeekFreakspodcast Listener Questions Got a hot take on The Batman getting pushed to 2028, a dream Far Cry setting, or a question for a future guest? Send us your questions, reactions, and topic ideas. We love working listener picks into upcoming episodes. Geek culture, pop culture podcast, movie news, comic book news, The Batman, God of War, DC Universe, Marvel, Princess Tiana, Colman Domingo, indie film, filmmaking, Pure Magic Pictures, Stephanie Hubbard, A Fairy Tale, trading card games, Far Cry, Steve Buscemi, Robert Pattinson, Blue Beetle, Supergirl, Nova, nerd podcast, fandom

Mikey & Jeremy watch 1996's From Dusk Till Dawn directed by Robert Rodriguez, written by Quentin Tarantino, and starring George Clooney. They discuss how to kill vampires, the burden of brotherly love, and Quentin Toe-rantino's particular peccadillo. 

Hello and welcome to another episode of the Shame List Picture Show. On this episode, I am joined by filmmaker Josh Stifter! Josh is the writer and director behind independent genre favorites including Greywood's Plot and The Good Exorcist. Many listeners may also know him from Robert Rodriguez's Rebel Without a Crew, where he documented the highs and lows of making a feature film under an incredibly tight deadline and budget. This episode is a little different from our usual format. Rather than introducing Josh to a film that's been sitting on his Shame List, we're discussing one of his all-time favorites: Matt Johnson's The Dirties. It's a rare occasion where both Josh and Michael have seen the film going into the conversation, but it's also a movie that many listeners may have overlooked despite its critical acclaim and devoted following. Together, they explore what makes The Dirties such a singular achievement, from its inventive filmmaking and uncomfortable humor to its remarkably layered examination of bullying, and media. Whether you're a fan or finally crossing it off your own Shame List, it's a conversation you won't want to miss.Check out more of Josh's work at www.joshstifter.comBe sure to check out our Patreon at www.patreon.com/shamelistpictureshowEdited by: Austin ProctorProduced and Hosted by: Michael ViersExecutive Producer: Austin ProctorTheme Music by: Austin ProctorOpening Narration by: Nick RichardsCredits Music by: Ten-SpeedLogo Design by: Amanda Viers

Why do so many great ideas never become finished projects? In this episode, I break down the concept of working at the speed of thought, a philosophy I learned from filmmaker Robert Rodriguez that transformed how I approach creativity, filmmaking, productivity, and execution.If you're a filmmaker, entrepreneur, writer, content creator, artist, or anyone who struggles with turning ideas into action, this episode covers practical systems for reducing creative bottlenecks, staying organized, testing ideas quickly, and building a workflow that helps you execute instead of procrastinate. We also explore how constraints fuel creativity, why organization matters more than motivation, and the habits that allowed us to produce over 100 shows a week at AfterBuzz TV.Topics Covered: What "working at the speed of thought" really means Why most great ideas never get executed The six habits behind faster creative execution How Robert Rodriguez plans every project before production The organization mistake that kills creative momentum Why creative constraints lead to better ideas How rapid experimentation saves time and money The questions that unlock breakthrough solutions Why wearing multiple hats makes you a better creator The productivity lesson behind AfterBuzz TV's output How to eliminate bottlenecks from your workflow Turning inspiration into finished work consistently

Come along as we travel the world in search of the best economic ideas to bring home!From the beaches of Barbuda to the fjords of Norway, there's money (and money problems) everywhere. For this summer travel season, Planet Money Summer School will take you on a world tour for your ears. Pack that sense of wonder and nose for adventure, this is our semester abroad. We're going to explore exotic locales and discover cultural norms, but we're also going to buckle down and learn the biggest economic lessons around the world from our guides.We start as far away as you can get from Planet Money headquarters, New Zealand and Australia. We'll visit a sheep farm to observe an innovative but controversial market for the most important substance on earth, and we'll ask when do speculators help and when do they hurt the rest of us? Then, we'll get to know the economist – and jazz musician – who changed how the entire world fights inflation when he released a secret number to tame the dreaded wild beast. How did that work? Spoiler: it was the great leap forward in economic mind tricks.Featured Episodes:Liquid Markets (2021)The Secret Target (2018)Featured Terms:Multiple equilibriaInflation targetingSpeculators (impact on liquidity)Support:Planet Money+Read: Our book: Planet Money: A Guide to the Economic Forces That Shape Your Life (Audiobook here) Our weekly longform Planet Money newsletterOur weekly Indicator link round-up newsletterFollow: InstagramTikTokYouTubeFacebookThis episode of Planet Money Summer School is hosted by Robert Smith. It was produced by Sophia Paliza-Carre, fact-checked by Sierra Juarez, and engineered by Annlie Huang with help from Robert Rodriguez.Music: NPR Source Audio - "The Boy from Ipanema," "Desmontes," "Long Drive,” and “Bondi.”See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

From Dusk Till Dawn available here: https://amzn.to/45TB8Sg Matthew Pejkovic of Matt's Movie Reviews is joined by actor and producer Adam P. Cray to talk about From Dusk Till Dawn, the Robert Rodriguez directed grindhouse inspired blend of crime thriller and action horror that stars George Clooney and Quentin Taratino as fugitive criminal brothers who take a family as hostages to cross into Mexico where they find themselves facing an even greater threat. Where the Dead Go available here: Fawesome: https://fawesome.tv/movies/10663053/where-the-dead-go TUBI: https://tubitv.com/movies/100038245/where-the-dead-go Matt's Movie Reviews Podcast listed in FeedSpot's Top 100 Movie Podcasts  Support Matt's Movie Reviews PayPal TeePublic Amazon Follow Matt's Movie Reviews Website  Youtube Facebook Instagram  Rumble

Will limiting how much students can borrow force schools to lower their prices? The Department of Education thinks so. It has a new plan to bring down tuition costs. Starting today, July 1st, it's going to cap how much it's willing to loan to graduate students. You read that right. To reduce the burden of school…the plan is to give students less money to pay for school. This plan is, in part, based on an idea that's been floating around higher education circles for decades: The Bennett Hypothesis, which claims there's a direct relationship between student borrowing and tuition prices. And therefore, if the Department of Education — the biggest student loan provider in the country — limits how much students can take out, then schools will have no choice but to charge students less. This hypothesis was floated roughly 40 years ago...without evidence. But now, as the Trump administration rolls out their Bennettian plan, we have decades of data to see how true this hypothesis is.Today on the show: NPR Education Correspondent Cory Turner explains this theory, and what the new plan influenced by it will mean for borrowers this fall.Other notes:Bill Bennett: “Our Greedy Colleges”Cory Turner: "July 1 brings big student loan changes. Here's what you need to know"The Indicator: "What you should know about your student loans" Support:Planet Money+Read: Our book: Planet Money: A Guide to the Economic Forces That Shape Your Life Our weekly longform Planet Money newsletterOur weekly Indicator round-up newsletterFollow: InstagramTikTokYouTubeFacebookThis episode was hosted by Cory Turner and Kenny Malone. It was produced by Willa Rubin and edited by Marianne McCune. It was fact-checked by Charlotte Isidore and engineered by Robert Rodriguez. Alex Goldmark is our executive producer.Music: NPR Source Audio - “Morning Chorus,” “Belle Mar,” and “The Sky Was Orange.” See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Originally aired October 29, 2022 HOLY MOLY IT'S HERE. And Tony and T.J. want to talk about it. Join the Fab Fellas as they go Full Culkin™ on the latest (and perhaps greatest? LISTEN TO FIND OUT!) Super Deluxe Special Edition reissue of the Beatles' groundbreaking 1966 LP "Revolver". This is just part one—more to come once we get to spend some time with the vinyl box set. ----- Originally aired November 5, 2022 We're back! Our super deluxe vinyl box sets arrived in the mail, and Tony and Teej are ready to dish even deeper on the sparkling new Revolver remixes, bonus tracks, and beautiful accompanying 100-page book. At least Tony is. T.J. might've taken one too many edibles and spent the week listening to Eddie Murphy's 1993 Motown Records sensation Love's Alright. TUNE IN TO FIND OUT! Give Robert Freeman's rejected cover art a spin. https://www.youtube.com/watch?v=EliGoQnSEeA&t=204s Check out the Beatle lyric manuscripts at Northwestern University (shout out to Robert Rodriguez of Something About the Beatles) https://www.youtube.com/watch?v=-NrtgcKLuW4   EPISODE LINKS Check out UBP's videos on  TikTok/YouTube/Facebook/Instagram! Like and subscribe! Please support our scrappy show. Score some merch or find us on Patreon! Drop us a review on Apple Podcasts!

