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My co-host Ken Suzan and I are welcoming you the episode 176 of the IP Fridays Podcast. Today's interview guest is returning guest Franklin Graves, who is a senior counsel at Linkedin and teaching IP law at Emerson College. With my co-host Ken Suzan he is discussing how the law for creators has dramatically changed in the past years. Franklin Graves is expressing his personal views and not the views of Linkedin or Microsoft. He is talking about the paper “Upload Complete” before he joined Linkedin. Bio: https://www.linkedin.com/in/franklingraves/ Paper: https://papers.ssrn.com/sol3/papers.cfm?abstract_id=5271442 Website: https://creatoreconomylaw.com/ But before we jump into this interview, I have news for you! Richard Meade, a judge on the UK High Court and one of the most prominent figures in European patent law, was appointed Lord Justice of Appeal at the British Court of Appeal on June 12, 2026. Meade played a key role in numerous landmark British patent decisions, particularly in the area of standard-essential patents (SEPs) and FRAND licenses. In Insulet Corp. v. EOFlow Co., No. 2025-1807, the U.S. Court of Appeals for the Federal Circuit completely overturned the original $452 million judgment (which had already been reduced by the District Court to $59.4 million) in favor of Insulet. In its decision of June 2, 2026, in the case of Fujifilm v. Kodak, the UPC Board of Appeal provided comprehensive clarifications regarding so-called “long-arm jurisdiction”—that is, the question of whether the UPC can also rule on national patent claims outside the UPC territory (such as in the United Kingdom). In 14 guiding principles, the judges established specific procedural rules for various categories of cases. There is no automatic UPC jurisdiction over national patent claims outside the UPC territory. The Munich Regional Court has issued an arrest warrant against the managing director of Polytech Health & Aesthetics GmbH because he is alleged to have continued to exploit the Brazilian company Silimed's patent for breast implants despite a preliminary injunction. A number of IT and automotive industry associations—which are among the most frequent users of Inter Partes Reviews (IPR) at the U.S. Patent and Trademark Office—have filed an amicus brief with the Supreme Court, urging the Court to grant Google's certiorari petition. An attorney for a Las Vegas performer has asked a California federal judge to temporarily prohibit Taylor Swift from using “The Life of a Showgirl” as a trademark while the trademark lawsuit is pending. Swift's attorney called the lawsuit baseless. And now let's hear Ken discuss creator law with Franklin! AI, Platform Law, and the Creator Economy: What Businesses Need to Know Now Franklin Graves has spent his entire career watching digital content move through systems that most people never see. He started in marketing at a major music label right out of law school, then represented individual creators on YouTube in a pro bono capacity, then moved to the platform side at Eventbrite, and today works as Senior Product Counsel at LinkedIn, where he focuses on AI, data, and the regulatory questions that come with both. His recently published law review article, Upload Complete: An Introduction to Creator Economy Law, is the first academic paper to address the creator economy as a distinct legal field. In a recent episode of the IP Fridays podcast, he spoke with host Kenneth Suzan about responsible AI development, platform regulation, and what it actually means to own your audience in a world where the rules keep changing overnight. From Content Creator to Platform Lawyer The through-line in Graves’ career is a genuine understanding of how content moves from an idea in someone’s head to an audience on a screen. That experience, he argues, is precisely what in-house counsel needs right now. Lawyers working on AI and product development cannot afford to sit at a distance from the technology they are advising on. They need to use the tools, experience them as a creator or end user would, and understand the nuances of how a product actually operates before it reaches the public. Understanding the product first is the precondition for everything else. That philosophy translates directly into how he approaches responsible AI implementation. The landscape of AI standards is crowded: NIST frameworks, the EU AI Act, sector-specific guidance, and a growing body of industry-adopted best practices. The challenge for in-house counsel is not knowing that these standards exist. It is making them actionable for the engineering and product teams they support. Abstract principles need to become concrete controls and workflows. Graves offers one practical shortcut: most companies already have open source software review processes that involve the right stakeholders, the right sign-off levels, and the right security checks. Layering the specifics of generative AI or large language models onto those existing processes is far more efficient than building something new from scratch. A Fragmented Regulatory World The geopolitical dimension of AI regulation is something Graves thinks about constantly in his role at LinkedIn. The EU AI Act, shifting US executive orders, and country-specific approaches to data privacy have created a regulatory environment that can change the rules of the game without warning. His analogy is instructive: creators have long understood what it means to build a community on a platform they do not own. An algorithm change, a policy update, or a government ban can wipe out years of audience-building overnight. Businesses deploying AI tools globally now face a structurally similar problem. The response, for creators and for platforms alike, is to build resilience rather than rely on stability that may not last. TikTok is the clearest recent example. When the platform faced the prospect of being shut down in the United States on national security grounds, it triggered a broader conversation about platform dependence that had been building for years. Creators who had invested their entire business in one platform suddenly confronted the possibility that their audience could simply disappear. The lesson is not that platforms are bad. It is that concentration of any kind, whether it is your audience, your data pipeline, or your regulatory compliance strategy, creates fragility. What Is a Creator, Legally Speaking? One of the central contributions of Graves’ law review article is definitional. The terminology matters more than it might seem. When courts and regulators talk about creators without a shared understanding of what that word means, the resulting legal analysis tends to miss the mark. Graves draws a distinction between users who post content, creators who post with the intent to build an audience and eventually monetize it, and influencers, a subset of creators who are actively running a small business through their content. The difference is intent. A parent posting family photos on Facebook is a user. Someone building a subscription community around their professional expertise is running a business, and the legal framework that applies to them should reflect that. That distinction matters practically when it comes to liability. As more creators build their own platforms, whether through custom membership sites, open source tools like Ghost, or federated social networks, they take on obligations that previously fell to large platforms: content moderation policies, privacy notices, terms of service, and compliance with data regulations across multiple jurisdictions. A creator in Tennessee running a membership platform with subscribers in Germany is operating a global business, whether they think of themselves that way or not. Protecting Children Online: A Question Without a Clean Answer The tension between age verification and privacy is one of the more difficult problems in platform law right now. Australia, several European countries, and a growing number of US states have introduced or passed minimum age requirements for social media accounts. The technical challenge is real: verifying age online requires collecting identifying information, and collecting identifying information creates privacy risk, particularly for the young people the laws are designed to protect. Who should bear the responsibility for that verification is also unresolved. Is it the platform? The app store? The mobile operating system? Graves does not pretend there is a clean answer, but he points to the mobile layer as an underexplored option. The Apple App Store and Google Play Store already have significant leverage over which apps reach users on their devices. Whether that leverage should extend to age verification is a question that deserves more attention than it currently receives. The Right of Publicity in the Age of AI Voice cloning, digital replicas, and AI-generated synthetic media have pushed the right of publicity into territory that traditional IP law was not designed to cover. Trademark law, copyright law, and existing publicity rights each capture part of the problem but none of them covers it completely. The result, as Graves describes it, is a period of experimentation: lawyers filing trademarks on vocal sounds and phrases, states updating their publicity statutes to explicitly mention artificial intelligence, and entertainment unions negotiating over who controls a performance and any AI-generated iterations of it. Tennessee’s Elvis Act is a concrete example of the legislative response: the state updated its right of publicity law to include voice and to reference AI directly. Similar efforts are underway elsewhere. The underlying challenge is calibrating protection so that it gives creators and performers meaningful control over their likeness and voice without foreclosing the development of generative AI systems that depend on broad rights to process and learn from content. Somewhere between those two interests, a workable legal framework needs to emerge. The brand deal context may be where the issue becomes most immediately practical. When a brand partners with an influencer and the campaign involves generative AI in any form, the contract needs to address control explicitly. Who has final approval over how the influencer’s likeness or voice is used in AI-generated deliverables? What happens to those assets after the campaign ends? These are not hypothetical questions. They are contract drafting problems that any brand counsel or creator attorney should be addressing today. What Comes Next Graves is cautious about predictions, but his sense of direction is clear. The regulatory environment will continue to fragment before it converges. The right of publicity will be updated, imperfectly, in more jurisdictions. Creators will continue to move toward owning more of their infrastructure. And the lawyers who do this work best will be the ones who understand the technology well enough to translate it into practical, defensible decisions for the people they advise. Full Transcript: Ken Suzan: Thank you, Rolf. Our returning guest today is Franklin Graves. Franklin is the founder and editor of Creator Economy Law, a website and newsletter that educates creator economy professionals on the intersection of law and policy with the world of creators, brands, and platforms. Franklin also published the first law review article focused on the creator economy, Upload Complete, an introduction to creator economy law. He regularly appears across news and media outlets as a commentator and contributor with a focus on educating creators and raising awareness of all legal aspects of the creator economy. Franklin is based in Nashville, Tennessee. Ken Suzan: Franklin was invited to participate as one of the creators and creator economy professionals in the first ever White House creator economy conference. Franklin works full time as a product counsel at LinkedIn Corporation. As a member of the product and data team, he focuses on emerging issues in AI and data. Franklin previously held roles on the technology law group at HCA Healthcare, the commercial legal team at Eventbrite, and the business and legal affairs team at Naxos Music Group. Welcome back Franklin to the IP Fridays podcast. Franklin Graves: Thank you so much for having me. It is exciting to be back and reflecting over the last decade since I last joined and also the paper that I wrote that dives into this in more detail. So I really appreciate it. And yes, full disclosure, I currently work for LinkedIn, which is a subsidiary of Microsoft. I’m here in my personal capacity to talk about this, the paper I wrote before joining LinkedIn and all of that. So thank you so much for having me back. Ken Suzan: Excellent. So Franklin, since your last appearance on IP Fridays in 2017, your career has evolved significantly. You are now senior product counsel at LinkedIn focusing on AI and data. How has working inside a major tech platform changed your perspective on the legal frameworks governing digital content compared to when you were viewing it purely from the creator side? Franklin Graves: I appreciate that question because when I wrote the article, I did not work for LinkedIn. And I had been coming from a history in my career where I, right out of law school, worked for a record label like we talked about almost 10 years ago. And I was on the content creation side. I’ve represented a major distributor of classical music digitally at the time. And that was my first exposure to understanding how content was taken from the initial inception stage from creators and routed through all the various digital platforms that were at the time still evolving and even arguably still today continue to evolve. The early days of YouTube Music launching and then Apple Music launching, and then going through all the phases of high-res audio and everything that came after that. So that was an interesting perspective to start my career with. And then I went to Eventbrite, which is a ticketing platform, but was also focused on elevating event creators. They kind of took on that moniker of “Hey, we are event creators that we support.” And that was arguably my first exposure to the platform side, the tech platform side of it, because Eventbrite is a platform. And so then I evolved from there in my personal capacity, in a pro bono capacity representing individual creators across the YouTube space. And that’s what we talked about a little bit back when I first came on the podcast. Franklin Graves: Over the last decade, it’s been a chance to grow my own understanding of the creator economy. The terminology “creator economy” came around. And then now on the other side of it, having written the article and all that, and now being fully in-house at LinkedIn, I truly am experiencing a social media platform. LinkedIn is of course arguably way more than just the platform itself. There are so many different avenues to it, but it is a chance for me to understand what it is like working for a company that is operating the platform that people are distributing content on. There’s a user journey to content and all of that. So it’s definitely enhanced and given me a different perspective from a major tech platform side. And part of my role at LinkedIn is really heavily focused on understanding regulation and how that from an AI and data perspective impacts the company. And so I’ve been really leveling up my game over the last year and a half that I’ve been here, understanding mostly EU regulations, but also US regulations that are still in their infancy when it comes to AI. But really when it comes to privacy and data, those are pretty well established across the board. It’s been kind of a combination of what I learned at Eventbrite, because I went to Eventbrite when GDPR was going into effect. And so that was an eyes-wide-open moment of getting in the weeds with negotiating data processing agreements, understanding data transfers and cross-border data transfers and the like. So it’s been kind of an evolution as the laws and regulations have evolved. So has my career, so has my own understanding, so have the platforms’ responses to those laws and regulations. And I’m sure that probably resonates with a lot of your listeners who have also been growing their practice and their understanding as the laws and regulations in this realm have been evolving too. Ken Suzan: Yes, indeed. Now let’s switch gears and talk about AI. You advise on AI and data daily. As platforms integrate generative AI tools into their tech stacks, what are the most critical best practices in-house counsel should be adopting right now to embed responsible AI principles into product development? Franklin Graves: So as an attorney, one of my key roles is to understand the technology. Even representing creators and working for creator platforms, that’s something I’m constantly trying to do: put myself in the shoes of being a creator. And I think I talked about this last time I was on, but I come from a background where I was working for a major label doing marketing, video editing, social media work. And I was creating content. I understood the whole life cycle from the inception point of an idea to execution and then to the final delivery and distribution of that content to an audience within a major music label. And so part of that is the same thing that I think attorneys, especially in-house, should be doing: using the tools that the product and engineering teams are either developing in-house or partnering with third parties to develop, or a combination of the two. Using them, understanding them, using them as a creator would, using them as an end user or a client or customer would. And making sure that if you understand the product and understand the nuances of how it operates, and being a part of the iterations of that internally before it fully ramps, that really gives you a chance to understand: okay, we have a lot of responsible AI principles and standards and protocols that are in existence right now, whether it’s NIST, whether it’s based on the EU AI Act or anything and everything in between. It’s understanding how to apply those and bring those into a product and an engineering environment in a way that is practical and actionable for the people that you’re supporting, the stakeholders you’re supporting. So I think one of the critical best practices is, number one, understand the product or features that you’re supporting. Franklin Graves: And then understand how you as an attorney can use your expertise and understanding of responsible AI practices, whether it’s a regulatory standard or an industry-adopted standard or a hybrid of the two, to leverage those and implement those, break those down and make them into actionable controls and processes and flows that work within your existing infrastructure. That’s a lot of high-level talk, but that’s the general idea. One concrete example we talk about frequently is with open source AI. If you’re working with a product team or an engineering team that is taking an off-the-shelf open source model and bringing that in-house, a lot of times companies have pre-existing open source processes that cover the use of open source software or code. Piggyback on that. That’s the easiest quick win for attorneys: leveraging your existing open source processes to just build on top of that the AI flavor and layering. It’s not very much that you have to do, but the underlying process of the key stakeholders that need to be involved in the review, whether it’s security, whether it’s executive sign-off if it gets to that point, even export control considerations should already be part of your existing open source software process. So layering in on those existing processes the specifics of generative AI or large language models that you’re trying to bring in is a great way to put this into practice. Ken Suzan: Now looking at the geopolitical landscape that we currently have, we have the EU AI Act setting strict standards and shifting US executive orders. How should platforms and brands prepare for this fragmented regulatory environment when deploying AI tools to a global user base? Franklin Graves: It’s a great question. It’s something that is still evolving, I think is fair to say. I would equate it, as I do in the paper that I wrote, to how creators and arguably brands don’t own the platforms that they’re building their communities on. That spawned this concept of de-platforming or going into building your own platform, a decentralized platform of sorts, and owning your community. That gives you that control and takes away the level of instability that can come for creators trying to build a business on a platform they don’t own, they don’t control when certain updates happen, when algorithms change, when tools and functionalities either become available or go away completely. So it’s very similar to what we’ve been experiencing in a regulatory environment where we have geopolitical complexities, for lack of a better term, that can overnight seemingly disrupt the way in which a platform or even a multinational brand is able to connect and reach an audience or continue to leverage the user base that they’ve built. I think TikTok is a great example of that, where it became a national security concern and suddenly it was facing an executive order that required it to be effectively disabled in the US or completely owned and operated by a US entity. All the mechanics and technicalities of whether it’s actually possible and still have a global platform with a global user base is a whole different discussion. But that’s an example of very similar considerations that are now not just a discussion point at the creator level or the individual brand level, but also in a much broader context at a platform level as well. Ken Suzan: Franklin, let’s now shift gears and talk about your article. In your recently published journal article, Upload Complete, which we will have linked in our show notes, you advocate for a shift in terminology from internet creator law, a term used during our first podcast almost a decade ago, to creator economy law. Why is this distinction important and how does it change the way legal practitioners should view the ecosystem of creators, brands, and platforms? Franklin Graves: Oh yes, this is part of the reason why I wanted to write the article: to lay this foundation of understanding. Because at the time I’d written the article, the term creator economy and creator had really not appeared but for maybe once in an actual court decision. And it was kind of focused on influencers and this concept, and it was just not getting it right. And so it was also, as you mentioned, when we first spoke I was even using the term internet creators. And I think that was something that was common at the time. The “internet” portion as a qualifier has since dropped off. And now for purposes of the creator economy, the term creators refers to individuals, it can be small businesses, which is what we’ve seen from a regulatory standpoint, how these small businesses are being impacted by regulations. But essentially creators in the article I pin in the context of intent. What is the intent behind the person or the small business that is posting content, trying to build a community and form a community in a virtual environment? And then that can even spill over into real physical world environments. And so the intent is kind of what I look at. Franklin Graves: And I have a chart in the article that has a diagram showcasing the overlap of what I refer to as “users generating content.” It’s a play on the concept of user-generated content, UGC. Users generating content is that large bucket of anyone posting on a platform of some kind. And within that large bucket, that large circle, are smaller subsets. You have creators, you have brands. Those are really the two buckets you can put people into. Otherwise it’s like your grandmother or your parents posting content on Facebook or Instagram, and those are everyday users of a platform. The distinction to get into that subcategory of being a creator more so has been analyzing the intent behind the posting. Are you posting content to build an audience, to build a community, to eventually have a chance to monetize the following that you’re bringing in or sell services or something like that? Brands are posting for that reason. Creators are maybe posting for that same reason. But even within the creator category, there’s a subcategory of influencers that are trying to sell something, that are trying to build more than just an awareness of who they are, their influence. They are trying to do brand deals, partnership deals, upsells and all that, and start an actual small business aside from just the content itself that they’re creating. So that’s kind of the distinctions that I make in the paper. And that’s why it’s important to understand and lay that foundation, that anyone can post content online, but the intent, the why behind their posting that content, really does ultimately matter, especially when you’re looking at it from a court case or from a regulatory standpoint. Ken Suzan: Now, Franklin, we’re seeing unprecedented geopolitical activity around platform ownership. For example, the US legislation targeting TikTok and Brazil’s recent temporary ban of X. How do these macro-level battles impact the day-to-day livelihood of creators? And how can they legally and operationally protect themselves? Franklin Graves: So the shift that we’re seeing, and I alluded to this earlier in our conversation, is this concept of Web 3. And that term may or may not be really popular anymore, but that’s essentially what we’re looking at: a shift into a federated, decentralized operation of a platform. So instead of one owner, one company, one entity owning and operating the platform, it’s decentralized. Anyone can start up a server, and it’s interoperable, meaning anyone can plug and play and connect to that larger network. And it creates this unified social network experience. Within each operating node of that network, there can be your own decisions around content moderation, your own decisions around the hosting providers you use, where you’re operating out of, the terms and conditions that apply to that. But the flip side is that instead of creators posting and sharing in a closed environment run and controlled by a singular entity, you’re now experiencing a peer-to-peer type operation where your experience can change based on which server, which node, which user you’re engaging with. You might have content that’s acceptable in one area but not acceptable in another, and maybe it just doesn’t even show up in that other area. Franklin Graves: But from a liability standpoint, as creators start to build their own networks and communities, even outside of a concept like the fediverse, it’s even down to creators building their own communities through online courses, subscription membership-based platforms that they run on their own website. There’s open source software out there, even something called Ghost, where you have memberships. And that is a creator or a small business in the creator economy that is now taking on the obligations that would typically fall upon a platform. They need to take into consideration terms and conditions, privacy policies, legal aspects, and regulatory considerations for running a platform, especially in a global world. So it’s a lot of liability that then shifts over to those small businesses and even brands sometimes that are doing the same thing. Whether it is something as simple or complex as content moderation or all the way up to monetizing an audience, this new world where creators can spin up and run a platform all dovetails back to the concept of creators not feeling like they have control in reaching the audience and the community that they’re building on an individual platform. And so this really became more mainstream conversation with TikTok and the issues around it potentially being shut down in the US. That was kind of the mindset shift and eyes opening for many creators, especially within the influencer subset, of realizing: we need to make sure that we have a way to reach the audience we’ve built if the individual platform that we’ve committed to over the last year or three years or so is no longer available. We need a way to continue that relationship outside of that one platform controlling it. Ken Suzan: Franklin, we have a few minutes left and a number of topics. So I’m going to switch gears and talk about a few issues. First, a major emerging topic in your paper is the evolution of protecting kids online. With state-level age-gating laws like the CAADCA and the recent FTC updates to COPPA, how should platforms navigate the significant tension between strict age verification mandates and the privacy and First Amendment rights of their users? Franklin Graves: Man, that is a whole discussion to unravel. It is a consideration that we’re seeing happen again, going back to the geopolitical nature of everything. Countries like Australia and certain countries in Europe and now even individual states in the US are trying to look at ways, and some of them have already put into place minimum age requirements before you can even sign up for an account with a social media platform. One of the things I’d just highlight quickly here is that one of the tensions is around how you verify someone’s age online and still maintain the ability to be at least pseudonymous. How do you still have a level of privacy, autonomy, and protection when it comes to having to provide something like a driver’s license or have parental consent tied and connected to an account managed by a parent in a situation where maybe it’s not appropriate or not beneficial to the child in that manner? But then maybe there are counterbalancing factors that outweigh that. All of that comes down to the technicalities of how it’s actually implemented and maintaining the sense of openness and freedom that we’ve had on the internet to date. And then the other element there is, since a lot of the internet that we think of today is more so through mobile applications, is it something that the mobile operating system providers and app store providers should be thinking about? So whether that’s the Google Play Store or the Apple App Store, where does that initial age verification need to fall? Is it at the platform level? Is it the app store or mobile device management level or something else? Yeah, there’s a lot to discuss there. And a lot of the issues we’re seeing with how the internet is changing in terms of being able to browse a website without disclosing personal information that might not have been required before is largely stemming from a focus on protecting children online. Ken Suzan: It sounds like, Franklin, we could have another episode covering lots of issues connected with that one topic alone. Franklin Graves: I would absolutely agree with that. There’s a lot going on there. And again, it’s different across the world. And so I know you all have a global listener base. And so there’s a lot of nuances to that whole discussion too, that are worth exploring. Ken Suzan: Last question for today’s episode is regarding the right of publicity. With the explosion of AI-generated synthetic media, digital replicas, and voice cloning, the right of publicity is taking center stage. What are the biggest legal risks for brands partnering with influencers right now? And how can creators protect their most valuable asset, their likeness? Franklin Graves: That’s a great question. I think we’re seeing kind of a throwing-spaghetti-against-the-wall-to-see-what-sticks approach right now by a lot of different parties, whether it’s trademark attorneys, whether it’s general entertainment attorneys or whoever. For example, we’ve seen Taylor Swift filing trademarks to protect certain sounds of her voice and phrasing that she uses. It’s a difficult area because in the realm of generative AI with deep fakes and virtual avatars, that is where it gets tricky, because traditional IP laws are just not able to fully cover that spectrum. It’s a piecemeal approach, but even then it doesn’t fully cover it. So for example, I’m based in Tennessee and a couple of years ago we had the Elvis Act that updated our right of publicity law to add voice and to explicitly reference artificial intelligence. And so that’s the kind of effort we’re probably going to continue to see: efforts to develop some framework around protecting what is essentially a privacy right, in a manner that doesn’t restrict generative AI systems from continuing to develop and operate the way they’re operating now, while layering in those protections so that in the US at least a First Amendment right doesn’t necessarily get squashed, and those traditional well-recognized efforts to not overregulate a technology in its early stages are respected. Franklin Graves: And so I think a lot of what we’re seeing is just a need to update laws. The SAG-AFTRA debate and the strikes that happened around maintaining control of your performance and any iterations of that, or building upon that by a media company that might come later, it’s all on the table right now and still being discussed, still being worked out. I think in the short run, a lot of times if it’s in a brand deal, the key question is: if you are using generative AI to enhance in some way the final deliverable for the campaign, who has control over that? Who has final say and sign-off on how that likeness or that digital replica or that person’s voice is represented? And even outside of the brand space, we’ve seen actors like James Earl Jones signing over certain aspects like their voice and allowing it to continue to be used in these manners powered by generative AI as Darth Vader. And I think I saw something that Boy George was even starting up an AI company that allows musicians, the original recording artist, to rerecord new versions of their masters so that they don’t miss out on that revenue. It’s powered by generative AI, by taking their voice now, which is significantly different than it was back in the 80s, and using generative AI to make it sound closer to the original, but all based on their current performance. So I think it’s still an evolving area. And what’s interesting too is on the platform side, we’re seeing the early stages of platforms like Google starting to acknowledge and rely on the license grant contained in their terms of service for YouTube, which grants them broad rights to use the content to run their platform. So all that to be said, it’s still early stages. I’m very interested to see where we go from here in the future, especially from a global perspective as well. Ken Suzan: Franklin, I could spend hours talking to you about this. You’re such a knowledgeable person on these topics. Maybe in a few years, will we connect again and talk further on AI and all the things that are yet to be developed? Franklin Graves: Thank you. Yeah, it doesn’t have to be another decade. Maybe we can cut it to half a decade, given the pace at which technology is going now. Ken Suzan: Sounds good, Franklin. Thanks again for being on the IP Fridays podcast.

