Podcasts about sag aftra

Send us your problems! Badadvice973@gmail.com. The gang is joined this hour by Alycia from SAG-AFTRA. PSA 80s bands: Don't play your new stuff tonight at Totally Tubular. Let's talk about Olivia Rodrigo and her rumored new boyfriend. Ella Langley is still kicking it at #1. Many people are opting for smaller weddings - like incredibly small. Plus, How Old Is That Guy?

Hour 1: A young actor from the Godzilla franchise tragically passed away in a car accident. Conan has a new hairdo. ‘Who Wants To Be A Millionaire' is apparently still on? Matty checked out Will Ferrell's new show. Benson Boone is still doing his signature backflip, don't worry. 22% of people claim they NEVER use AI. Is that even possible with its invasion into everything? Even dating! Hour 2: MrBeast is married! Taylor Swift and Travis Kelce's karaoke song revealed! Matt Damon's stunt double was a woman! Elon Musk claims to care about the historical accuracy of The Odyssey, so he's making his own. Danae is running a marathon! A slightly disturbing fast fact about horses. Are these really “guy flexes” or just things a well adjusted person should do? Hour 3: It's time to Bridge The Gap! Giovani is back representing GenX and today his Zillennial opponent is Eric from South San Francisco. (Zillennial is a cross between Millennial and GenZ btw). Let's play! Vinnie is accepting that cash is going away. Isn't that common cents? You know what sucks? Not having a dryer. Many people consider themselves a “slow walker.” Well, they need to get out of the way! I ain't saying she a gold digger… but Sarah is. Hour 4: Send us your problems! Badadvice973@gmail.com. The gang is joined this hour by Alycia from SAG-AFTRA. PSA 80s bands: Don't play your new stuff tonight at Totally Tubular. Let's talk about Olivia Rodrigo and her rumored new boyfriend. Ella Langley is still kicking it at #1. Many people are opting for smaller weddings - like incredibly small. Plus, How Old Is That Guy?

It is a privilege to welcome actor, stand-up comic, and LGBTQ+ activist Jason Stuart to the Jake's Take with Jacob Elyachar Podcast. Born in the Bronx and raised in Los Angeles, Jason has built a reputation for bold, unexpected performances that blend humor, humanity, and fearless authenticity. A self-described insecure Jewish kid who found refuge in performance, he credits Barbra Streisand in Funny Girl with “saving his life”—a revelation that launched a lifelong pursuit of storytelling that challenges stereotypes and flips expectations. That instinct led to one of his most striking turns as a heterosexual Christian plantation owner in Nate Parker's The Birth of a Nation, a role that mirrored and reframed the prejudice he's fought his entire life. Most recently, he serves as actor, director, producer, and co-writer of the indie film REDLINING, a timely and provocative film examining systemic inequality and the personal cost of generational injustice. Anchored by a deeply human performance from Jason Stuart, the film also features Alexandra Paul in a striking turn that powerfully showcases her dramatic depth. Stuart brings nuance, empathy, and quiet power to a story that confronts America's unfinished business head-on. The film continues his commitment to socially conscious storytelling and adds another bold chapter to a career defined by fearless choices and cultural relevance.Jason Stuart has appeared in studio favorites including Kindergarten Cop and Vegas Vacation, and on hit series such as The Closer, My Wife & Kids, Goliath (opposite J.K. Simmons), and Judd Apatow's Love. Indie audiences know him from Oscar winner Sean Baker's Tangerine, Ira Sachs' Love Is Strange (with John Lithgow and Alfred Molina), and the Amazon comedy series Smothered, which he co-created and starred in alongside Mitch Hara. The series earned Jason Stuart the Indie Series Award for Best Actor in a Comedy and sparked a new wave of acclaim as a content creator with the motto: “We don't wait for permission to create.” A highly sought-after stand-up comedian, Jason Stuart tours nationally and released the comedy album I'm the Daddy and I Have Candy. He is also an in-demand speaker on diversity and inclusion and the author of the memoir Shut Up, I'm Talking! Offscreen, he serves as National Co-Chair of the SAG-AFTRA LGBTQ Committee, which he cofounded in 2004. Stuart has also recently completed the horror film Blackwood, the drama I Got Next, in which he plays a basketball coach mentoring a special-needs child, and the acclaimed indie drama Hank, which won Best LGBTQ Short at the Los Angeles International Film Festival and earned him a Best Actor nomination at the Glendale International Film Festival.On this episode of Jake's Take with Jacob Elyachar Podcast, Jason Stuart spoke about the lessons that he learned from being on the sets of The Drew Carey Show, Everybody Hates Chris, Murder She Wrote, and My Wife & Kids; launching the SAG-AGTRA LGBTQ Committee in 2004; and previewed Redlining. Become a supporter of this podcast: https://www.spreaker.com/podcast/jake-s-take-with-jacob-elyachar--4112003/support.