Today's callers: Ruchi from Chicago looks for advice on which channels to focus distribution for her probiotic skincare line. Then Peter in San Francisco considers strategies to champion his line of organic South African wines. And Dominic from Barbados asks about expanding his specialty coffee brand into international markets like the United States.Plus, Susan discusses how people and relationships can make or break your business.Thank you to the founders of Yobee, Culture Wine, and Wyndhams Bajan Coffee Roasters for being a part of our show.If you'd like to be featured on a future Advice Line episode—where Guy and former show guests take questions from early-stage founders—leave us a one-minute message that tells us about your business and a specific question you'd like answered. Send a voice memo to hibt@id.wondery.com or call 1-800-433-1298.And be sure to listen to EO Products founding story as told by Susan Griffin-Black and Brad Black in 2019.This episode was produced by Casey Herman with music by Ramtin Arablouei. It was edited by John Isabella. Our audio engineer was Robert Rodriguez.You can follow HIBT on X & Instagram and sign up for Guy's free newsletter at guyraz.com or on Substack.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Mark and Professor Mike Dillon discuss the 1996 action-horror film From Dusk Till Dawn. Directed by Robert Rodriguez and starring George Clooney, Quentin Tarantino, Juliette Lewis and a gnarly were-rat, the movie focuses on what happens when murderous criminals meet murderous vampires. In this episode, they also talk about exploding vampires, f-bombs, vampire cinema, and were-rats. 

HELLMARE (2026)Director: Victor GabrielCast: Boyd Coffman, Lloyd Kaufman, and the rest of the crew who clearly had a blast making this thingIndie horror isn't dead — it got sucked into a VHS tape and came out swinging. This week we're covering Hellmare, the brand new 2026 horror-comedy from director Victor Gabriel and RFN Pictures, literally 48 hours after its premiere. Fresh takes, zero polish, maximum passion.We go deep on what makes this no-budget gem punch way above its weight class, why practical effects will always win, and why you should be following RFN Pictures right now before everyone else figures it out.In this episode, we discuss:Sucked Into the Tape — The core premise of Hellmare is genuinely original: a group of friends watching a cursed urban-legend VHS get pulled into the movie itself, forced to survive alongside characters from the trailers on the tape. It's Robert Rodriguez fake-trailer energy meets actual horror, and it works.Indie Horror Is Alive and It's Where It's At — We break down why Hellmare succeeds where so many no-budget films fail: tight storytelling, a clear narrative, practical effects that are genuinely gnarly, and a cast with real chemistry that feels like actual friends giving each other shit in a crisis. Because they are.The Tonal Tightrope — We don't just fanboy out — we get into the real critiques. The cartoon sound effects layered over otherwise serious horror moments, a scene in the barn where everyone stares at nothing, and some over-modulated audio that had us straining to hear a key line. Victor's getting better every film. These are the last kinks to iron out.Supporting the Scene — A genuine conversation about why it matters to show up for indie filmmakers. If you're tired of Marvel slop and Star Wars noise, you have to actually support the people swinging for something new. Follow RFN Pictures. Watch this movie when it drops on streaming.We Also Talked About:Marty: Life is Short (Netflix) — Martin Short documentary. Turns out the guy had an inexplicably happy childhood and is just... genuinely nice? Deeply suspicious. Worth watching.Lorne (2026) (Peacock) — New documentary on Lorne Michaels covering his full career, narrated by Chris Parnell. More access than you'd expect from the most private man in television.The Band That Wouldn't Die (ESPN 30 for 30) (Disney+/Hulu) — The Baltimore Colts marching band refuses to die after the team gets snuck out of the city in the middle of the night. The band is kind of the MacGuffin. The real story is a city getting its soul stolen.Without Bias (ESPN 30 for 30) (Disney+/Hulu) — Len Bias. Drafted by the Celtics. Dead 24 hours later. A documentary that goes way beyond basketball into the war on drugs and the paranoia that followed.Lone Wolf McQuade (1983) (Tubi)— Chuck Norris in kicking jeans vs. David Carradine in a sweater. Someone kills a dog. It escalates. Unnecessary explosions ensue. Classic.High Stakes (1986) (Fawesome) — Pre-Kids in the Hall Dave Foley discovers Nazi treasure. It's slow. Keanu Reeves almost got the part. Make of that what you will.Day of the Reaper (1984) (Tubi) — Shot-on-shittio cannibal slasher set in Florida. The hand moves in a dry bathtub. Forty people may or may not have gone missing since Friday. Essential garbage cinema.Some of the above links are affiliate links — if you purchase through them we get a small kickback, and it's the best way to support the show.New episodes of the Dewey Pod Monster podcast drop every week. We're proud members of the YouRun Podcast Network at https://yourunpodcast.com.

Stephen Starr didn't plan to get into the restaurant business.He set out to be a radio DJ. Then a nightclub owner. Then a music promoter.Along the way, he booked a young Jerry Seinfeld for $75, promoted shows for U2 and Madonna, and spent years pretending to be more successful than he really was.Then, in his late 30s, Stephen walked into a glitzy martini bar in New York.He was so taken with it, he decided to start his own version in Philadelphia.Today, Starr Restaurant Group generates nearly half a billion dollars in annual revenue and includes some of the most successful independent restaurants in America: Pastis, Buddakan, Le Diplomate, Parc, Makoto, and dozens more.The surprising part?Stephen did not start out as a foodie.Instead, he became obsessed with the theatre of dining: design, upholstery, lighting, music. A “wow!” feeling when you walk in the door.In this conversation with Guy, Stephen talks about the hard lessons he learned in the comedy and music business, and the unexpected path he took to redefining dining.What You'll Learn:The unglamorous economics of rock concerts and restaurantsHow rejection, romantic heartbreak, and failure can become powerful motivatorsWhy he believes he's spent his career "throwing the party" without attending itHow building the right team of designers can make a restaurant feel magicalWhy Stephen says today's entrepreneurs have a much harder path than his generation didThe model Stephen says new restaurateurs should follow todayTimestamps:00:06:03 — A lonely childhood: Making up skits in his room00:09:49 — Losing his mother at age 1900:11:17 — Starting a comedy club: Deli by day. Stand up at night00:20:49 — Going broke and reneging on a bank loan00:28:26 — Music promotion: Feeling like a fraud while promoting U2, Madonna00:36:52 — A New York martini bar inspires Stephen to start his own00:42:20 — The bold design behind a line-out-the-door restaurant01:03:31 — Opening Buddakan in New York: “I can't do anything better. This is Sgt. Pepper”01:09:08 — Starting a restaurant today: “I would say don't do it … but if you do, keep it smaller”This episode was produced by Alex Cheng with music composed by Ramtin Arablouei. It was edited by Neva Grant with research by Sam Paulson. Our audio engineers were Patrick Murray and Robert Rodriguez.Follow How I Built This:Instagram → @howibuiltthisX → @HowIBuiltThisFacebook → How I Built ThisFollow Guy Raz:Instagram → @guy.razYoutube → guy_razX → @guyrazSubstack → guyraz.substack.comWebsite → guyraz.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Nightmare City (1980) synopsis: “An airplane exposed to radiation lands, and blood drinking zombies emerge armed with knives, guns and teeth! They go on a rampage slicing, dicing, and biting their way across the Italian countryside.”Starring: Hugo Stiglitz, Laura Trotter, Maria Rosaria Omaggio, and Mel FerrerDirector: Umberto LenziThis week on Podcasting After Dark, Zak and Corey are joined by horror author, David Irons to review Nightmare City! The cult classic that inspired Robert Rodriguez's Planet Terror, these infected baddies (don't call them ‘zombies') are fast and coordinated, and they'll drink your blood! Even with its low budget, Nightmare City is absolutely epic… and it has a twist ending to boot!Leave a comment on Spotify, YouTube, or social media and let us know what you think of Nightmare City!Purchase a book or two by David Irons on Amazon!Follow David Irons: Instagram / Facebook / Website / AmazonLet Me Tell You A Scary Story Podcast: Apple Podcasts / Spotify— SUPPORT PODCASTING AFTER DARK —PATREON - Two extra shows a month including Wrap-Up After Dark and The Carpenter Factor, plus other exclusive content!MERCH STORE - We have a fully dedicated merch store at TeePublic with multiple designs and products!INSTAGRAM / FACEBOOK / LETTERBOXD - Follow us on social media for updates and announcements!This podcast is part of the BFOP Network