RECALL: Act Two In February 1961, the boys of Miami Military Academy are still marching, joking, fighting, shaving, bleeding, stealing, and pretending the world outside the gates is someone else’s problem. But the world is already inside the school. It is in the news from Cuba. It is in the old munitions bunkers by the bay. It is in the secrets the adults keep, the wounds they drink through, and the wars they keep handing down to children. Written by Academy Award nominee Bruce Davison, and once optioned and held by the great Al Pacino, RECALL is a funny, savage, deeply human coming-of-age drama about abandoned boys, broken fathers, old soldiers, Cuban exiles, secret weapons, and the machinery that turns fear into patriotism. Act Two begins as Stephen Lishinsky tries to survive the strange education of “A” Company. His head has been butchered. His pride has been beaten. His idea of honor has already taken a few direct hits. When he tries to run, Commander Patterson finds him at the bus stop and gives him the kind of broken advice only a broken soldier can give: if you are in a storm, sometimes the only move is to sit tight and let the morning come. But morning at Miami Military Academy is never clean. Coombs is missing. The Razor Fiend is back. Bear is bleeding into the sink. Lindquist, the feral boy from the mango trees, is pulled into uniform and passed off as a cadet because, at this school, identity is just another piece of equipment someone misplaced. Sally Barnes drifts through the place like a lit match, furious at her father, suspicious of Patterson, and impossible for Lishinsky to ignore. Patterson tries to protect her, but the past between him, Colonel Barnes, and Sally’s mother is its own battlefield. Meanwhile, Slouch and Bebop stop pretending their war is imaginary. The key to Bunker 3 becomes guns, ammunition, and contraband dragged through the machinery of a school that is already falling apart. Patterson lectures boys on amphibious landings while the real invasion waits in the shadows. Bebop is pulled closer to the Cuban exile cause. Slouch, half romantic and half criminal, follows him into the Everglades, into blindfolds, pistols, secret rooms, and men who do not look like teachers. There is comedy everywhere because boys make comedy out of terror. There is coconut rum, marching songs, bad haircuts, chocolate cokes, contraband, dirty jokes, and the Dade County Fair waiting like a reward for good behavior nobody intends to have. But underneath the noise, the rifles are getting heavier. The lies are getting harder to carry. And the adults are running out of time. RECALL is about boyhood at the exact moment history stops being a lesson and starts becoming a weapon. It is about fathers who failed, sons who improvise, countries that ask for sacrifice before they explain the cost, and boys who are still laughing because they do not yet understand what the world is loading. Starring Alan Rosenberg, Carson Bolde, Stone Garcia, Wesley Kimmel, Dan Lauria, Kensington Tallman, Roxton Garcia, Bruce Davison, Luca Diaz, Amari O’Neil, Amir O’Neil, David Errigo Jr., Zeke Alton, Gian Franco Rodriguez, Miki Yamashita, Nemil Mudvari, Sofia D’Marco, and Ashley Ciarra. A portion of proceeds from RECALL will benefit the National Veterans Foundation and the Lifeline for Vets. To support NVF or speak with a Veteran who understands, visit https://nvf.org or call 888-777-4443. Produced by Table Read Podcast and Manifest Media Productions, LLC. Executive Produced by Jack Levy, Shaan Sharma, and Mark Knell.See omnystudio.com/listener for privacy information.