Are you struggling to get auditions each week, even though you're training, submitting, and working hard?Many actors think the reason they're not getting called in is because they need more experience or are not good enough.But often, the real issue is that their headshots, reel, and footage are not showing casting directors why they should bring them in.In this episode, you'll learn:Why low audition numbers might reveal a hidden problem that is holding your acting career back.The key reason some newer actors get more chances, even without years of training or experience.How stronger materials can help casting teams see your potential faster and feel more confident about calling you in.Listen now to learn how improving the way you present yourself can help you get seen, get more auditions, and move closer to booking bigger roles.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.

If you had nearly 300 screen credits, would you spend your free time mentoring new SAG-AFTRA members and helping fellow performers navigate a rapidly changing industry?? If your hand went up, you may be this week's guest, Lee Garlington!Lee joins Weezy and Lisa to discuss the unique, "hired gun" craft of popping into iconic shows with scene stealing roles and becoming what she calls "a director's actor." You had yet to learn her name when you saw her as Joey's father's mistress in Friends, as Bobby Cannavale's mother in Will & Grace, as Betty White's daughter on The Golden Girls and as Darlene's friend on Roseanne. You will know it now!Lee takes us behind the scenes on Psycho II and III, The West Wing, Sneakers, Six Feet Under and Seinfeld and shares harrowing axe-related stories from A Killing in a Small Town. She offers candid advice for aspiring actors, tells us about her work with the SAG-AFTRA Los Angeles Conservatory and discusses the realities of longevity in Hollywood, and her work with the Ruskin Group Theatre.Plus, an entertaining round of IMDb Roulette uncovers the horrors of sitting for a death mask fitting, why she ever so gently adjusted the placement of Robert Redford and how her performance went next level when Amy Madigan called her a nazi! This is a fascinating conversation about resilience, professionalism, and a lifelong love of the craft.And in current media, Weezy and Lisa talk about Is This Thing On and additional films that explore the standup comedy experience. Path Points of Interest:Lee GarlingtonLee Garlington on WikipediaLee Garlington on IMDBLee Garlington on InstagramSAG-AFTRA L.A. ConservatoryRuskin Group TheatreGreat Movies About Stand-UpIs This Thing On?

Should actors do Vertical Micro-Dramas? Are platforms like ReelShort, DramaBox, GoodShort, MyDrama, and ShortMax the future of the acting industry?Welcome to Season 2, Episode 1 of the Enough Podcast! In this episode, Master Booking Coach Amy Lyndon and Talent Agent Ofelia Habelt explore one of the fastest-growing trends in entertainment: Vertical Micro-Dramas.Many actors are asking the same question: Are Vertical Micro-Dramas actually good for your acting career? Join Amy and Ofelia as they break down the growing $11 billion vertical drama industry, discuss why major companies like Disney and Fox are investing in vertical content, and explain why actors should stop overlooking this exciting opportunity.

EPISODE #489-- We're back on our BS with the pivotal action-adventure film YOUNG SHERLOCK HOLMES (1985) directed by Barry Levinson (The Diner guy? really? Okay. I guess so). It's a nice return to form, as we do love England's most famous, non-Masterpiece Theater-based detective. We also recommend, as per usual, a bunch of other bangers, including (and it's a lot of movies, so get a pen out) THE SHEEP DETECTIVES (2026, dir. Kyle Balda), NIGHT MOVES (1975, dir. Arthur Penn), PUTNEY SWOPE (1969, dir. Robert Downey Sr.), ACROSS 110th STREET (1972, dir. Barry Shear), THE DARJEELING LIMITED (2008, dir. Wes Anderson), and THE GENERAL (1926, dir. Buster Keaton). Like I said, it's a wild one. Oh, also PREDATOR: BADLANDS (2025, dir. Tratchenberg). 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!