Maybe the real monster in the Alien franchise isn't actually the killer alien. Because behind the acid blood and jump scares is an even more insidious horror: a single employer with unchecked power. That employer is named Weyland-Yutani, a mega-corporation that dominates workers across the galaxy.Weyland-Yutani is a sort of extreme example of what economists call a monopsony — when one employer dominates a labor market and gains power to underpay and mistreat workers. Sure, it's science fiction. But a growing number of economists argue that monopsony power is a much bigger deal in the real world than previously thought.We watch scenes from the movie Alien with labor economist Arin Dube, whose new book, The Wage Standard, shines a spotlight on the problem of monopsony power in the modern economy. We ask Arin what policy ideas he has that would have maybe prevented the worker tragedy seen in Alien. And we use his answer to try and rewrite the movie (spoiler: the movie becomes much shorter and less exciting).Plus, we speak with Fede Álvarez, the director and co-writer of Alien: Romulus, which puts Weyland-Yutani's poor treatment of workers front row and center.For more on monopsony and anti-trust:The labor economics of 'Alien' — and its lessons for inequality on Earth (PM newsletter)The hidden power keeping wages low (PM newsletter)Antitrust In America (PM series)How we got free agents in baseball (PM episode)Support:Planet Money+Read: Our book: Planet Money: A Guide to the Economic Forces That Shape Your Life Our weekly longform Planet Money newsletterOur weekly Indicator round-up newsletterFollow: InstagramTikTokYouTubeFacebookToday's episode of Planet Money was hosted by Greg Rosalsky and Kenny Malone. It was produced by James Sneed, edited by Jess Jiang, fact-checked by Sierra Juarez, and engineered by Robert Rodriguez. Our executive producer is Alex Goldmark.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

This week in the Screening Room we’re talking about mariachis, coups d’etat, double crosses and backstabbings, and the 2003 Robert Rodriguez film ‘Once Upon a Time in Mexico.’ Plus the mighty Hypothetical Theoretical Metaphorical Potentially Possible Mixtape with songs by Autolux, They Might Be Giants, Jerry Reed, and more. Become an All Access member and get ad-free listening by visiting disgracelandpod.com.See omnystudio.com/listener for privacy information.

What a pair of films & what a pair of guests! As Femme On founders #RiaCarrogan & #TonyaTodd return to compare cinematic classics that are both similar and yet extremely different. From the twisted minds of #RyanCoogler, #QuentinTarantino & #RobertRodriguez we bring to you our latest #CloneBores as #FromDuskTillDawn battles tooth and claw with #Sinners2025! Join us as we discuss iconic music, cultural influences & the hypnotic #SalmaHayek... #PrepareForPrattleCheck out our last #CloneBores pod together... https://shorturl.at/W0QUwYou can watch FDTD behind the scenes documentary 'Full Tilt Boogie' in full on YouTube... https://rb.gy/3xq7qnSink you teeth into more Tonya Todd content at her website! https://www.mstonyatodd.com/Follow Ria on Instagram https://www.instagram.com/ria_reads_books/ Subscribe to Femme On https://www.femmeon.show/ & The Romantasy Coven https://romantasycoven.transistor.fm/Where to find the Spider-Dan & The Secret Bores Podcast…Follow this link to find your preferred podcast catcher of choice ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠pod.link/danbores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/secretbores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.threads.net/@spiderdansecretbores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tiktok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@dan_bores⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/spiderdansecretbores/?hl=en⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.com/invite/CeVrdqdpjk⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IMDB: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.imdb.com/title/tt22023774/?ref_=nv_sr_srsg_0⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://letterboxd.com/spiderdan_2006/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Like, share, comment, subscribe etc. and don't forget to use the #PrepareForPrattle when you interact with us.If you want to #JoinThePrattalion and to be briefed in full on the #SecretBores head over to #PrattleWorld ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.spiderdanandthesecretbores.com/⁠⁠⁠⁠⁠

Today's callers: Daisy in the United Kingdom looks to grow her barefoot shoe brand across the pond in the United States. Then Rachel in Pennsylvania considers private labeling for her protein-packed sprinkles. And Andrew in California wonders whether he should seek investment for his pleasantly-scented soil additive.Plus, Shazi discusses why entrepreneurship is one of the most creative outlets a person can have.Thank you to the founders of Freet Barefoot, SprinkleBites, and PlantAmika for being a part of our show.If you'd like to be featured on a future Advice Line episode—where Guy and former show guests take questions from early-stage founders—leave us a one-minute message that tells us about your business and a specific question you'd like answered. Send a voice memo to hibt@id.wondery.com or call 1-800-433-1298.And be sure to listen to Happy Family Organics' founding story as told by Shazi in 2020.This episode was produced by Sam Paulson with music by Ramtin Arablouei. It was edited by John Isabella. Our audio engineer was Robert Rodriguez.You can follow HIBT on X & Instagram and sign up for Guy's free newsletter at guyraz.com or on Substack.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

"Psychos do not explode when sunlight hits them, I don't give a fuck how crazy they are!"It's true...but Vampires do!Justin, Jon, and special guest Alia, discuss this Robert Rodriguez cult classic. From Dusk Till Dawn...30th anniversary. Editing by: Danny Boy ProductionsRoyalty Free Music: "8 Bit Win!" By HeatleyBros ⁠⁠⁠⁠⁠⁠⁠youtu.be/vX1xq4Ud2z8