Have you ever wondered why trying too hard to impress a casting director might actually hurt your chances of booking the role?Many actors focus on proving how talented they are, but that can pull them away from what really matters: telling the story.When actors shift their focus from themselves to the world of the project, their auditions often feel more real, natural, and believable.In this episode, you'll discover:Why trying to “perform well” can quietly work against you and what helps casting directors trust you more.The simple mindset change that can make your self tapes feel more honest and connected.How the way you present yourself before an audition can help casting teams see you as the right fit.Listen now to learn how focusing on the story instead of proving yourself can help you create stronger auditions and build more trust with casting directors.Email: martin@cityheadshots.comWebsite: https://www.martinbentsen.comAdditional Resources:Headshots: https://www.cityheadshots.comShoot Footage for Your Reel: https://www.actorscreenershoot.comEdit Footage Into a Reel: https://www.demoreelsnyc.comThis show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles.

Valve will no longer sell physical gift cards in retail locations because of scammers using the cards to steal innocent people's money. Xbox has said that more layoffs and studio closures are coming to "reset" the business. The ESA says that the No Fakes act that is currently going through congress to regulate "digital replicas" will "destroy the game industry". This leads into a discussion of how much actors get paid - even in TV and film. Then we talk to Jamie from OLR about Dead by Daylight announcements.

On the Bills and Commanders team previews, we tackle the tough questions: Is Dawson Knox a member of SAG-AFTRA? Is Treylon Burks so back? Hosted on Acast. See acast.com/privacy for more information.