Welcome to this week's episode of the PEBCAK Podcast!  We've got four amazing stories this week so sit back, relax, and keep being awesome!  Be sure to stick around for our Dad Joke of the Week. (DJOW) Follow us on Instagram @pebcakpodcast   Please share this podcast with someone you know!  It helps us grow the podcast and we really appreciate it!   Simple 6 signup link https://simple6.co/r/CFUR98   Starting July 7, every new car sold in the EU must include an infrared camera aimed at the driver's face to detect distraction, with critics warning it's a privacy nightmare in waiting. https://cybernews.com/security/eu-car-camera-monitoring/ https://electrek.co/2026/06/15/chinese-drivers-plastic-heads-fool-tesla-autopilot-camera/ New EU General Safety Regulation mandates in-cabin, driver-facing infrared cameras (Advanced Driver Distraction Warning systems) in all new cars as of July 7, 2026 — with the US following suit by 2027 — and while regulators insist the footage stays local and non-biometric, there's no enforcement detail on what happens if that's violated, fueling fears the data could be harvested or resold given prior scandals over automakers monetizing driver data. Story 2 — $30 Plastic Doll Heads Are Fooling Tesla's Autopilot Camera A cottage industry in China is selling cheap figurine heads that trick Tesla's cabin camera into thinking a distracted driver is paying attention, letting people run FSD/Autopilot hands-off and eyes-off for extended stretches.   Fired Microsoft Engineer Sentenced to 9 Years for $10M Digital Currency Heist A former Microsoft software engineer, fired in 2018, was sentenced to nine years in federal prison for stealing over $10 million in digital gift-card value from the company and laundering it through Bitcoin. https://www.pcmag.com/news/fired-microsoft-software-engineer-sentenced-to-9-years-in-prison A Ukrainian national who worked as a Microsoft contractor-then-employee testing the company's online retail platform from 2016–2018, used his and colleagues' test accounts to steal "currency stored value" (digital gift cards), laundered the proceeds through a Bitcoin mixer to fund a $1.6M waterfront home and $160K car, and was ultimately convicted on 18 federal felony counts and ordered to pay $8.34M in restitution on top of the 9-year sentence.   Meta Lets Anyone Turn Your Public Instagram Photos into AI Images (Now Walked Back) Meta quietly launched "Muse Image," letting anyone @-mention a public Instagram account to generate AI images of that person's likeness with no notification or consent — triggering backlash from SAG-AFTRA and CAA before Meta pulled the feature. https://www.wired.com/story/meta-now-lets-anyone-use-your-instagram-photos-in-ai-images-unless-you-opt-out/ Meta's new Muse Image generator defaulted every public adult Instagram account into an opt-out (not opt-in) system where anyone could tag a profile to generate AI images from their photos with zero notification, prompting SAG-AFTRA and talent agency CAA to publicly demand opt-outs before Meta reversed course on July 10 and pulled the @-mention capability entirely after backlash.   1 in 3 Young Adults Are Living With Their Parents A new FinanceBuzz analysis of Census data finds 33% of 18–34-year-olds now live with their parents, nearing pandemic-era highs, with New Jersey, Connecticut, and California leading the pack. https://financebuzz.com/living-with-parents-data Census-based research shows nearly a third of Americans aged 18–34 (33%) are living at home — a rate that's climbed steadily since the 1960s (22.5%) and is now approaching the 2020 pandemic peak (33.6%) — with expensive states like New Jersey (44.1%), Connecticut (41.3%), and California (39.1%) topping the list, and men 25–34 living at home nearly 1.5x as often as women in the same age range.   Dad Joke of the Week (DJOW)   Find the hosts on LinkedIn: Chris - https://www.linkedin.com/in/chlouie/ Brian - https://www.linkedin.com/in/briandeitch-sase/ Glenn - https://www.linkedin.com/in/glennmedina/ Ben - https://www.linkedin.com/in/benjamincorll/

Could your reel be the reason casting is passing you by?Many actors wait years to book roles so they can finally get footage. But without strong footage, it is hard to get the auditions that lead to those roles.This episode shows why that loop keeps actors stuck and what they need to understand to move forward.You'll discover:How weak materials can hide strong talent.Why waiting for footage can cost actors years.What makes casting take an actor more seriously on camera.Play this episode now to learn how to stop waiting and start building a reel that helps open real doors.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.