Can the government stop you from cutting down your own tree? In many towns and cities these days, removing a tree now requires a permit. You might have to pay a fee, or promise to plant replacement trees. But sometimes, the city won't let you cut down the tree at all, even a tree in your own backyard.That's because trees are important for air quality, for flood control, and for public health. They help keep neighborhoods cool on hot days. But some think that tree protection laws have gone too far — that they might even be unconstitutional.On today's episode, it's the latest showdown between property rights and local zoning laws. Typically, towns and cities enjoy a lot of power when it comes to zoning and permits. They can ban certain types of buildings. They can make you paint your house a certain color. But can they make it illegal to cut down a tree? And what does it mean to "own" a piece of property anyway?Support:Planet Money+Read: Our book: Planet Money: A Guide to the Economic Forces That Shape Your Life Our weekly longform Planet Money newsletterOur weekly Indicator round-up newsletterFollow: InstagramTikTokYouTubeFacebookThis episode of Planet Money was hosted by Jeff Guo and Amanda Aronczyk. It was produced by James Sneed and Emma Peaslee, edited by Jess Jiang, and fact-checked by Vito Emanuel. It was engineered by Robert Rodriguez and Cena Loffredo. Alex Goldmark is our executive producer.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

El podcast 'Par Impar' analiza con el realizador la nueva entrega de su comedia en Prime Video y el mítico filme coral de Tarantino y Rodriguez. En este nuevo episodio del podcast Par Impar, los presentadores Juanma González y Dani Palacio reciben una vez más al director y guionista Rodrigo Sopeña. La excusa para esta reunión es doble: por un lado, comentar la cuarta temporada de su aclamada serie de comedia Atasco, disponible en la plataforma Prime Video; por otro, analizar una de las películas episódicas más emblemáticas de la década de los noventa, la gamberra y mítica Four Rooms (1995). El primer gran bloque de la charla se centra en la producción de Atasco. El director comparte con los oyentes los secretos de la grabación de la cuarta entrega, destacando de manera muy especial el estelar cameo del periodista Juanma Rodríguez, popular colaborador del grupo Libertad Digital y presentador en esRadio. Sopeña relata con humor cómo tuvieron que tratar a Rodríguez como a una auténtica estrella de Hollywood debido a su arrolladora y divertida personalidad. Otra de las genialidades de casting comentadas de la serie de esRadio es la incorporación del humorista Félix el Gato interpretando al mismísimo papa de Roma. Se trata de un rol enteramente gestual y silencioso que parodia las apariciones públicas del pontífice a bordo de un peculiar papamóvil de fabricación nacional. Este segmento sirve para que Sopeña explique cómo ha querido sacar la cámara del atasco físico por primera vez en la serie, expandiendo el universo de la ficción hacia exteriores. El núcleo cinéfilo del programa se dedica al despiece de Four Rooms, una película de culto de 1995 que entrelaza cuatro relatos independientes dirigidos por cuatro de los directores más prometedores del cine independiente americano de la época: Allison Anders, Alexandre Rockwell, Robert Rodriguez y Quentin Tarantino. El nexo de unión de todas las historias es el botones Ted, interpretado de forma histriónica por Tim Roth. Los podcasters y su invitado analizan pormenorizadamente cada habitación de este peculiar hotel Mon Signor. El primer capítulo, dirigido por Allison Anders y protagonizado por Madonna, es calificado de forma unánime como el más flojo y forzado, ya que apenas aprovecha el entorno del hotel. El segundo segmento, de Alexandre Rockwell, introduce al espectador en un juego de sumisión y celos bastante incómodo que, no obstante, mantiene un tono de extrañeza muy acorde al espíritu experimental del filme. El gran triunfador de la película es, sin duda, el tercer episodio, escrito y dispuesto por Robert Rodriguez y protagonizado por un divertidísimo Antonio Banderas en el papel de un mafioso chapado a la antigua. Esta sección es ensalzada como una obra maestra del slapstick y la comedia de dibujos animados al estilo de Tex Avery. El ritmo frenético y las soberbias actuaciones de los niños consiguen extraer carcajadas constantes. Por último, el cierre de la película corre a cargo de Quentin Tarantino, quien filma un plano secuencia larguísimo repleto de sus característicos e interminables diálogos sobre la cultura popular. El segmento, inspirado en un famoso episodio de la serie televisiva Alfred Hitchcock Presents, destaca por su magistral manejo de la tensión antes del estallido del gag final. Como curiosidad, Sopeña y González comentan los breves cameos de actores como Bruce Willis. De vuelta al análisis de Atasco, Sopeña aprovecha para elogiar el trabajo de otros integrantes del reparto, como el actor Diego Martín, quien asume un sorprendente papel dramático como director de orquesta que contrasta radicalmente con sus habituales papeles cómicos. También se destaca el debut actoral en la ficción de la célebre astróloga Esperanza Gracia, así como las delirantes aportaciones de cómicos de la talla de Raúl Cimas. Para finalizar, el podcast cierra con una excelente selección musical que incluye tanto el tema Vertigogo de la banda sonora de Four Rooms como Drop in the Bucket, la sintonía que acompaña a los créditos de Atasco. Los participantes se despiden emplazando a los oyentes a una futura quinta temporada de la serie y a nuevos debates cinematográficos llenos de nostalgia y buen humor.

One specific type of affordable housing used to be popular in American cities, kept rents low, then nearly vanished. Is it time to reconsider boarding houses and single room occupancy units? If they lowered rents in cities, why did they go away? We have the history.Then, let's talk about corporate landlords. They're blamed for driving up rents. Studies show they do the opposite. When corporate landlords come to town, they do buy up homes, which can raise the price to buy, but at the same time lower rents. We'll parse the impact as we consider a Trump administration plan to restrict corporate home ownership.Related episodes:Is the YIMBY movement doomed? How to fix a housing shortage How to build abundantlyCan Trump make buying a home more affordable?Support:NPR+Read: Our book: Planet Money: A Guide to the Economic Forces That Shape Your Life Our weekly longform Planet Money newsletterOur weekly Indicator round-up newsletterFollow: InstagramTikTokYouTubeFacebookThe original episodes of the Indicator were hosted by Darian Woods and Wailin Wong. They were produced by Julia Ritchey, Cooper Katz McKim and Corey Bridges with engineering by Travis Hagan and Robert Rodriguez. They were fact checked by Vito Emanuel and Sierra Juarez. Kate Concannon edits the show. This episode of Planet Money was produced by James Sneed with help from Emma Murphy. Alex Goldmark is our executive producer.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Predators. Humans. Are they so different after all? Maybe an IOF sniper and/or CIA agent has the answer. This episode on the third entry in the standalone Predator franchise discusses existentialism vs utilitarianism, the ethical foundations of an alien species that hunts for sport, Robert Rodriguez's various sins, and which billionaires we'd like to see in the thunderdome. We have bonus episodes, behind the scenes notes, and post-recording wrap ups for just $1 a month on Patreon.  Patreon.com/NoGodsPod Follow us on Bluesky @nogodspod.bsky.social