Jordan has on his good friend Steven Zang to talk about Super Impose, his short film that premiered at The Garden State Film Festival. This episode is so Jersey (shot a month ago because I've been moving). They talk about the Williams Center, Comedy, Filmmaking and so much more. Part 3 is next week! Follow Steven at @Zang_in_high_def on Instagram! Upcoming Shows at lnhstudios.com/shows *Filmmakers!* Sign up for Sutudu, a new platform to get distribution and package your pitches to sell to investors. A platform by filmmakers for filmmakers that takes the smallest royalties from distribution deals. Check it out, you can signup for a free account to get started. https://sutudu.com/register?ref=w8nyaxaw Sessions With Mary Jane is a Cannabis infused podcast hosted by stoner comedian and filmmaker, Jordan Fried.  It features interviews from musicians, filmmakers, comedians, politicians, writers and business owners along with solo concept episodes.  While all guests do not necessarily partake, the one requirement is that they are pretty chill, man.  Listen for untold stories, how to guides, deeper dives and expanded curiosities. Your source for all things New Jersey, Hudson Valley and NYC.  New Episodes every Wednesday with exclusive bonus content. An LNH Studios podcast on the Gotham Network. Produced by the Gotham Network. Jordan Fried⁠ (⁠https://jordanfried.myportfolio.com/⁠) is a SAG AFTRA comedian and filmmaker from Warwick, NY currently based in Rutherford, NJ. His debut comedy special and album, When The Edible Hits, is out on YouTube, Spotify, Apple Music, X, Facebook and Vinyl.  He is the co-director, co-writer and star of Beware The Horn, a film about a film school graduate that stumbles upon an improv troupe that he thinks is a cult.  He also appeared as the Young Peter Madoff in Madoff : Monster of Wall Street. He studied Digital Media Production and English at Tulane University, where he was a member of Cat Mafia Comedy. He's performed at Rhino Comedy, Eastville Comedy Club, Hell Yes Fest, Binghamton Comedy and Arts Festival, New Orleans Comedy and Arts Festival and Northern Virginia Comedy Festival. He produced the comedy variety show, Circuit Break; Late Night Hump at NJ Weedman's Joint; and he is a founding member of the improv troupes, Duly Noted and The Mutts.  He taught media, podcasting and comedy classes for Montclair Film, Blue Sky Kids and Educate The Block.  He recently worked as the operations manager at The Williams Center in Rutherford, NJ. Learn more about your ad choices. Visit megaphone.fm/adchoices

Are your acting choices making your auditions harder to believe?Many actors think they need to do more to stand out. They add extra emotions, create complex ideas, and try to make every moment special. But on camera, simple and honest acting often works best.This episode shows why doing less can actually help you create stronger self tapes and more real performances.You'll discover:Why adding too much to a scene can secretly make your acting less clear and harder to watch.The simple shift that helps your performances feel more natural and connected on camera.What casting directors really notice when deciding if an actor fits a role.Listen now to learn how simplifying your acting can help you create auditions that feel real, focused, and easier to connect with.Email: martin@cityheadshots.comWebsite: https://www.martinbentsen.comAdditional Resources:Headshots: https://www.cityheadshots.comShoot Footage for Your Reel: https://www.actorscreenershoot.comEdit Footage Into a Reel: https://www.demoreelsnyc.comThis show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles.

This conversation with Dr. Michael Mantell focused on the connection between mental health, resilience, and overall well-being. Dr. Mantell shared insights on the importance of developing a positive mindset, managing stress effectively, and building healthy habits that support both emotional and physical health. He emphasized that personal growth begins with self-awareness and intentional choices, and that resilience can be strengthened through practice and perseverance. The discussion highlighted practical strategies for maintaining balance, overcoming challenges, and living a more fulfilling and purposeful life. Dr.Michael Mantell Biography Dr. Michael Mantell, a Renowned and Esteemed Mental Health Architect, earned his Ph.D. from the University of Pennsylvania in 1976 and his MS in Clinical Psychology in 1972 from Hahnemann Medical College. He guides clients to disturb themselves less, by identifying, challenging, and restructuring irrational beliefs, helping them build a reliable foundation of rational, flexible thinking, and adopt healthier behaviors and attitudes. His expertise bridges the art and science of mental health, empowering clients to disturb themselves less and construct a mindset that enables them to respond to life’s challenges with resilience, acceptance, and self-compassion. Throughout his career, Dr. Mantell has held various prestigious positions, including Chief Psychologist for Children's Hospital of San Diego, Chief Psychologist of the San Diego Police Department, and Chief Behavior Science Consultant for the American Council on Exercise. He was a co-founder and Chief Science Officer of Plus Size Certified, Inc. and is a member of the Science Advisory Council of the International Council on Active Aging. In addition, he served as Assistant Clinical Professor in the Department of Psychiatry at UCSD Medical School, where he taught the Doctor-Patient Relationship course. He brings a specialty focus on physician wellbeing, physician burnout and elevating the patient experience. He has lectured at Pt. Loma Nazarene University and has provided a yearly 3-day Physician Wellness Studio for the American Society of Hematology. He is an invited guest instructor at Harvard University. Dr. Mantell is a prolific author with four books to his name, including his recent work, "The Link is What You Think," "Ticking Bombs: Defusing Violence in the Workplace," and his iconic 1988 original "Don’t Sweat the Small Stuff PS: It’s All Small Stuff" and its 25th Anniversary Edition. Dr Mantell has been a member of SAG-AFTRA since 1981, Chair of its Election Committee and Vice-Chair of the Government Affairs and Public Policy Committee. He was elected to the Board of SAG-AFTRA San Diego in September, 2025. He’s been bringing psychology to the broadcast media for decades including regular appearances on Good Morning, America, Oprah Winfrey and weekly spots on local and nationwide news. You can follow his free daily “MantellPoints2Ponder” on LinkedIn and Facebook.Support the show: http://www.cooleyfoundation.org/See omnystudio.com/listener for privacy information.

The actors you love to watch aren't just talented — they're prepared. Every nuanced choice, every layered moment, every scene that pulls you in and won't let go? That comes from the work they do before the camera rolls. There's no single “right” way to prepare. Every actor is different. Every role demands something different. What separates the good from the unforgettable is having a full toolkit — and knowing which tool to reach for. In this class, Kym Jackson walks you through proven methods for breaking down a scene, building a character from the ground up, locking in your lines, and showing up to your next film & TV audition or shoot fully prepared and ready to deliver. Kym Jackson (S.W.A.T., N.C.I.S.) is an Aussie actress credited with 70+ feature films & TV episodes. Her 2026/2027 releases include We Bury The Dead opposite Daisy Ridley, Born To Lose with Sarah Pidgeon and Dylan Arnold, The Cryptid opposite Emmy winner Charlie Adler, and Wild Card with David Arquette.A member of MENSA, Kym is the author of the Amazon best selling textbook, The Hollywood Survival Guide For Actors. As a regular speaker for organizations including SAG-AFTRA, MEAA, WIFT, Spotlight, Kym has taught thousands of actors to successfully pursue a career acting professionally in the film & TV industry.She is the founder of the Secret Actor Society app and membership site, which connects actors worldwide with casting directors, provides a supportive community, and contains masterclasses on how to navigate the film industry as an actor. Kym's mission is to share knowledge with her peers and the next generation of talent.Kym is also a SAG-AFTRA convention delegate, who in 2022 co-authored and gained unanimous support from the delegation for her resolution to limit self tape lengths - a key point in the 2023 SAG-AFTRA strike negotiations.

The NO FAKES Act heads to a Senate Judiciary Committee markup and vote on June 11, 2026. This is a moment three years in the making and the closest this bill has come to becoming law. Right now, anyone's face or voice can be cloned and dropped into a video they never agreed to, and most people have far fewer legal rights to stop it than they think. The NO FAKES Act would change that. To break down what the bill actually does, we're joined by SAG-AFTRA LA Local President and the SAG-AFTRA Government Affairs & Public Policy Committee (GAPP) Co-Chair Joely Fisher; actor-producer and GAPP Committee Co-chair Jason George and SAG-AFTRA Chief Legal Officer Jeffrey Bennett. They explain the new federal right NO FAKES would create in your voice and likeness, the fast "take down and stay down" process that would force platforms to remove unauthorized replicas and the built-in First Amendment protections. They also discuss the unusually broad coalition behind the bill and how you can support this at sagaftra.org/nofakes. *The views expressed by guests are their own and do not necessarily reflect the views of their organization or SAG-AFTRA.

Ever feel like your auditions are not working, even when you are making big acting choices?Many actors try to stand out by adding more emotion, slowing down lines, or making every moment feel important.But in Film & TV auditions, especially for small co-star roles, casting teams often want something much simpler. The goal is not to show off. The goal is to feel like you already belong in the show.In this episode, you'll discover:Why doing less in an audition can actually make your acting feel stronger and more real.The small shift that helps casting see you as a natural fit for the story.How to avoid the common mistake that makes many good actors seem wrong for TV roles.Listen now to learn how keeping things simple can help your auditions feel more real, natural, and ready for Film & TV.Contact Info:Email: martin@cityheadshots.comWebsite: https://www.martinbentsen.comAdditional Resources:Headshots: https://www.cityheadshots.comShoot Footage for Your Reel: https://www.actorscreenershoot.comEdit Footage Into a Reel: https://www.demoreelsnyc.comThis show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles.

EPISODE #482-- We slam headfirst into the car crash of a genre-bender, GOD TOLD ME TO (1976), which tries to combine a police procedural, UFOs, horror, and, I don't know what else, into a real must-see mess of a movie. Seriously. It's almsot good at every single turn. It begs to be watched. We also chat about George Clozeau's LE CORBEAU (1943), Tim Burton's BEETLEJUICE BEETLEJUICE (2025), Carol Reed's NIGHT TRAIN TO MUNICH (1940), and Alfred Hitchcock's THE LADY VANISHES (1938). Do we talk about other movies? Yes. Many. If you want to a list of them, check out our Patreon! LINKS-- Join the cause at Patreon.com/Quality. Follow the us on on Bluesky at kislingconnection and cruzflores, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in THEY LIVE TOGETHER. Thanks to our artists Julius Tanag  and Sef Joosten. The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Also, I've got a newsletter on Substack, so maybe go check that one out, too. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

Jessica and Jenn are diving into a full industry check-in before opening up the floor to listener questions.We kick things off with the latest SAG-AFTRA and AMPTP deal, breaking down some of the key gains for performers.Then we head to Cannes to talk about what the festival revealed about the current state of the film business, from the global marketplace to the types of projects making noise this year. The 2026 Cannes Film Festival ran May 12–23. We also get into the overnight success of Off Campus, Prime Video's buzzy new series based on Elle Kennedy's beloved book series, which reportedly pulled in 36 million viewers in its first 12 days and has already been renewed for Season 2. Plus, we announce our LA Summer Meet-Up!And then we jump headfirst into this month's Instagram-submitted Q&A, answering your questions about the casting process, actor materials, industry etiquette, and the stuff everyone wants to ask but doesn't always know how to say out loud. In this episode, we talk about:The latest SAG-AFTRA / AMPTP deal and what actors should knowKey union gains around AI, residuals, pensions, and castingCannes Film Festival takeawaysWhy Off Campus became such a fast breakoutOur upcoming LA Summer Meet-UpYour Instagram-submitted casting questionsActor strategy, etiquette, materials, and industry expectationsResources: THR The Indies Are Dying. Long Live the IndiesThe Hollywood-ification of BroadwayHollywood Shunned Cannes in 2026: What Will It Take for Studio Blockbusters and Netflix to Return?SAG-AFTRA Deal Stirs Concerns on Artificial Intelligence and PensionsNew AI Protections and a Merged Pension Plan: Inside SAG-AFTRA's Four-Year Deal With StudiosTribeca Festival Sets First Premiere of Fully AI-Generated Film, ‘Dreams of Violets'────────────────────────────⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Stay Tuned with Tipsy Casting on IG⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Watch the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tipsy Casting YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jessica ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jenn ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Learn More About ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠& ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Jenn's⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Casting

Ever wonder if holding your script during an audition is costing you roles?Many actors think being off-book is optional because casting says it is not required. But auditions are about standing out, not just meeting the basic rules.When another actor comes in fully prepared and connected, it can make a big difference in who casting remembers.In this episode, you'll discover:Why one small audition habit can make you seem less ready, even when your acting is strong.How a simple change in your prep can help you create a stronger connection in the room.The hidden signal casting teams notice that can make you look more confident and professional.Listen now to learn how better preparation can help you walk into auditions feeling ready and give yourself a stronger chance at booking the role.Email: martin@cityheadshots.comWebsite: https://www.martinbentsen.comAdditional Resources:Headshots: https://www.cityheadshots.comShoot Footage for Your Reel: https://www.actorscreenershoot.comEdit Footage Into a Reel: https://www.demoreelsnyc.comThis show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles.