These sources examine the transformative impact of artificial intelligence on the entertainment and media sectors, highlighting significant gains in workflow efficiency and content creation. Industry leaders and guilds, such as SAG-AFTRA and the WGA, are establishing ethical frameworks and legal protections to ensure fair compensation and human consent as these tools evolve. Technically, AI is revolutionizing video production and transcription, offering rapid solutions for editing, color grading, and converting audio to text with high accuracy. While automation handles repetitive, labor-intensive tasks, the materials emphasize that human creativity and oversight remain indispensable for storytelling and cultural nuance. Furthermore, the texts discuss the importance of hardware optimization and government regulation to support a secure, professional landscape for digital innovation. These collective insights provide a comprehensive roadmap for navigating the legal, technical, and creative challenges of the modern AI revolution.

EPISODE #487-- Today we talk the Star Wars also ran and all around mess that is THE ICE PIRATES (1984), directed by Stewart Rafill. It's a bad movie! Don't watch it! It's bad in a way that makes me think "Hey, Black Hole, that was pretty good!" We als otalk about CUTTER'S WAY (1981, dir. Ivan Passer), THE TERMINATOR 2: JUDGMENT DAY 3D (1991, dir. James Cameron), BLADE RUNNER (1981, dir. Ridley Scott), and HOPPERS (2026, dir. Daniel Chong). 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!

What happens when a retired Las Vegas police officer, Navy veteran, and 4th-degree black belt decides to take a chance on Hollywood? In this incredibly inspiring episode, Carmen sits down with the wonderfully talented and deeply humble Maynard Bagang to talk about his feature directorial debut, The Sanctuary.Maynard shares the beautiful "accidental" story of how he broke into the industry, what it truly means to be "Taft-Hartleyed" into SAG-AFTRA within your first six months, and the profound personal experiences that drove him to write a film centered on homelessness, immigration, and the power of human community. If you've ever wondered if it's too late to start your own "third act" in life, Maynard is living proof that when you do things wholeheartedly, you cannot go wrong.In this episode, we discuss:Maynard's fascinating transition from the military and law enforcement into acting and directing.The real story behind his Silver Telly Award-winning feature film, The Sanctuary.The raw reality, hustle, and perseverance required to make a true independent film when everyone says "no."How to find the pearls of joy and authentic community in the middle of life's hardest struggles.Connect with Maynard:Watch the Film: Available now for rent or purchase on Amazon Prime!Website: thesanctuary-film.comConnect with the Show:Follow us on Youtube for updates, clips, and more inspiring conversations!Remember: At the end of the day, it really is all about the joy.Thank you for stopping by.  Please visit our website: All About The Joy and add, like and share.  You can now watch the livestream version of the show on YouTube at @CarmenLezeth You can also support AATJ by shopping at our STORE - Or by and buying us a coffee. We'd appreciate that greatly.  Also, if you want to find us anywhere on social media, please check out the link in bio page. Music By Geovane Bruno, Moments, 3481Editing by Team A-JHost, Carmen Lezeth DISCLAIMER:  As always, please do your own research and understand that the opinions in this podcast and livestream are meant for entertainment purposes only. States and other areas may have different rules and regulations governing certain aspects discussed in this podcast.  Nothing in our podcast or livestream is meant to be medical or legal advice. Please use common sense, and when in doubt, ask a professional for advice, assistance, help and guidance. 

Blockbuster Blake Stubbs joins Bob Sirott to talk about a reboot of “Baywatch,” Anthony Hopkins’ record deal, and the AI feature on social media that impacts SAG-AFTRA members. Stephen Crano, senior manager and corporate communications for Choose Chicago, also joins Bob to share details about fun events happening throughout Chicago this weekend, like the Windy City Smokeout, […]