One reason the $70 billion supplement industry is set to double in the next seven years? Lax regulation.On today's show, we tell the story of a century-long battle between the U.S. government and … you, the people, blinded by your love of a magic pill.We're talking about protein powders, pre-workouts, creatine, stuff for gut health, joint health, vitamin C, turmeric supplements. All that. You might not wanna hear this.Sources mentioned in the episode:Marion Nestle, Food PoliticsCatherine Price, VitamaniaSupport:Planet Money+Read: Our book: Planet Money: A Guide to the Economic Forces That Shape Your Life Our weekly longform Planet Money newsletterOur weekly Indicator round-up newsletterFollow: InstagramTikTokYouTubeFacebookThis episode was hosted by Sarah Gonzalez and Jane Black. It was produced by Sam Yellowhorse Kesler, edited by Marianne McCune, and fact checked by Sierra Juarez with help with Vito Emanuel. It was engineered by Robert Rodriguez with help from Jimmy Keeley. Alex Goldmark is Planet Money's executive producer. See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Have you ever walked around a street, mall, or airport and noticed two or three of the same franchise restaurant within walking distance? Why might one Starbucks or McDonald's or Wetzel's Pretzels sometimes be built so close to another? Are they friends or competitors? And how can that possibly be profitable?Today's show is one such example. Our pals at Hyperfixed got a knotty question we just had to help them untangle: Why are there so many Wetzel's Pretzels so close to one another at the Atlantic Avenue-Barclays Center Station?To find out, Alexi Horowitz-Ghazi followed the dough all the way to the top. His journey led him to a jolly pretzel executive, a franchisee with a deep-fried American dream, and a brush with mall security.Support:Planet Money+Read: Our book: Planet Money: A Guide to the Economic Forces That Shape Your Life Our weekly longform Planet Money newsletterOur weekly Indicator round-up newsletterFollow: InstagramTikTokYouTubeFacebookThis episode was hosted by Alex Goldman and Alexi Horowitz-Ghazi. Hyperfixed is produced and edited by Emma Courtland, Amor Yates, Sari Soffer Sukenik and Tori Dominguez Peak.  The music is by the mysterious Breakmaster Cylinder and Alex Goldman. It was engineered by Tony Williams. Fact checking by Naomi Barr. The Planet Money version was produced by Sam Yellowhorse Kesler and edited by Jess Jiang. It was engineered by Robert Rodriguez. Alex Goldmark is Planet Money's executive producer. See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Over the next four weeks, Zach is taking over the show and picking every single movie we review. He kicked off his month with The Adventures of Sharkboy and Lavagirl, a 3D fueled fever-trip of a children's movie by Robert Rodriguez. Based on stories created by his son, this film is about a kid called Max (Cayden Boyd) who dreams up a boy who was raised by sharks (Taylor Lautner) and a girl who is made of lava (Taylor Dooley). David Arquette and George Lopez are also in this.Join our Patreon for our bonus episodes! https://www.patreon.com/oldiebutagoodiepodFollow the show!Instagram: https://www.instagram.com/oldiebutagoodiepod/Facebook: https://fb.me/oldiebutagoodiepodPodcast Platforms: https://linktr.ee/oldiebutagoodiepodGot feedback? Send us an email at oldiebutagoodiepod@gmail.comFollow the hosts!Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/- Twitter: https://twitter.com/sandrofalce- Letterboxd: https://letterboxd.com/SandroFalce/- Twitch: https://www.twitch.tv/SandroFeltChair- TikTok: https://www.tiktok.com/@sandrofalceZach Adams - Instagram: https://www.instagram.com/zach4dams/- Twitter: https://twitter.com/ZackoCaveWizard- Letterboxd: https://letterboxd.com/zach4dams- Twitch: https://www.twitch.tv/zackocavewizardWatch our editor, Starkie, on Twitch! https://www.twitch.tv/sstarkieeOldie But A Goodie's theme tune is written and produced by Josh Cake. Check out his work here: https://www.joshcake.com/Check out other shows from our network 'That's Not Canon'! https://thatsnotcanon.com/ Hosted on Acast. See acast.com/privacy for more information.

On today's program, I'll be playing for you music from Varese Sarabande's CD Club releases, including music from their new release of Robert Rodriguez, Graeme Revell and John Debney's score to the 2005 comic book film, SIN CITY. You'll also hear selections from previous club releases like THE SCORPION KING (Debney), NIGHTFLYERS (Timm), PETE N' TILLIE (Williams), and WE'RE NO ANGELS (Fenton) We here at CINEMATIC SOUND RADIO would like to thank VARESE SARABANDE RECORDS for their continuing support of this very podcast, and we look forward to continuing our relationship with them for many years to come. Find them at varesesarabande.com Enjoy! —— Special thanks to our Patreon supporters: David Ballantyne, Joe Wiles, Maxime, William Welch, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Don Mase, Victor Field, Jochen Stolz, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Matt Berretta, Eldaly Morningstar, Jim Wilson, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Alex Brouns, Randall Derchan, Angela Rabatin, Larry Reese, Rudy Amaya, Stacy Livitsanis, Carl Wonders, Lee Wileman, Nathan Blumenfeld, Daniel Herrin, Scott Bordelon, James Alexander, Ian Clark, Andy Gray, Joel Nichols, Steve Daniel, Corey O'Brien, John Leggett, Mim Williams, Grace Hamilton, Rob Kemp, Simon Parker, Harry Fiddlesticks, Jonas Wilstrup, Alexandre Richardson, Amy Stewart, Jack Zhu, Cole Losey, Bam Bam, Reed Waller, Paolo Grassini. —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Tax avoidance -- that is, legally reducing your tax bill -- is as American as apple pie. But the line between tax avoidance and tax evasion is often a grey one. On today's show, a collaboration with Tax Notes, we listen in on the secret tapes that show how the wealthiest Americans avoid taxes. We trace the lifecycle of a tax loophole: how it was born (in Malta), how it grew, how the Feds cracked down, and how the industry came to its rescue -- with the help of one high-ranking Trump administration official.  Support:Planet Money+Read: Our book: Planet Money: A Guide to the Economic Forces That Shape Your Life Our weekly longform Planet Money newsletterOur weekly Indicator round-up newsletterFollow: InstagramTikTokYouTubeFacebookThis episode was produced by Luis Gallo and Emma Peaslee and edited by Marianne McCune. It was fact-checked by Sierra Juarez and engineered by Cena Loffredo and Robert Rodriguez. Alex Goldmark is Planet Money's executive producer.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Planet Terror (2007) Directed by Robert Rodriguez Starring: Rose McGowan, Freddy Rodriguez, Josh Brolin, Jeff FaheyIf you haven't seen Planet Terror yet, Sean has a message for you: turn this podcast off right now and go watch it. We'll wait.This week on Dewey Pod Monster, we're diving deep into Robert Rodriguez's gloriously unhinged 2007 grindhouse masterpiece — a movie about zombie mutants, a go-go dancer with a machine gun for a leg, and somehow the best barbecue scene ever committed to film. John has seen this thing approximately 15 times in a theater (yes, really), and Sean just watched it for the first time and immediately felt like an idiot for waiting this long. The result is one of the most enthusiastic, borderline unhinged episode we've recorded.In this episode, we discuss:Go-Go, Not Stripper — The level of detail Rodriguez packed into this movie is insane, and John will correct you on the terminology. We break down why Planet Terror works as both a loving grindhouse homage AND as a legitimately great horror-comedy, and why so many modern movies fail to pull off what this one does effortlessly.Jeff Fahey Tastes His Own Blood and Gives Zero F*s — We make the case that Jeff Fahey is the unsung MVP of this film and the entire Rodriguez universe. The man is covered in wounds, tasting his own blood dripping into his barbecue sauce, and somehow STILL delivering the performance of a lifetime. He deserved an award. He got nothing. We're still mad.The Kid Shoots Himself and We Laughed. Sorry. — Rodriguez had the absolute audacity to telegraph exactly what was going to happen and then do it anyway, and somehow it's one of the funniest moments in the movie. We discuss why it works, why we're both going to hell, and why the movie is smart enough not to dwell on it.The Missing Reel is Cinema — The sex scene that cuts to everything being on fire is a stroke of genius, and we get into why Rodriguez's use of fake film damage and missing reels is more than just a gimmick — it's the best scene transition in the whole damn movie.We Also Talked About:At the Video Store (2019) (Amazon) — A nostalgic documentary about the death of video store culture featuring John Waters, Bill Hader, Gus Van Sant, and Todd Haynes. Sean's watched a suspicious number of these.The Last Ride (1991) (Tubi) — An AIP gem where a crazed truck driver terrorizes a recently released ex-con. Everyone is dubbed. The best line involves a shit pot. It's incredible.Massacre in Dinosaur Valley (1985) (Tubi) — An Italian jungle adventure featuring an alligator that genuinely does not want to be in this movie. The quicksand looks like oatmeal. John watched it before a Tigers game.Against the Dark (2009) (Tubi) — Steven Seagal in a trench coat "fighting" vampire zombies. Keith David shows up to collect a check. John stayed awake for all 90 minutes and regrets nothing and everything.Untold: The Jail Blazers (Netflix) — The chaotic story of the early 2000s Portland Trail Blazers. John doesn't really follow basketball but watched the whole thing. It's an easy hour.Some of the above links are affiliate links — if you purchase through them we get a small kickback, and it's the best way to support the show.New episodes of the Dewey Pod Monster podcast drop every week. We're proud members of the YouRun Podcast Network at https://yourunpodcast.com.