Kent McCord is an American actor best known for playing Officer Jim Reed on the classic police drama Adam-12 from 1968–1975. He also appeared in series like Farscape and Galactica 1980, becoming a recognizable face in television sci-fi and crime dramas. Peter Antico is a filmmaker and entrepreneur who is advocating on behalf of SAG for both the McCord-Antico motion as well as the Pension Theft case. Adams was later joined by Ellie Hirsch, a senior health advisor for Brightcore Nutrition. IN THE NEWS: Kevin Hart addresses backlash to Tony Hinchcliffe's George Floyd joke, Canada says African immigrant doesn't have to pay fine for smearing poop in teen girl's face because he's unemployed, Gavin Newsom's insane $20M plan to honor … Gavin NewsomGET IT ON!FOR MORE WITH KENT MCCORD & PETER ANTICO:The Antico-Mccord Motion: The new version of OpenAI‘s video generator allows users to create content featuring intellectual property owned by studios across Hollywood. The proposed SAG-AFTRA litigation claims it violates the fair use doctrine.FOR MORE WITH ELLIE HIRSCH:Kimchi One from Brightcore – Health Starts in the GutGet 25% Off – Use Code: ADAM at https://www.brightcore.com/adamOr call (888) 418-0915 for up to 50% OFF your order and Free Shipping!FOR MORE WITH RUDY PAVICH:WEBSITE: RudyPavichComedy.comINSTAGRAM: @ Rudy_Pavich PUNCH UP LIVE: https://punchup.live/rudypavichLIVE SHOWS: June 12 - Oklahoma City, OK (2 Shows)June 13 - Tulsa, OK (2 Shows)June 20 - Santa Ana, CA (KROQ Doc Screening)Thank you for supporting our sponsors:tryjoymode.com/ADAMForThePeople.Com/ADAMoreillyauto.com/ADAMPluto.tvrosettastone.com/ADAMSimpliSafe.com/ADAMSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

One of the biggest movie surprises of 2026 has been the sci-fi blockbuster Project Hail Mary. Actor, puppeteer and puppet designer James Ortiz joins the show to discuss his groundbreaking performance as the five-legged alien Rocky in the film. James shares his journey from landing the role with a homemade puppet audition to building on-set chemistry with Ryan Gosling, describing how what began as a job focused on puppeteering evolved into one of the most talked-about performances of the year. *The views expressed by guests are their own and do not necessarily reflect the views of their organization or SAG-AFTRA.

This week Audrey Moore talks with actress, filmmaker, SAG-AFTRA vertical drama contract co-designer Austin Highsmith Garces! They discuss everything vertical drama including red flags to look for, how to make one, how to be in one, and a few listener questions.   Sponsored by: Casting Networks - https://castingnetworks.com/audrey Promo Code: Audrey65 Castabililty App - https://www.castability.actor/ Code 063652 for pre launch access Track My Auditions - www.TrackMyAuditions.com Promo Code: Audrey25   Links: SAG-AFTRA Verticals Agreement Austin's movie Inheritance on Tubi   Please RATE THIS PODCAST! It really helps! www.RateThisPodcast.com/audrey Call in with listener questions (667) Actor-70 or (667) 228-6770   Host: Audrey Moore Producer and Editor: Jesse Lumen Mixer: Thomas Snodgrass Show Music: Ari de Niro Special thanks to Thomas Snodgrass for assistance with microphones, Aalok Mehta and 108 Hill for help with the theme song.

EPISODE #482-- We go back to Hong Kong with the classic horror/kung fu/folk tale mash-up A CHINESE GHOST STORY (1987), directed by Ching Siu-tung. It's a banger. Great film. Good episode. Listen to it! We also chat about John Frankenheimer's GRAN PRIX (1966), Kurosawa's SCANDAL (1950) and THE IDIOT (1951), as well as Carol Reed's NIGHT TRAIN TO MUNICH (1940) and Howard Hughes' HELL'S ANGELS (1930). Lots of good stuff, folks. LINKS-- Join the cause at Patreon.com/Quality. Follow the us on on Bluesky at kislingconnection and cruzflores, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in THEY LIVE TOGETHER. Thanks to our artists Julius Tanag  and Sef Joosten. The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Also, I've got a newsletter on Substack, so maybe go check that one out, too. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

Have you been taking class after class and still feel like your acting career is standing still?A lot of actors believe one more class, one more workshop, or one more coach will finally change everything. It feels like progress. But months can go by and nothing really changes. The auditions are not coming. The bookings are not happening. And you start asking yourself what you are missing.In this episode, you'll learn:• Why training can improve your acting but still leave your career stuck• The hidden reason hard-working actors stay trapped in the same cycle• The mindset shift that can help you finally create real movement in your careerPress play and learn the difference between becoming better and becoming booked.Contact InformationEmail: martin@cityheadshots.comWebsite: Martin BentsenAdditional Resources:Headshots: City HeadshotsShoot Footage for Your Reel: Actor Screener ShootEdit Footage Into a Reel: Demo Reels NYCThis show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles.

This week on the Labor Radio/Podcast Weekly, we feature stories from across the Labor Radio Podcast Network on coal miners, grassroots democracy movements, labor media, Starbucks organizing, labor music, and more. Working People: Labor journalist Kim Kelly reports on the Trump administration's weakening of mine safety protections, exacerbating the black lung crisis and jeopardizing coal miners' health. Green and Red: Anthropologist Ida Susser discusses France's Yellow Vest movement, highlighting grassroots workers' challenges to both liberal and far-right politics while fostering new democratic organizing. The Worker Power Hour: Steve Matthews emphasizes the need for labor unions to adopt podcasts, radio, and digital media to educate and inspire workers in a changing media landscape. I Am An Actor: In this new SAG-AFTRA series, Kate Hudson explores the craft of acting. Heat the Ground Up: This episode continues the oral history of Starbucks Workers United, detailing Starbucks' anti-union campaign and the organizing efforts that transformed labor in the service industry. Mine Wars Forum: Celebrating the legacy of labor musician and activist Hazel Dickens, stories from her nephew Buddy span from West Virginia coal country to the Pittston strike and beyond. Plus tips on more Shows You Should Know. Find links to all the shows at laborradionetwork.org and follow us on social media using #LaborRadioPod. Subscribe, listen, and follow us at laborradionetwork.org @WorkingPod @PodcastGreenRed #LaborRadioPod #1u #UnionStrong #WorkersVoices #SolidarityMedia @AFLCIO Help us build sonic solidarity by clicking on the share button below. Highlights from labor radio and podcast shows around the country, part of the national Labor Radio Podcast Network of shows focusing on working people's issues and concerns. Produced by Chris Garlock, Patrick Dixon and Harold Phillips.

Radio icon Jim Kerr fills in for Mark Simone. Jim shares stories about meeting Mark for the first time and the memories they've made together in the industry and beyond the studio. He also wonders if AI could soon take over more jobs, and questions why Luigi Mangione is receiving praise after his actions involving United Healthcare CEO Brian Thompson. Jim interviews Rebecca Damon, Executive Director of SAG-AFTRA, New York. They talk about the growing impact of AI in industries like broadcasting and how the Take it Down Act might help protect broadcasters' jobs. Rebecca explains the importance of strong guardrails to keep AI from replacing talent in entertainment and sheds light on the crucial behind-the-scenes jobs that make these productions possible. Radio legend Jim Kerr fills in for Mark Simone and interviews Clinical Psychologist Katherine Rachlin. Katherine discusses the psychological reasons some women stand outside the courthouse during Luigi Mangione's trial for the murder of the United Healthcare CEO. She also points to the healthcare crisis in the U.S. as a possible factor behind such extreme actions. Katherine talks about her documentary work, including features on CSI, and her impressive catalog of 74 books. Jim interviews radio icon Scott Shannon. They react to The New York Times leaving Billy Joel off its list of the greatest American songwriters and share their thoughts on Paul McCartney's recent SNL performance.See omnystudio.com/listener for privacy information.

Radio icon Jim Kerr fills in for Mark Simone. Jim shares stories about meeting Mark for the first time and the memories they've made together in the industry and beyond the studio. He also wonders if AI could soon take over more jobs, and questions why Luigi Mangione is receiving praise after his actions involving United Healthcare CEO Brian Thompson. Jim takes your calls! Jim interviews Rebecca Damon, Executive Director of SAG-AFTRA, New York. They talk about the growing impact of AI in industries like broadcasting and how the Take it Down Act might help protect broadcasters' jobs. Rebecca explains the importance of strong guardrails to keep AI from replacing talent in entertainment and sheds light on the crucial behind-the-scenes jobs that make these productions possible.See omnystudio.com/listener for privacy information.

They talk about the growing impact of AI in industries like broadcasting and how the Take it Down Act might help protect broadcasters' jobs. Rebecca explains the importance of strong guardrails to keep AI from replacing talent in entertainment and sheds light on the crucial behind-the-scenes jobs that make these productions possible.See omnystudio.com/listener for privacy information.