TikTok spent the week helping users spot AI while Meta spent it explaining why it didn't ask permission. In this Geek Freaks Headlines, Frank breaks down TikTok's new in-app AI literacy hub, built with NAMLE and deepfake expert Henry Ajder, plus the platform's milestone of labeling over 3 billion videos as AI-generated. He also digs into the feature everyone actually wants: a setting that lets you control how much AI content shows up in your feed.Then it's over to Meta, where the new Muse Image generator automatically opted every public account into having their photos used for AI creations, with the opt-out buried deep in the Sharing and Reuse settings. Frank covers the backlash from SAG-AFTRA and why unions are sounding the alarm on likeness rights, plus the real-world danger when AI slop goes from harmless puppy videos to fake celebrity crypto scams targeting your friends and family.Timestamps:00:00 TikTok's new AI literacy hub and detection push00:26 The feature we all want: metering AI in your feed00:34 Meta's Muse Image and the automatic opt-in problem01:01 SAG-AFTRA and the fight over likeness rights01:23 Why TikTok's transparency matters even if nobody's the good guy01:40 From harmless puppy slop to dangerous crypto scams02:02 What's next and following up on the falloutKey Takeaways:TikTok launched an in-app AI literacy hub built with NAMLE and deepfake expert Henry Ajder to help users identify AI-generated contentTikTok has labeled over 3 billion videos as AI-generated and is testing a feature that lets users control how much AI appears in their feedMeta's Muse Image generator opted all public accounts in automatically, with the opt-out buried under the Sharing and Reuse section in settingsSAG-AFTRA and other unions are pushing back hard because the tool puts actors' likenesses up for grabsThe stakes escalate fast: harmless AI puppy videos are one thing, but AI-generated celebrity endorsements pushing crypto scams are a real threatNeither company is the good guy here, but transparency and consent should be the baseline for AI on social platformsMemorable Quotes:"TikTok spent the week telling everybody how to spot AI. Meta spent the week saying screw your consent.""Consent is king, including in AI.""Meta using the likeness of, say, Natalie Portman to try to convince my friends that they need to invest in cryptocurrency, that is very bad."Call to Action:If you found this breakdown helpful, subscribe to Geek Freaks Headlines wherever you get your podcasts and leave us a review on Apple Podcasts or Spotify. Share this episode with someone who needs to check their Instagram settings right now. Join the conversation with #AI #TikTok #Meta #TechNewsStay Connected:For all the latest geek news, head to GeekFreaksPodcast.comFacebook: https://www.facebook.com/thegeekfreakspodcastThreads: https://www.threads.net/@geekfreakspodcastPatreon: https://www.patreon.com/GeekFreakspodcastListener Questions:Would you use a feature that lets you filter AI content out of your feed entirely? And have you checked your Instagram settings since the Muse Image rollout? Let us know!

Record companies want AI music to be disclosed And they've got a bunch of other groups onboard too – American Association of Independent Music, the Grammys, SAG-AFTRA, and the Human Artistry Campaign. They want two different classifications: 1) AI-Generated. 2) AI-Assisted, which would mean it was created primarily by humans but used AI for some elements. They have designed a symbol too, which they would expect to be on the cover art like an "explicit content" warning. The recording industry says fans are open to listening to AI music, they just want to know it's AI generated. So, if we're being a purist... is a synthesizer generated? Spotify today will show AI usage in song credits and Apple Music has introduced “transparency tags”, but it seems this label requires someone to say it was AI generated, rather than proving it was human generated. The EU is holding its position to increase competition in the tech space The accounting and workplace software giant SAP is going to make it easier for companies to switch to a rival service, all because of the EU's competition rules. The decision means they avoid a massive fine. They're going to make it easier to cancel a contract, as well as export data. Apple too lost its latest court case challenging the EU Digital Markets Act. The court has ruled that the iOS operating system and the App Store are "gatekeepers". That means they'd be forced to allow alternative app stores, direct installs of apps, alternative payment systems, different web browsers, and access to hardware features like tap-to-pay and more. iMessage though is not designated as a gatekeeper, which means we won't see the EU force the blue chat bubbles to become more interoperable. Apple says this will "erode decades of privacy and security protections". LISTEN ABOVE See omnystudio.com/listener for privacy information.

SAG-AFTRA member Harrison Ford has spent nearly seven decades as one of Hollywood's most beloved actors, but he'd still rather be called a working actor than an icon. This year, Ford was honored with the union's 61st Life Achievement Award at the 32nd Annual Actor Awards presented by SAG-AFTRA on March 1. In this episode, we listen back to an Actor to Actor conversation with Ford and SAG-AFTRA President Sean Astin. The two talk about Ford's early studio contract years at Columbia and Universal, his quiet standoff with Ridley Scott while shooting Blade Runner, and what's kept him showing up for the work all these years later. *The views expressed by guests are their own and do not necessarily reflect the views of their organization or SAG-AFTRA.