How does a poor country become a rich country? There's a simple blueprint — or at least, that's what many economists used to believe. But over the years, a lot of rapidly developing economies have stalled out. These countries aren't poor anymore, but they're not rich either. They're stuck in the middle. The World Bank calls this problem the "middle income trap."And if there's a poster child for the middle income trap, many would point to Brazil. For a time, Brazil had one of the fastest growing economies in the world. On today's show, we head to Brazil to understand why the old blueprint for economic development might not work so well anymore.The story starts in the Amazon rainforest. With an audacious plan to industrialize the country as fast as possible.Support:Planet Money+Read: Our book: Planet Money: A Guide to the Economic Forces That Shape Your Life Our weekly longform Planet Money newsletterOur weekly Indicator round-up newsletterFollow: InstagramTikTokYouTubeFacebookThis episode of Planet Money was hosted by Jeff Guo. It was produced by James Sneed and Luis Gallo. It was edited by Marianne McCune, fact-checked by Sierra Juarez, translation help from Sarah Robbins. It was engineered by Robert Rodriguez and Jimmy Keeley. Alex Goldmark is our executive producer.A very, very special thanks to Carrie Kahn and Valdemar Geo from NPR's Rio bureau. Also to Otaviano Canuto and Denis Minev.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

NVIDIA is one of the most valuable companies in human history. Its chips run the AI systems transforming everything from entertainment to warfare. But for years, almost nobody believed in co-founder Jensen Huang's vision. Jensen spent nearly a decade pouring billions into a technology called CUDA, long before AI made it profitable.In this deeply personal conversation, Jensen tells Guy why NVIDIA's very first chip was a catastrophic failure … and how at one point, the company was 30 days away from going out of business. Jensen also explains why he thinks fears about AI are overblown, and why he believes the next generation will have more opportunity — not less — because of AI.What You'll Learn:Why NVIDIA nearly collapsed before becoming an AI giantHow researchers sparked the AI boom using NVIDIA gaming chipsHow to lead through uncertainty when a huge bet hasn't yet paid offHow Jensen approaches hard decisions like an engineerWe're “doing ourselves a disservice” by being afraid: Jensen on AI and job lossHow Jensen defends his demanding management styleWhy past failures still haunt himKey Moments From the Interview:00:07:51 — Jensen Huang's childhood at an unusual Kentucky boarding school00:14:50 — Why Jensen left a stable career to help start NVIDIA00:17:14 — NVIDIA's first failure: the NV1 disaster00:19:51 — The desperate trip to Japan that gave the company a lifeline00:23:11 — “The only idea we had” for prototyping: the emulator Hail Mary00:30:53 — The book that shaped Jensen's thinking about innovation00:35:04 — Why NVIDIA kept investing in CUDA while Wall Street lost faith00:41:38 — The moment AI researchers discovered the power of NVIDIA's chips 00:53:17 — Jensen on fear of job loss from AI, and why America risks falling behind01:01:56 — Knowing what he knows now, would he do it again? Yes — and noThis episode was researched and produced by Alex Cheng with music by Ramtin Arablouei. It was edited by Neva Grant. Our engineers were Patrick Murray and Robert Rodriguez.Follow How I Built This:Instagram → @howibuiltthisX → @HowIBuiltThisFacebook → How I Built ThisFollow Guy Raz:Instagram → @guy.razYoutube → guy_razX → @guyrazSubstack → guyraz.substack.comWebsite → guyraz.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

If you have a credit card, hope to buy a house, or just want stable grocery prices – let's talk about the future of Fed independence!It's impossibly important for the Federal Reserve to steer monetary policy without political interference – an ideal pushed to its brink during Jerome Powell's time as Fed Chair.Powell's Fed faced a once-in-a-century pandemic, oversaw the economy as inflation spiked to about 9 percent … went back down to nearly 2 percent … and has started to go back up as the U.S. has gone to war and continued to try and implement the most comprehensive tariffs since the early 1900s.But perhaps Powell will be best remembered as a target – of angry tweets, speeches, and ultimately a criminal investigation, by the very president who nominated him in the first place.On Powell's last day as chair, we ask where his story fits into the sweep of history. We'll hear from someone who was on the Fed Board when Powell was appointed … and when President Trump started to pressure Powell. Plus, we learn what to watch for to see if Fed Independence is crumbling – or holding – as a new Fed Chair nominated by President Trump takes office.Recommend Listening: - Happy Fed Independence Day - The case for Fed independence in the Nixon tapes - A primer on the Federal Reserve's independence - Trump's unprecedented attack on the Fed - Should presidents have more of a say in interest rates? - Lisa Cook and the fight for the Fed - What happens to central banks under pressure?Book info. / Subscribe to Planet Money+Listen free: Apple Podcasts, Spotify, the NPR app or anywhere you get podcasts.Facebook / Instagram / TikTok / Our weekly Newsletter.This episode was hosted by Kenny Malone and Erika Beras. It was produced by Sam Yellowhorse Kesler, edited by Jess Jiang, fact-checked by Sierra Juarez, and engineered by Robert Rodriguez and Cena Loffredo. Planet Money's executive producer is Alex Goldmark. See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Recently, a listener wrote in with a question about OPEC and oil prices. She was prepping for a camping trip… thinking about how much it costs to fill up her diesel-guzzling camper van at the pump. “It would be so awesome if you guys could do an episode explaining OPEC to us,” she emailed us. She wanted to know: why does OPEC exist? Why does it limit the supply of oil? And now that the United Arab Emirates has dropped out, what will happen to gas prices?  We love when our listeners write in (and send us voice notes!). The simplest questions can reveal how the complicated web of the economy works.On our latest: we answer our listener's questions… and the questions behind those questions! Related episodes:• Chevron, Venezuela and the Paradox of Plenty  Book info. / Subscribe to Planet Money+Listen free: Apple Podcasts, Spotify, the NPR app or anywhere you get podcasts.Facebook / Instagram / TikTok / Our weekly Newsletter.This episode of Planet Money was produced by James Sneed with help from Willa Rubin. It was edited by Marianne McCune, fact-checked by Sierra Juarez, and engineered by Robert Rodriguez. Alex Goldmark is our executive producer. See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

“Richard Gere is too handsome to fight with a helmet on!” - Andrew On this week's show, we're chatting about the super-sexy, Arthurian blockbuster, First Knight! How incredible and unsettling is Gere's wig? Why is every character in this movie way too clean? Did Malagant's broke down palace have an actual bottomless pit? How great is Ben Cross in this movie? And do these Knights of the Roundtable outfits look like something a Klingon would wear? PLUS: Sean Connery's favorite movie of 2005 was definitely Robert Rodriguez's Shin Shity! First Knight stars Sean Connery, Richard Gere, Julia Ormond, Liam Cunningham, Christopher Villiers, Ralph Ineson, John Gielgud, and Ben Cross as Malagant; directed by Jerry Zucker.Come hang out in Vegas with us this summer as we do a three-night stand at ST:LV to celebrate 60 years of Star Trek and 10 years of The Nexus! We'll be at the convention Thursday, Friday and Saturday night doing three Nexus shows on Wrath of Kahn, Generations, and First Contact! Best part is, you don't need to have a convention pass to attend, each show is ticketed separately. Click through to snag your tix now!This episode is brought to you in part by Hims. Ready to reach your goals? Visit hims dot com slash WHM to get a personalized, affordable plan that gets you.And by Pestie! Keep the bugs away with Pestie. Go to pestie.com/WHM for an extra 10% off your order.Be sure to visit the WHM Merch shop over on Dashery and check out all the latest show-related designs you can slap on t-shirts, hats, coffee mugs, stickers, whatever! Make your friends jealous by flaunting some WHM merch today! Original cover art by Felipe Sobreiro.