What's secretly hurting your auditions before you even say a line? In this episode of The Actor's Career Compass, Martin Bentsen breaks down the biggest self tape mistakes actors make and shares 10 simple fixes that can help your auditions look more professional fast.Many actors lose callbacks because of distracting backgrounds, poor sound, awkward framing, or performances that feel too “acted.” Casting directors and agents move quickly, and small mistakes can create doubt right away. This episode shows you how to remove those problems and make stronger first impressions.You'll learn:The simple lighting and audio changes that instantly make your tapes feel more professionalWhy framing, eyelines, and backgrounds can quietly affect casting decisionsThe surprising habit that helps actors stand out from most audition submissionsPlay this episode now to learn how small self tape improvements can help you book more callbacks and make casting directors take you seriously.Email: martin@cityheadshots.comWebsite: https://www.martinbentsen.comAdditional Resources:Headshots: https://www.cityheadshots.comShoot Footage for Your Reel: https://www.actorscreenershoot.comEdit Footage Into a Reel: https://www.demoreelsnyc.com"This show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles."

I watched the "fight" on Netflix last night with Ronda Rousey and Gina Carano (with a combined 27 YEARS of inactivity between both of them) and have thoughts on that, as well as the best movie I've seen in theaters ALL YEAR so far (non-spoiler).  But then it's the latest on the John Cena Classic and one idea to make fan voting work... Andrew Yang backs up  Kevin Nash's comments about WWE wrestlers joining the SAG-AFTRA union... Stephanie Vaquer's abuser gets NO additional prison time after all... Saturday Night's Main Event PREDICTIONS... why Mick Foley could be headed to AEW... thoughts on the Owen Hart tournament brackets, and thoughts on this Athena forever reign in Ring of Honor... Double or Nothing PREDICTIONS... contract rumors for Jack Perry and Big Bill... Marty Jannetty LOSES HIS FOOT... and MVP takes more shots at Triple H not elevating new talents during his career.  Do you agree?Support my sponsors this week by using the links below!BETTERHELP ▶ Sign up and get 10 PERCENT OFF your first month at http://www.betterhelp.com/solomonster to start being your best self. Thanks to BetterHelp for sponsoring this week's episode!WIX HARMONY ▶ The NEW WAY to create websites!  Try it FREE at http://www.wix.com/harmony***Follow Solomonster on X (formerly Twitter) for news and opinion:http://x.com/solomonsterSubscribe to the Solomonster Sounds Off on YouTube:https://www.youtube.com/user/TheSolomonster?sub_confirmation=1Become a Solomonster Sounds Off Channel Member:https://www.youtube.com/channel/UC9jcg7mk93fGNqWPMfl_Aig/join

fWotD Episode 3298: Erik Campbell (Final Destination) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Saturday, 16 May 2026, is Erik Campbell (Final Destination).Erik Campbell is a character from Final Destination Bloodlines (2025), the sixth installment in the supernatural horror film franchise Final Destination, directed by Zach Lipovsky and Adam Stein. He was created by Guy Busick, Lori Evans Taylor, and Jon Watts, and was portrayed by Richard Harmon. Erik is introduced as the son of Howard and Brenda Campbell, being the oldest of their three children. In the 1960s, his paternal grandmother Iris had a vision of a restaurant tower collapsing and prevented the disaster, saving herself and hundreds of others. As Erik and his family were not supposed to exist, Death itself targets Iris' bloodlines, killing them in order of lineage. When his younger sister is killed, seemingly out of order, Erik learns he is not a biological descendant of Iris, being the result of his mother's affair with another man. While attempting to help his brother Bobby nullify Death's list, Erik dies when he gets sucked into a malfunctioning magnetic resonance imaging (MRI) machine by a wheelchair that crushes and impales him.In developing the cast of Bloodlines, Lipovsky stated that he and Stein wished to avoid creating one-dimensional characters, instead wanting to feature ones with layers to them. The reveal about Erik's parentage came from the crew wanting to subvert audience expectations regarding the order of the characters' deaths; one discarded concept involved twins whose birth order was uncertain. Initially, Erik was envisioned as an online streamer who died while livestreaming a virtual reality game. A longtime fan of the franchise, Harmon was cast as Erik eight months after his first audition, with a delay due to the 2023 SAG-AFTRA strike. Harmon helped influence many of his character's scenes and dialogue by either improvising his lines and actions or making suggestions to the production crew. From the beginning, Lipovsky and Stein hoped to feature a death scene involving an MRI machine, but were unsure where to place such a sequence in the film; they also questioned its ethical implications. In the end, they included the concept as it received a positive response from the production team.Following the release of Bloodlines, Erik became a fan favorite. Critics often singled out Harmon's performance as among the best in the film, recognizing him as a "scene stealer" and praising him for adding comic relief. Erik's fake-out death scene at his tattoo parlor and his actual death involving an MRI machine were also commended by critics, with the latter deemed the best death scene in Bloodlines. Erik's death was further analyzed for its accuracy by scientific experts.This recording reflects the Wikipedia text as of 01:27 UTC on Saturday, 16 May 2026.For the full current version of the article, see Erik Campbell (Final Destination) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Geraint.

John Pollock and Brandon Thurston cover two lawsuits involving Triller, WrestleMania 2028 update, wrestlers unionizing, and Jennifer Kay of Bloomberg Law joins us.Jennifer Kay of Bloomberg Law will join us to speak about Wednesday's Delaware Chancery Court hearing involving reps for WWE and Vince McMahon in the shareholder lawsuit regarding communications on Signal.Plus: AEW files a lawsuit against TrillerTV, TrillerTV sues its parent company, the London Mayor's office comments on a future WrestleMania in the city, TKO secures another “financial incentive package”, Kevin Nash advocates for wrestlers to join SAG-AFTRA, and WWE introduces a summer house show tour in the U.S. Topics this week include:00:00:00 Start00:05:10 AEW sues TrillerTV for nearly $5 million00:15:12 TrillerTV sues its parent company00:34:20 Vince McMahon, WWE leaders' Signal use probed by investors00:36:44 Jennifer Kay of Bloomberg Law 01:01:06 Attorneys Evans and Atkinson spar in court 01:05:24 WrestleMania 2028 and comment from the London Mayor's office01:08:16 The process for wrestlers to join SAG-AFTRA01:11:01 Labor Attorney Lucas Middlebrook explains how to unionize 01:34:25 WWE Backlash audience on ESPN201:35:16 Tony Khan addresses Nielsen data 01:37:50 TKO enters agreement with Arizona Sports & Events Alliance 01:38:39 WWE domestic house show tourMusic courtesy: “Panic Beat” by Ben TramerPOST WrestlingSubscribe: https://postwrestling.com/subscribePatreon: http://postwrestlingcafe.comForum: https://forum.postwrestling.comDiscord: https://discord.com/invite/Q795HhRTwitter/Facebook/Instagram/YouTube: @POSTwrestlingBluesky: https://bsky.app/profile/postwrestling.comWrestlenomicsSubscribe: https://wrestlenomics.com/podcast/Patreon: https://patreon.com/wrestlenomicsSubstack: https://wrestlenomics.substack.com/Twitter/Facebook/Instagram/YouTube: @WrestlenomicsBluesky: https://bsky.app/profile/wrestlenomics.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Turnbuckle Tavern is powered by G FUEL — the clean, zero-sugar, zero-crash energy formula that keeps you locked in for the main event. Whether it's a late-night pay-per-view, a marathon gaming session, or just getting through your day, G FUEL has you covered. Right now, you can save 20% instantly with code TAVERN at checkout at GFUEL.com. Fuel up, save big, and always… keep it Tavern. Turnbuckle Tavern is also proudly powered by the one-of-a-kind Official Dick Lazer — a wild, over-the-top gag gift that's guaranteed to get a reaction. With the flip of a switch, it projects five laser images, plus a red-dot laser, flashlight, and blacklight all packed into a sleek USB-C rechargeable pen weighing just 1.4 ounces. Head to DickLazers.com and use code TAVERN for 20% off your order today. Light up the room, get some laughs, and always… keep it Tavern. Episode 186 covers one of the busiest weeks wrestling has seen all year as the fallout from John Cena's major WWE announcement, growing TKO criticism, AEW's loaded Owen Hart Cup, and major roster uncertainty across multiple companies all collide at once. We break down the increasingly divided reaction to the John Cena Classic, including criticism from Jeff Jarrett and Lance Storm over WWE replacing wins and losses with fan voting. We also discuss WWE's growing ad issues under TKO after O'Shea Jackson Jr. called the current presentation "almost unwatchable," plus the return of WWE house shows and why the company is suddenly prioritizing more affordable live events again. We also cover Andrew Yang supporting Kevin Nash's push for WWE wrestlers to consider SAG-AFTRA representation, the ongoing uncertainty surrounding Asuka's WWE future, and the latest confusion regarding TKO's Arizona partnership after reports involving Survivor Series and Royal Rumble were corrected. Outside WWE, AEW officially revealed the 2026 Owen Hart Foundation Tournament brackets featuring Will Ospreay vs. Samoa Joe, Swerve Strickland vs. Bandido, and a stacked women's field led by Athena, Mina Shirakawa, Sareee, and Willow Nightingale. We also discuss Tony Khan addressing AEW's relationship with Jazwares, confidence in Nielsen ratings, injury concerns surrounding Sareee and Persephone, and the growing speculation that Mick Foley could potentially appear at Double or Nothing in Queens. Plus, we preview ROH Supercard of Honor, Raw, NXT, Dynamite, Collision, SmackDown, TNA Impact, NWA Powerrr, and the full week ahead in wrestling. Be sure to support the show and join our Patreon for just $2.99 a month at Patreon.com/TheTurnbuckleTavern for exclusive content. Follow us on social media @TurnbuckleTavern for all the latest updates. Until the following week, when we wine and dine with you kings and queens, stay out of the alley and away from the pork and beans. Good luck and good speed.