Someone created a deep fake video of SAG-AFTRA's chief negotiator saying false things about the union's own contract during the 2023 ratification vote. Tens of thousands of people saw it before Instagram took it down five days later. It is the kind of story that explains why the fight for AI protections in the entertainment industry matters far beyond Hollywood. On today's episode of America's Work Force Union Podcast, SAG-AFTRA National Executive Director and Chief Negotiator Duncan Crabtree-Ireland discusses a ratified 2026 contract that achieved what the 2023 strike demanded — without another strike. He walks through the contract's two-tiered AI protections covering both digital replicas of real performers and the use of synthetics — AI-generated performances with no human source — and explains the bipartisan No FAKES Act moving through Congress that could give every American a legal right in their own image and voice for the first time. He also discusses the planned merger of the SAG Producers Pension Plan and the AFTRA Retirement Fund, set for early 2028, which will provide retirement benefits to nearly 1,000 SAG-AFTRA members per year who currently earn enough across both plans to qualify but not enough in either one to collect. Visit sagaftra.org for more.

RECALL: Act Three By the time RECALL reaches Act Three, Miami Military Academy is no longer pretending it can survive. The school is still marching, still saluting, still shining brass and barking orders into the Florida heat, but the center is gone. Colonel Barnes is dying. Commander Patterson knows it. Sally knows it. And the boys, even when they are laughing too hard to say it out loud, can feel the whole place slipping into history. Written by Academy Award nominee Bruce Davison, and once optioned and held by the great Carroll O’Connor with eyes on a Pacino lead,, RECALL is a funny, savage, deeply human coming-of-age drama about abandoned boys, broken fathers, old soldiers, Cuban exiles, secret weapons, and the terrible bargain countries make when they ask the young to carry the sins of the old. Act Three begins with the last quiet hours before everything breaks. Lishinsky and Sally steal a small piece of freedom on the water, drifting toward Captain Kidd’s Island, talking about California, escape, fathers, graves, and the strange fantasy that two damaged kids might simply sail away from all of it. But nobody really gets away from Miami Military Academy. Not yet. Inside Barnes’ house, Patterson sits beside a dying friend and is handed the thing no soldier wants: responsibility without rescue. Barnes tells him the Army is calling in its chips. The school, the land, the boys, the munitions, the whole dream is coming apart. Patterson rages because he knows what the place is, and what it has been. A broken institution, yes. A madhouse, absolutely. But also the only home some of these boys have ever had. Then the machinery starts moving. The Army arrives. The Cuban officials arrive. The inspection becomes theater. A live round falls where it should not. The old bunkers by the bay are suddenly more important than the boys standing in formation. The parade takes them through Miami and into the Dade County Fair, where the whole strange, glorious organism of “A” Company explodes into one last carnival of cigars, sheep, majorettes, busted noses, bad decisions, and Patterson turning, for one mad instant, into the hero the boys still need him to be. But the comedy cannot hold the line forever. Colonel Barnes is gone. The flag drops to half-mast. The Razor Fiend is finally revealed. Lindquist, the feral boy from the mango trees, becomes a cadet, a savior, and maybe the strangest proof that the academy was never only a school. It was a place that took in the lost and gave them a uniform because it had no better language for love. Slouch and Bebop reach the end of pretending. Bebop is called home by a country that no longer exists the way he remembers it. Slouch follows because friendship, for him, is the only oath that ever meant anything. The Cuban exiles come in the night. Patterson tries to stop them. History steps over him. Sally leaves for California. Lishinsky stays behind with the ache of first love and the knowledge that some people are not meant to be held. Patterson sits with his ghosts. The boys graduate into a world already waiting to use them. And somewhere beyond the academy walls, the Bay of Pigs turns courage, loyalty, and bad American promises into blood in the surf. RECALL is about boyhood at the edge of the American century, when duty still sounded clean from a podium and war still knew how to dress itself up as honor. It is about boys who wanted fathers, fathers who failed them, soldiers who could not save themselves, and a country that keeps asking the young to pay for the old men’s maps. 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.