Venezuelan opposition leader Maria Corina Machado was awarded the Nobel Peace Prize last year, for her work to promote democracy in her country.Many Venezuelans expected Machado would eventually become their president once authoritarian ruler Nicolas Maduro was ousted from power. But Maduro has been out of power and in a U.S. prison since January, and Machado is still on the outside looking in. Host Mary Louise Kelly spoke with Maria Corina Machado about her plans to return to Venezuela, her relationship with President Trump and the burden Machado's political career has placed on her own family.This conversation is part of NPR's Newsmakers video podcast series. For more, follow or subscribe to Newsmakers on Spotify, YouTube, or wherever you watch or listen. You can also find the show in the NPR app. For sponsor-free episodes of Consider This, sign up for Consider This+ via Apple Podcasts or at plus.npr.org. Email us at considerthis@npr.org.This episode was produced by Alejandra Marquez Janse, with audio engineering by Tiffany Vera Castro, David Greenburg, and Robert Rodriguez. It was edited by William Troop and Courtney Dorning. Our executive producer is Sami Yenigun.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

In the world of commercial publishing, there are few crowning achievements more coveted than a place on the New York Times Best Seller List. But how does a book actually end up there? There is, of course, a playbook that publishers and authors use to try to gin up enough sales at the beginning of a new book's life to launch it onto the list. But there is also a world of more shadowy techniques – a whole history of hacking shenanigans going back nearly a century.Today on the show, the fourth episode in our series: Planet Money sets out to make the Planet Money book a best seller, and along the way, we uncover all the outlandish strategies that people have tried to hack their way onto the New York Times Best Seller List. There will be mass hallucinations, legal exorcisms, shady book launderers, and scarlet daggers. And we learn the hard way how trying to engineer your way onto the list, just might be the thing that keeps you from getting there.Related:- “Night People's Hoax On Day People Makes Hit With Book Folks” - New York Times: “Jacqueline Susann Dead at 53; Novelist Wrote 'Valley of Dolls'”- New York Times: “Blatty Sue Times On Best-Seller List”- New York Times: “Court Bars A Suit Over Books List”- Bloomberg Businessweek: “Did Dirty Tricks Create A Best Seller?” - Episode 1: Inside a BOOK auction- Episode 2: Our BOOK vs. the global supply chain - Episode 3: BOOKstore Economics- Series: Planet Money makes a book- Laura McGrath's new book: Middlemen: Literary Agents and the Making of American FictionOur book: Planet Money: A Guide to the Economic Forces That Shape Your Life is in stores now. Support: Planet Money+Listen free: Apple Podcasts, Spotify, the NPR app or anywhere you get podcasts.Find us on Socials: Facebook / Instagram / TikTok.Our weekly Newsletter.This episode was produced by Willa Rubin. It was edited by Jess Jiang, fact-checked by Sierra Juarez, and engineered by Robert Rodriguez and Cena Loffredo. Alex Goldmark is our executive producer. Music: NPR Source Audio - "Quirky Episodes," “Dramedy Scheme,” "Unforeseen Consequences,” and “Impractical Jokes.” See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

What's Up Fool? Ep 574This week, Felipe and Rizo are joined by Emmy nominated actor and producer Freddy Rodriguez. A Chicago native who has been a staple in film and television for over 30 years, Freddy first captured audiences as Federico "Rico" Diaz on the iconic HBO series Six Feet Under, a role that earned him two SAG Awards and an Emmy nomination.From starring in cult classics like Robert Rodriguez's Planet Terror to lead roles in Bull and The Night Shift, Freddy has consistently redefined himself across every genre. He stops by to talk about his recent work on Wu-Tang: An American Saga, his new podcast Dos Amigos with Wilmer Valderrama, and his upcoming 2026 horror film You Lose You Die. We also get into his latest project, The Tailoress, where he stars alongside Faye Dunaway.Connect with us on InstagramFelipe - @ felipeesparzacomedianRizo - @ comicMartinRizoFreddy - @ freddyrodriguezofficialHear about Felipe's tour dates, new merch drops & more by signing up @ http://felipesworld.comFelipe Esparza is a comedian and actor, known for his stand-up specials, “They're Not Gonna Laugh at You”, “Translate This”, and his latest dual-release on Netflix, “Bad Decisions/Malas Decisiones” (2 different performances in two languages), his recurring appearances on Netflix's “Gentefied”, NBC's “Superstore” and Adultswim's “The Eric Andre Show”, as well as winning “Last Comic Standing” (2010), and his popular podcast called “What's Up Fool?”. Felipe continues to sell out live stand-up shows in comedy clubs and theaters around the country.

We talk with Anthropic co-founder Jack Clark and Chief Economist at Redfin Daryl Fairweather about two of the biggest issues of our time: AI and housing. We have been crisscrossing America doing live shows to help promote the new Planet Money book. In each city, we've been doing interviews with special guests. And since we won't be able to make it to every city in America (or most cities) we wanted to bring the tour to you! Live show tour and book info. / Subscribe to Planet Money+Listen free: Apple Podcasts, Spotify, the NPR app or anywhere you get podcasts.Facebook / Instagram / TikTok / Our weekly Newsletter.This episode of Planet Money was edited and produced by Eric Mennel and Emma Peaslee. It was fact checked by Sierra Juarez. It was engineered by Robert Rodriguez and Kwesi Lee. Alex Goldmark is Planet Money's executive producer. See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