John Pollock and Brandon Thurston cover two lawsuits involving Triller, WrestleMania 2028 update, wrestlers unionizing, and Jennifer Kay of Bloomberg Law joins us.VIDEO VERSION: https://www.youtube.com/live/OHB3tB4qBrkJennifer Kay of Bloomberg Law will join us to speak about Wednesday's Delaware Chancery Court hearing involving reps for WWE and Vince McMahon in the shareholder lawsuit regarding communications on Signal.Plus: AEW files a lawsuit against TrillerTV, TrillerTV sues its parent company, the London Mayor's office comments on a future WrestleMania in the city, TKO secures another “financial incentive package”, Kevin Nash advocates for wrestlers to join SAG-AFTRA, and WWE introduces a summer house show tour in the U.S. Topics this week include:AEW sues TrillerTV for nearly $5 millionTrillerTV sues its parent companyLondon mayor's office says no specific 2028 WrestleMania discussionsMcMahon, WWE leaders' Signal use probed by investors Kevin Nash advocates for wrestlers to join SAG-AFTRABacklash first hour on ESPN2 viewershipTKO enters a multi-year agreement with the Arizona Sports Events Alliance WWE adds a U.S. house show tour this summerMusic courtesy: “Panic Beat” by Ben TramerPOST WrestlingSubscribe: https://postwrestling.com/subscribePatreon: http://postwrestlingcafe.comForum: https://forum.postwrestling.comDiscord: https://discord.com/invite/Q795HhRTwitter/Facebook/Instagram/YouTube: @POSTwrestlingBluesky: https://bsky.app/profile/postwrestling.comWrestlenomicsSubscribe: https://wrestlenomics.com/podcast/Patreon: https://patreon.com/wrestlenomicsSubstack: https://wrestlenomics.substack.com/Twitter/Facebook/Instagram/YouTube: @WrestlenomicsBluesky: https://bsky.app/profile/wrestlenomics.comAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In this episode, we break down the SAG-AFTRA Health Plan's $950,000 phishing settlement, Medtronic's nine-million-record breach, and the Inc Ransom attack on Sandhills Medical Foundation. We also highlight Henderson Behavioral Health's patient-centered approach and discuss practical takeaways for strengthening your organization's security posture through staff training, system patching, and incident response planning.

Jordan has on his good friend Steven Zang to talk about Super Impose, his short film that premiered at The Garden State Film Festival. This episode is so Jersey (shot a month ago because I've been moving). They talk about the Williams Center, Comedy, Filmmaking and so much more. Part 2 is next week! Follow Steven at @Zang_in_high_def on Instagram! Upcoming shows can be found at lnhstudios.com/shows May 15th PS It's Funny at Preservation Society Vintage Shoppe in Midland Park, NJ lnhstudios.com/shows/preservationsocietymay15 *Filmmakers!* Sign up for Sutudu, a new platform to get distribution and package your pitches to sell to investors. A platform by filmmakers for filmmakers that takes the smallest royalties from distribution deals. Check it out, you can signup for a free account to get started. https://sutudu.com/register?ref=w8nyaxaw Sessions With Mary Jane is a Cannabis infused podcast hosted by stoner comedian and filmmaker, Jordan Fried.  It features interviews from musicians, filmmakers, comedians, politicians, writers and business owners along with solo concept episodes.  While all guests do not necessarily partake, the one requirement is that they are pretty chill, man.  Listen for untold stories, how to guides, deeper dives and expanded curiosities. Your source for all things New Jersey, Hudson Valley and NYC.  New Episodes every Wednesday with exclusive bonus content. An LNH Studios podcast on the Gotham Network. Produced by the Gotham Network. Jordan Fried⁠ (⁠https://jordanfried.myportfolio.com/⁠) is a SAG AFTRA comedian and filmmaker from Warwick, NY currently based in Rutherford, NJ. His debut comedy special and album, When The Edible Hits, is out on YouTube, Spotify, Apple Music, X, Facebook and Vinyl.  He is the co-director, co-writer and star of Beware The Horn, a film about a film school graduate that stumbles upon an improv troupe that he thinks is a cult.  He also appeared as the Young Peter Madoff in Madoff : Monster of Wall Street. He studied Digital Media Production and English at Tulane University, where he was a member of Cat Mafia Comedy. He's performed at Rhino Comedy, Eastville Comedy Club, Hell Yes Fest, Binghamton Comedy and Arts Festival, New Orleans Comedy and Arts Festival and Northern Virginia Comedy Festival. He produced the comedy variety show, Circuit Break; Late Night Hump at NJ Weedman's Joint; and he is a founding member of the improv troupes, Duly Noted and The Mutts.  He taught media, podcasting and comedy classes for Montclair Film, Blue Sky Kids and Educate The Block.  He recently worked as the operations manager at The Williams Center in Rutherford, NJ. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today on AirTalk: Trump administration defers CA Medicaid funding (0:30) What's to blame for a decline in test scores? (16:27) What hype do you just not get? (35:40) CA solar program woes (52:00) Potential SAG-AFTRA contract (1:07:30) TV Talk (1:27:40) Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency.

Earlier this month, SAG-AFTRA and the AMPTP reached a tentative agreement on a successor contract to the 2023 TV/Theatrical Contracts covering motion pictures, scripted primetime dramatic television, streaming content and new media. This agreement builds on our historic gains while securing the future for our members. In this roundtable discussion, SAG-AFTRA President Sean Astin, SAG-AFTRA National Executive Director & Chief Negotiator Duncan Crabtree-Ireland and SAG-AFTRA Chief Contract Officer Ray Rodriguez discuss the headline achievements of this tentative agreement. Topics include: the historic pension and retirement plan merger, comprehensive AI protections for digital replicas and synthetics, increases in residuals and the streaming bonus fund, and what it means for working performers. *The views expressed by guests are their own and do not necessarily reflect the views of their organization or SAG-AFTRA.

The US war on Iran and resulting war on the rest of the world is a constant theme in this week's headlines. We've got stories from World Cup workers, Spirit Airlines, German and Italian students, DeepMind, the University of California, SAG-AFTRA, Indiana University, Stanford, and Cornell. For our first main story, we discuss a recent Labor Notes piece on the deadly nature of working with engineered stone. Immigrant workers incarcerated at a privately run concentration camp in Michigan have gone on strike for nearly a month in protest of their mistreatment. Finally, we actually have a labor story about someone we never thought we'd discuss on the show: Mr. Beast. Join the discord: discord.gg/tDvmNzX  Follow the pod at instagram.com/workstoppage, @WorkStoppagePod on Twitter,  John @facebookvillain, and Lina @solidaritybee

If you've heard anything about Build a Rocket Boy, you know that things aren't going well. Here's why.Sitting near a window makes you smarter. Time to encase yourself in a glass cube so you can windowmax.Sag-Aftra have reached a deal with studios to restrict the use of generative AI. Samwise Gamgee has led us through the darkness again.***We enjoyed a nice drink of Rez which you can get a 10% discount when you type NERDS at the checkout from the Rez website at www.drinkrez.com ***Resources MentionedMind's-eye drama gets wilder and wilder (Sabotage, Crunch Culture, And Spying: Meet The MindsEye Developer Speaking Out About The Chaos)Sitting by the windows makes you smarter (The cognitive benefit of a window view - ScienceDirect)Is the Sag-Aftra war finally over? (It's Done! SAG-AFTRA & Studios Reach New (& Bigger) Deal [Exclusive])Full Show Notes : https://docs.google.com/document/d/1gvZimgMJzD1_hcCULTp6PuXa108jX17c5xT0zCCNdPc/edit?usp=sharing***If you'd like to be featured on the show, send us an email: Nerds.Amalgamated@gmail.comFollow us on: Facebook || Twitter || TwitchJoin the Community on Discord: https://discord.gg/VqdBVH5aAnd watch us on YouTube: Nerds Amalgamated - YouTube

The broadcast industry is facing a "gut punch," but the labor movement is punching back. In today's episode of America's Work Force Union Podcast, host Ed "Flash" Ferenc navigates the two-sided reality of the 2026 labor landscape: an industry in crisis and a workforce in ascent. Segment 1: The Fight for the Voice of Journalism Mary Cavallaro, Chief Broadcast Officer for SAG-AFTRA, delivers an unflinching look at the wave of layoffs sweeping through Nexstar and the shocking closure of the 100-year-old CBS News Radio. The AI Threat: How "voice cloning" and generative AI are targeting the identities of correspondents and DJs. The Severance Standard: Why union contracts are the only thing standing between a worker and a financial crisis during consolidation. A Message to Non-Union Workers: Why SAG-AFTRA is opening its doors to those without a contract. Segment 2: By the Numbers—The Union Renaissance Margaret Poydock, Senior Policy Analyst at the Economic Policy Institute (EPI), joins us to reveal the blockbuster 2025 union membership data. Despite a hostile federal environment, the numbers are the highest they've been since 2009. The Southern Surprise: Why nearly half of all new union growth is happening in the South. Gen Z & Millennials: Breaking down the 72% favorability rate among young workers who are "done" with the status quo. The Representation Gap: 50 million workers want a union but can't get one—how states are bypassing federal gridlock to fix it. Links & Resources: Learn more about SAG-AFTRA: sagaftra.org Read the full EPI report: epi.org Subscribe for more: awf.labortools.com

Could signing with an agent too early actually slow down your acting career?Many actors believe getting an agent is the missing piece that will suddenly bring more auditions, better roles, and career momentum.But in this episode, Martin breaks down the truth most actors don't hear: agents don't create momentum - they amplify what's already working.You'll discover:Why some actors sign with agents and still barely get auditionsThe hidden skills successful actors build before representationWhat makes agents excited to push hard for certain actorsIf you want to stop feeling stuck and start building real traction in your acting career, this episode will completely change how you think about agents, auditions, and long-term success.Play this episode now to learn how to build momentum first so the right agent can help take your career to the next level.Email: martin@cityheadshots.comWebsite: https://www.martinbentsen.comAdditional Resources:Headshots: https://www.cityheadshots.comShoot Footage for Your Reel: https://www.actorscreenershoot.comEdit Footage Into a Reel: https://www.demoreelsnyc.com"This show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles."

Today on Too Opinionated, we're joined by legendary actress Morgan Fairchild, a true television icon whose career spans decades—and whose impact goes far beyond the screen. From her early breakout on:

Are you missing out on bigger acting roles just because you're not SAG eligible yet?Many actors work hard but still don't get top auditions. One big reason is how the industry sees them.Being SAG eligible shows agents and casting directors that you are ready for real, professional work. Without it, you may be taken less seriously - even if your skills are strong.In this episode, you'll discover:Why SAG eligibility instantly changes how casting teams view youThe hidden mistake that keeps actors stuck even after becoming eligibleHow to move toward bigger roles while building real momentum in your careerStart listening now to learn how to become SAG eligible the smart way - so you can grow faster and get seen for better opportunities.Email: martin@cityheadshots.comWebsite: https://www.martinbentsen.comAdditional Resources:Headshots: https://www.cityheadshots.comShoot Footage for Your Reel: https://www.actorscreenershoot.comEdit Footage Into a Reel: https://www.demoreelsnyc.comThis show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles.

SAG-AFTRA, the union representing Hollywood actors, announced it reached a tentative agreement on a new contract with major studios Saturday. A San Diego-based maker of Kratom products is facing legal action from California officials. We explore a forgotten speakeasy in La Crescenta. Plus, more. Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.comSupport the show: https://laist.com

After decades of decline, the organized labor movement in the US has seen a resurgence in rank-and-file militancy over the last decade, with increased strike actions and union drives in industries across the economy. And in the story of this recent revival of labor in America, the movement led by predominantly young baristas to unionize coffee giant Starbucks has played a pivotal role. The new documentary Baristas vs. Billionaires takes viewers on a journey through the last five years of the epic, ongoing struggle to unionize Starbucks, told by some of the workers and organizers at the center of that struggle. TRNN Editor-in-Chief Maximillian Alvarez speaks with director of Baristas vs. Billionaires and Academy Award nominee Mark Mori, and with legendary actor and Academy award nominee Alec Baldwin, who is a producer on the film. Additional links/info: Baristas vs. Billionaires websiteMaximillian Alvarez, Working People / TRNN, “‘Starbucks is the largest labor violator in modern history': Starbucks workers prepare for indefinite national strike” Maximillian Alvarez, Working People / TRNN, “How union organizing can change your life and the world: A conversation with Jaz Brisack”Maximillian Alvarez, Working People / TRNN, “Want to unionize your workplace? These worker-organizers have some advice”Featured Music: Jules Taylor, Working People Theme SongCredits:Studio Production / Post-Production: David HebdenAudio Post-Production: Jules TaylorBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-real-news-podcast--2952221/support.Help us continue producing radically independent news and in-depth analysis by following us and becoming a monthly sustainer.Follow us on:Bluesky: @therealnews.comFacebook: The Real News NetworkTwitter: @TheRealNewsYouTube: @therealnewsInstagram: @therealnewsnetworkBecome a member and join the Supporters Club for The Real News Podcast today!

In March, SAG-AFTRA hosted The 32nd Annual Actor Awards Presented by SAG-AFTRA, which streamed live on Netflix from the Shrine Auditorium in Los Angeles. The show has been honoring outstanding performances in film and television for 32 years as the Screen Actors Guild Awards®, but this year marked the first ceremony under its new name. The night was a roaring success with some truly memorable and funny moments, thanks in no small part to an incredible production team. To take us behind the curtain and share some insider stories, we're joined by three people who made it all happen: Jon Brockett, showrunner and executive producer; Russell Norman, the show's director; and Steven Murphy, our head writer. *The views expressed by guests are their own and do not necessarily reflect the views of their organization or SAG-AFTRA.

Let's revisit gnarly injuries, a life-changing video game, and Police Academy 4 with Tony Hawk. *Note: this interview was recorded before the SAG-AFTRA strike took effect. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This week, we're opening a case file on Aunt Gladys, the instantly iconic villain at the center of Weapons. Told across multiple perspectives and timelines, the film constantly shifts its footing, forcing the audience to piece together what's really happening… and whether or not there's even a single, coherent truth to find. Topics include: the two separate ideas Cregger combined to create this story, how different the film might have been if the SAG-AFTRA strike hadn't forced them to recast almost all of the major roles, details we didn't notice until subsequent viewings, Amy Madigan's Oscar-winning performance, our reactions to the news that a Gladys prequel is on the way, and much more! Apple Podcasts | Spotify | Facebook | Instagram Chris's Instagram | Kristen's Instagram Chris & Kristen's Web Series: The Strange Case of Lucy Chandler Chris's new EP on Spotify and Bandcamp

Let's revisit women on SNL, Pat, and religion with Julia Sweeney. *Note: this interview was recorded before the SAG-AFTRA strike took effect in 2023. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

On this episode of America's Work Force Union Podcast, we examine the "grind" of organizing—and the massive results it's starting to yield across the country. Segment 1: Ohio Library & Education Wins Melissa Cropper, President of the Ohio Federation of Teachers, joins us to celebrate a historic run of library victories. The Pay Gap: How newly unionized libraries like Worthington have already surpassed regional pay standards, with some workers seeing 9 percent raises. The CML Fight: An update on the Columbus Metropolitan Library union election and why management-led delays are a hurdle for workers. Education Reform: A look at the new national higher education blueprint and first-ever contracts at Menlo Park Academy and CCAD. Segment 2: Keeping Hollywood at Home In our second segment, we pivot to the entertainment industry with Kerri Wood Einertson, Executive Director of Government Affairs and Public Policy for SAG-AFTRA. Tax Credit Victory: How California doubled its film and TV tax credit to $750 million, and why expanding to animation and competition shows is a game-changer. The LA Rollback: A look at Mayor Karen Bass's executive order to reduce filming fees at iconic locations like the Griffith Observatory. The Federal Push: Why SAG-AFTRA is moving toward a stackable federal incentive to ensure American productions can compete with international subsidies and keep 50,000+ background performers working. Subscribe to AWF: Never miss an episode where we go behind the scenes of the labor movement. Visit us online: awf.labortools.com

Almost a decade after the height of the #MeToo movement, intimacy coordinators are a fixture on film sets. As of this year, the job is now covered by SAG-AFTRA, the labor union that represents actors.Their growing presence on set has led to more demand for intimacy coordinator training programs. NPR visited one of those programs in downtown Los Angeles, and met an assistant director  and a porn actor both training for the job.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 Kathryn Fink and Karen Zamora.It was edited by Christopher Intagliata.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

SAG-AFTRA's first collective bargaining agreement for intimacy coordinators took effect on Feb. 22, marking a watershed moment for a profession that didn't exist 15 years ago. The contract establishes industry-wide standards for the professionals who safeguard performers during intimate scenes. But what exactly does an intimacy coordinator do, and why does this agreement matter for every performer working today? We spoke with Alicia Rodis, Chair of the Intimacy Coordinator Negotiating Committee and a working IC whose credits include And Just Like That, The Gilded Age, and The Last Mrs. Parrish. Alicia discusses the critical protections now guaranteed under the agreement. She also addresses performer concerns about working with ICs and makes the case for why these professionals protect not just the performers in intimate scenes, but the entire crew. **The views expressed by guests are their own and do not necessarily reflect the views of their organization or SAG-AFTRA. Any mention of products or services does not imply endorsement.

You're not getting the full story. Not because it doesn't exist—but because it never makes it to you. In this episode, Rob Rosen and I break down how media narratives are shaped long before they reach your screen. We cover:Why some stories explode while others disappearThe pressure points behind media decision-makingHow “acceptable narratives” are enforced without direct ordersThe illusion of independent reportingWhat this means for how you interpret the worldThis isn't about left vs. right. It's about understanding the system behind both. If you want to think clearly in a manipulated environment—start here.  FROM HIS BIO: Rob Rosen is an award-winning investigative journalist, producer, and director with more than thirty years of experience in news and television. He created, directed, and served as showrunner of the investigative true-crime series Reasonable Doubt, which ran for five seasons and currently streams on Max. Thanks in part to the show's reporting, nine inmates profiled on the series were released, with some fully exonerated.  Rosen also created and directed the limited series The Infomercials That Sold Us starring Dennis Miller, now streaming on Fox Nation, and served as showrunner and executive producer of the long-running paranormal series The Dead Files, which ran for 15 seasons on Max.  He began his career in news as an Emmy Award-winning producer for KCBS in Los Angeles, and later worked as an on-air correspondent for the nationally syndicated program Celebrity Justice. Rosen is a graduate of the Boston University College of Communication and a member of the DGA and SAG/AFTRA. Crimes of Omission is his first book.  If you enjoyed this episode, follow/subscribe to the Big Truth Podcast, leave a 5-star review, and share it!Join the Back Channel to go deeper…Independent. Direct-to-listener. No gatekeepers.Join here → http://www.patreon.com/bigtruth    Follow us: IG: @bigtruth / @thebigtruthpodcast / @bigtruthredactedTikTok: @bigtruthpodcast / @bigtruthredactedYouTube: @thebigtruthpodcast  For feedback, questions, sponsorship info contact: bigtruthpodcast@gmail.comFor more info and show merch: http://www.bigtruthpodcast.com The Big Truth Podcast is proudly sponsored by:Live Longer Formula with Christian Yordanov / Functional Health Practitioner (www.livelongerformula.com/bigtruth)Choppahead Kustom Cycles (IG: @choppahead / www.choppahead.com)Tattoo Flash Collective – www.tattooflashcollective.com – use promo code: BIGTRUTH for 10% off your orderOmerta (IG: @omertamia / www.omertamia.com) - use code: BIGTRUTH at checkout for 20% off your order!Heavy (IG: @heavyclothing / www.heavy.bigcartel.com)

Lou is joined by Harris Sockel, lead editor at Pirate Wires — the tech media outlet that actually likes technology. They cover AI replacing doctors, humanoid robots, data center myths, California's billionaire exodus, and why the media's doom-and-gloom coverage of tech keeps getting it wrong.  TOPICS COVERED: 00:00 — Intro: What is Pirate Wires? 04:30 — AI doom coverage vs. reality: why the scaremongers won't go full prepper 09:00 — Hill & Valley DC: when Capitol Hill meets Silicon Valley 14:00 — Lou's experience using Claude AI (press kits, writing courses, contracts) 20:00 — Can AI actually replace long-form journalism? Harris weighs in 26:00 — AI chatbots, teen suicides, and Spain's euthanasia case 33:00 — Humanoid robots: sex, cooking, and charging them in the hallway 42:00 — The data center water myth, debunked 50:00 — Nuclear power's comeback and what Biden got wrong on AI regulation 56:00 — Lou's doctor pulled up ChatGPT mid-appointment 01:02:00 — Self-driving cars and the future of driving as a rich-person hobby 01:08:00 — DSA activists at a Starbucks strike (who didn't work at Starbucks) 01:15:00 — California's wealth tax, billionaire flight, and "we left because of communists" 01:22:00 — SAG-AFTRA dues, union reality vs. union mythology  HARRIS SOCKEL & PIRATE WIRES: Pirate Wires: https://www.piratewires.com Follow Harris: @harrissockel  Lou's book — That Joke Isn't Funny Anymore: On the Death and Rebirth of Comedy: https://amzn.to/3VhFa1r  The Lou Perez Podcast on all platforms: Apple: https://podcasts.apple.com/us/podcast/the-lou-perez-podcast/id1535032081 Spotify: https://open.spotify.com/show/2KAtC7eFS3NHWMZp2UgMVU  TheLouPerez.com |  info@thelouperez.com  Newsletter: https://substack.com/@louperez #AIpodcast #PirateWires #TechPodcast #ArtificialIntelligence #HumanoidRobots #FreeSpeech #LouPerezPodcast #CaliforniaExodus #SketchComedy Learn more about your ad choices. Visit megaphone.fm/adchoices