Are your headshots helping you book roles, or are they quietly hurting your chances?Many actors think their headshot should make them look younger or “better,” but casting directors need something much more important: trust.If your photo does not match how you look today, it can create doubt and make it harder for them to cast you.In this episode, you'll discover:Why the “perfect” headshot might actually be stopping you from getting the right auditions.How a simple shift in the way you present yourself can help casting directors feel more confident choosing you.Why accepting your true casting type can open doors to stronger roles and more bookings.Listen now to learn how to update your acting materials so your headshots, reel, and profile work together to help you land roles faster.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.

Hey Streetwalkers. This is a throwback episode with 7 time Emmy winning actor Ed Asner. Ed appeared on the show twice, but first appeared on the show on 7.25.18It was such a compelling & fun episode, l decided it needed to be re-visited!Enjoy this throwback episode, tell a friend, and thanks for listening! Ed Asner - Actor / LegendThis week my guest is Ed Asner. Depending on your age; you know him from The Mary Tyler Moore show, Lou Grant, even the Pixar blockbuster UP. We talk about The Mary Tyler Moore Show, Lou Grant, his touring one man show: A Man And His Prostate, and we even talk about Ed's newest book: The Grouchy Historian. Last month Ed Asner allegedly passed away in a car accident. I ASSURE YOU THAT THIS IS NOT TRUE. I KNOW THIS FOR 100% CERTAIN. THIS WAS A RIDICULOUS HOAX.Ed's Social Media:Twitter: @TheOnlyEdAsnerInstagram: @TheOnlyEdAsnerFB: Ed AsnerAmazon link to Ed's newest book: https://amzn.to/2MXrMuSLink for tickets: www.amanandhisprostate.comLink to Autism website: www.edasnerfamilycenter.orgLink to donate: www.edasnerfamilycenter.org/donate

Jason Dick talks with film legend Sean Astin, the president of SAG-AFTRA, about his deep connections to Washington, D.C., public service, the issues he is advocating on Capitol Hill and meeting the moment at a pivotal time in human history. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode Chapter Summaries Chapter 1: The Roar of Madison Square Garden (00:00 – 02:57) Anne welcomes voice talent and business coach Tom Dheere back to the show. Tom explains his exhaustion, revealing that his neighborhood turned into a massive celebration zone after the New York Knicks won the NBA Championship. Anne shares a parallel memory of experiencing the World Cup celebration in Italy. They note how easy it is to get swept up in a major public triumph, sparking a deep conversation about the hidden work required behind a massive, visible victory. Chapter 2: What is Your Personal Championship? (02:58 – 04:31) Anne and Tom explore how success is rarely an accidental event. Tom challenges listeners to establish their own custom definition of "winning the championship." For a new voice actor, a title might mean booking their first paid gig, securing a national commercial, qualifying for SAG-AFTRA, or generating enough revenue to transition from a full-time day job to part-time creative work. Chapter 3: The Micro-Decision Metric & The Astronaut Analogy (04:32 – 08:25) Tom delivers a powerful perspective shift: your life and your VO career are not highlight reels. True career growth is built entirely on the micro-decisions made in the quiet moments between the milestones. Tom uses an excellent analogy comparing two college students who both want to be astronauts. Assuming equal talent and resources, the student who chooses to stay at their desk studying night after night while friends head to the pub is the one who ultimately makes it to space. Anne relates this to her personal struggle with college calculus, explaining how facing difficult, un-glamorous work builds mandatory professional humility. Chapter 4: Repetition, Homework, and the "Miyagi" Effect (08:26 – 10:25) Anne and Tom discuss the necessity of balancing the quantity of your practice with the quality of your execution. Tom references the classic Karate Kid metaphor: when Mr. Miyagi forces Daniel to paint the fence repetitively, it feels tedious and useless until that exact physical muscle memory becomes his primary shield in battle. Anne notes that this is exactly why she assigns heavy homework to her students, explaining that the real growth happens in the isolated, un-directed hours spent experiencing diverse scripts, handling audio editing, and analyzing text independently between coaching sessions. Chapter 5: Defining a Perfect VO Day & Tracking Patterns (10:26 – 14:43) Tom reveals the very first exercise he gives to his consulting students: detailing what a "perfect voiceover day" looks like, and then breaking down the 82 pre-season steps needed to make that day a reality. They treat auditions like individual games in a long season. Tom highlights why tracking your auditions is vital—not to obsess over your booking ratio, but to gather meta-data. By analyzing his past "thumbs up" ranking scores on Voice 123, Tom discovered a pattern: his primary booking keyword is "upbeat." He now uses that data to specifically filter and prioritize incoming casting notices. Chapter 6: Audition Desperation & The Character Accent Myth (14:44 – 20:20) Anne shares that her highest-booking auditions are consistently the ones she didn't over-analyze or obsess over, allowing her to deliver a natural, storytelling-focused read. Tom explains the corporate psychology behind this: buyers can smell performance desperation. He calls out a major cultural trend where new talent obsess over pitch adjustments and complex accents for animation or gaming, warning that dialects mean nothing if the underlying performance lacks real human connection. Tom uses his background narrating over 70 audiobooks to explain that a heavy accent should never get in the way of a compelling story. Chapter 7: The Production Team & The 3 Ps of Success (20:21 – End) Using basketball as a launching point, Anne and Tom examine the many moving pieces that contribute to a successful voiceover career and production. Together, they discuss the importance of teamwork, adaptability, and professionalism, and why the most successful voice actors learn to balance artistic fulfillment with business realities. Drawing on more than 38 years of combined full-time experience, they conclude with a powerful framework for career longevity: Passion, Practice, and Persistence—the 3 Ps that have helped sustain their own careers and countless others. Top 10 Boss Takeaways Define your own title: Success in the voiceover marketplace is personal. Do not measure your worth against someone else's trophy room; identify the specific professional milestones that equal a win for your business. Ditch the highlight reel mindset: Landmark moments like booking a major corporate client or launching a new website are rare. Your real business is formed by the quiet, un-glamorous work you execute on a rainy Tuesday morning. Master your micro-decisions: Longevity is built incrementally. Choosing to practice copy analysis, market your services, or clean your studio booth instead of succumbing to distractions is the daily habit that separates astronauts from dreamers. The lesson is in the doing: Do not rely on your coach to hand-hold your development. True vocal authority is forged through repetitive script interaction, self-direction, and navigating audio editing hurdles independently. Treat auditions like game tape: Use your submissions as a tool to collect raw data. Track where your auditions originate, identify the performance specifications, and look for structural trends over a 60-to-90-day window. Let the algorithm guide your focus: Platforms like Voice 123 reward positive listener interactions. Analyze your "likes" or shortlisted notices to discover your signature vocal keywords, and use that data to target similar copy. Drop the desperation: The harder you try to force a performative "announcer" melody onto a script, the faster a client will pass on your file. Ground your energy, lean into the narrative truth, and read without artificial worry. Acting outweighs accents: A casting director will instantly forgive an imperfect dialect if the character feels deeply connected, present, and humanly engaged. Prioritize psychological truth over vocal impressions. You are a player, not the whole team: Remember that a voice actor is one specific cog in a much larger production wheel. Show up to sessions directable, pleasant, organized, and ready to collaborate with engineers and directors. Harness the power of the 5-year wall: If you can commit to the industry, learn from your failures, and actively market your booth for longer than five consecutive years, your statistical probability of long-term commercial success skyrockets.

Want to start acting in 2026 but feel unsure about what steps actually matter?Many new actors wait years because they think they need the perfect class, an agent, or someone in the industry to tell them they are ready. But waiting too long can slow you down.Building an acting career is about getting the right training, creating strong materials, and taking action before everything feels perfect.In this episode, you'll discover:Why waiting to “feel ready” can keep actors stuck and what helps you build real progress sooner.The simple materials that can help you move forward without wasting money on things you don't need yet.The key skill modern actors should build early to feel more confident and ready for auditions.Listen now to learn how to start your acting career in 2026 with a smarter plan and build momentum faster.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.

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.

Performance capture has evolved from an experimental filmmaking technique to a fundamental part of modern entertainment. But despite how common it's become, there's still a lot of misunderstanding about what performance capture actually is and what it means for actors who work in this space. To break it all down, we're joined by Woody Schultz, a SAG-AFTRA National Board Member and Vice Chair of the National AI and Technology Committee. Schultz has been at the forefront of performance capture since its early days, working on groundbreaking films like The Polar Express, Avatar and Monster House. He talks about how the technology works, why "motion capture" misses the point, the long fight to win union protections and what new AI technologies could mean for the future. *The views expressed by guests are their own and do not necessarily reflect the views of their organization or SAG-AFTRA.

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.

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.

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.

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.

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.

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

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.

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.

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

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

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