What if the thing you care about most ... might be what's holding your business back?Daniel Lubetzky didn't leave his law job to build a straightforward business. He left it to build a company he believed would support peace in the Middle East. Daniel named it, aptly, PeaceWorks. It partnered with Israeli and Arab businesses across the region to make and sell gourmet foods—together.But Daniel ran into a big problem: he discovered that lots of people don't shop for a “cause”. Most people buy things they like—especially when it comes to food.Soon, Daniel was scrambling to find new revenue streams to support PeaceWorks. When he got the chance to sell an Australian snack bar in the U.S., he jumped on it—and did really well! But when Daniel's ONE big retailer dropped it, profits tanked.Daniel faced a brutal choice: Walk away… or start over.What came next was a leap of faith. He decided to create his OWN bar. It was almost completely unlike the competition at the time: It was made of whole nuts, fruits, sea salt, and a little chocolate—all easy to see in a novel, transparent wrapping. Daniel named his company KIND, and when he sold it to Mars in 2020, it was valued at $5 billion!This is a story about why mission alone doesn't sell, how failure forces clarity, and the moment every founder faces when they must decide: Do I keep going ... or do I quit?What you'll learn:Why customers don't buy your mission—they buy your productThe hidden danger of being “too purpose-driven”How to pivot without abandoning what matters to youWhy control over manufacturing can make or break your businessThe surprising power of retail placement (and why checkout counters changed everything)How scarcity thinking can limit growth—even when you're winningWhy saying “yes” to the wrong opportunity (like Walmart too early) can hurt youTimestamps:00:06:18 – “It really did shape almost all of my decisions”: How Daniel's father survived the Holocaust and built a new life in Mexico00:17:40 – A landmark meeting of world leaders—and a dramatic career change00:19:30 – From a bankrupt sun-dried tomato spread to PeaceWorks00:24:29 – “They think you're adorable”: Why a mission isn't enough to grow a business00:30:59 – Overnight collapse: Finding a big, new revenue stream—then losing it00:36:47 – The creation of the KIND bar00:47:36 – “You couldn't say no to Walmart”: Entering big box too early00:49:28 – The investment that pulled Daniel away from PeaceWorks00:55:43 – Starbucks and sampling: How KIND became a household name01:03:05 – An acquisition worth billions01:06:25 – Daniel's new mission: Builders vs. destroyersThis episode was produced by Alex Cheng with music by Ramtin Arablouei. It was edited by Andrea Bruce with research help from Noor Gill. Our engineers were Maggie Luthar and Robert Rodriguez.Follow How I Built This:Instagram → @howibuiltthisX → @HowIBuiltThisFacebook → How I Built ThisFollow Guy Raz:Instagram → @guy.razYoutube → guy_razX → @guyrazSubstack → guyraz.substack.comWebsite → guyraz.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today's callers: Alec from California wonders if it's time to bring production for his beef tallow skincare brand out of his kitchen to a co-manufacturer. Then, Jessica from California has a hit horse care product on her hands: is a major pet distributor a dream partnership or a brand-killer? And Eli in Minnesota is curious if he should tweak his signature anti-inflammatory coffee blend for bulk brewing or protect the original taste?Plus, Chieh reflects on his exit from Boxed and how his latest venture helps people through similarly significant career transitions.Thank you to the founders of Surfing Cow, Tail Cinch, and Makor Coffee for being a part of our show.If you'd like to be featured on a future Advice Line episode—where Guy and former show guests take questions from early-stage founders—leave us a one-minute message that tells us about your business and a specific question you'd like answered. Send a voice memo to hibt@id.wondery.com or call 1-800-433-1298. And be sure to listen to Boxed as told by Chieh on the show in 2021. This episode was produced by Rommel Wood with music by Ramtin Arablouei. It was edited by John Isabella. Our audio engineer was Robert Rodriguez. You can follow HIBT on X & Instagram and sign up for Guy's free newsletter at guyraz.com and on Substack.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

How do bookstores choose the books they stock, and how does that affect what customers read? It may not seem like it, but every shelf in a bookstore is a highly valuable and contested piece of commercial real estate. And for every new book that a bookstore decides to stock, there are thousands of others that did not make the cut. So how do bookstores make those decisions? And how will the Planet Money book fare under the discerning eyes of the booksellers, the final gatekeepers in the long gauntlet of the publishing industry?Today on the show: the third episode in our series. Planet Money sets out to actually sell a book. We burrow behind the bookstore shelves to learn the secret codes that publishers use to try to convince booksellers to carry the book, from little mom and pops to airport juggernauts. There will be corporate intelligence networks, bargain bin shenanigans, and a giant industrial saw chewing up books by the thousands. Call it Pulp Non-fiction.Related:- Fisher Nash's Substack- Episode 1: Inside a BOOK auction- Episode 2: Our BOOK vs. the global supply chain - Series: Planet Money makes a bookLive show tour and book info. / Subscribe to Planet Money+Listen free: Apple Podcasts, Spotify, the NPR app or anywhere you get podcasts.Facebook / Instagram / TikTok / Our weekly Newsletter.This episode was produced by Willa Rubin with help from Emma Peaslee. It was edited by Jess Jiang, fact-checked by Sierra Juarez, and engineered by Robert Rodriguez. Alex Goldmark is our executive producer. Music: NPR Source Audio - “A Peculiar Investigation,” “Round Round,” and “Neighbourhood Watcher.”To manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Today's callers: Rebecca from Australia wants to make her small-batch spirits stand out in a crowded market. Then, Sri from England wonders how to balance commercial and humanitarian interests for her heated mats. And John from Pennsylvania hopes to reach younger customers with his Italian wines despite declining alcohol consumption. Plus, Steve talks about the evolving role of robots in food service—and how he hopes to find his next rocketship in a fresh take on the sandwich shop.Thank you to the founders of Streaky Bay Distillers, Mat Zero, and Cantina Di Rosina for being a part of our show.If you'd like to be featured on a future Advice Line episode—where Guy and former show guests take questions from early-stage founders—leave us a one-minute message that tells us about your business and a specific question you'd like answered. Send a voice memo to hibt@id.wondery.com or call 1-800-433-1298. And be sure to listen to Chipotle's founding story as told by Steve on the show in 2017. This episode was produced by Chris Maccini with music by Ramtin Arablouei. It was edited by John Isabella. Our audio engineer was Robert Rodriguez.You can follow HIBT on X & Instagram and sign up for Guy's free newsletter at guyraz.com and on Substack.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Live event info and tickets here. For more than 60 years, Cuba has survived on two seemingly contradictory economic strategies: leaning on friendly communist and socialist countries, and flirting with capitalism. And right now it seems the US is making both strategies impossible.Since January, the U.S. has been preventing almost all oil from reaching the island. Doctors can't get to the hospitals where they work, many buses aren't running, trucks can't deliver food and medicine where they're needed. And there have been frequent blackouts. On more than one occasion over the last few weeks, the entire country has lacked power. It's hard for people to even talk on the phone because they can't always charge them or get cell service. So we asked them to send us voice notes describing this moment in Cuba's history. We also wanted to know: How did Cuba get here? On today's episode: a brief history of Cuba's communist-capitalist experiment. Pre-order the Planet Money book and get a free gift. / Subscribe to Planet Money+Listen free: Apple Podcasts, Spotify, the NPR app or anywhere you get podcasts.Facebook / Instagram / TikTok / Our weekly Newsletter.This show was hosted by Erika Beras and Nick Fountain. It was produced by Luis Gallo. It was edited by Marianne McCune. It was fact-checked by Sierra Juarez and engineered by Robert Rodriguez. Alex Goldmark is Planet Money's executive producer.  To manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

When you come across a book at a yard sale or a bookstore, you might pay more attention to the words between the covers than the physical form of the book itself. But content and the form are both crucial to a book's success. Each book you pull off the shelf, is the product of thousands of decisions, big and small, tying together vast supply chains and armies of workers from around the world. On today's episode, the second episode in our series: Planet Money sets out to actually write, design, and manufacture a book. We go spelunking deep inside the bowels of the publishing industrial complex. There will be trade wars, sunken cargo containers filled with lost cookbooks, deforestation regulations, and just a whiff of scratch and sniff. Related:- Watch our book being printed: TikTok, Instagram, Spotify- Episode 1: Inside a BOOK auction- The laws of the office revisited - Series: Planet Money makes a book Live event info and tickets here. Pre-order the Planet Money book and get a free gift. / Subscribe to Planet Money+Listen free: Apple Podcasts, Spotify, the NPR app or anywhere you get podcasts.Facebook / Instagram / TikTok / Our weekly Newsletter.This episode was produced by Willa Rubin. It was edited by Jess Jiang, fact-checked by Sierra Juarez, and engineered by Robert Rodriguez. Alex Goldmark is our executive producer. Music: NPR Source Audio - “Motivation Or Mayhem,” “Missing A Deadline,” and “No Limits After All.”To manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy