Podcasts about sag aftra

This week on AwesomeCast, Sorg, Katie Dudas, and Dave Podnar bring a travel-heavy, tech-friendly episode that starts with a massive field report from Epic Universe in Orlando and ends with a handful of clever tech and gaming stories. The big headline is simple: if you've been wondering whether Epic Universe is worth the hype, this episode gives you a real user's perspective instead of polished marketing copy.  Sorg and Katie spend a big chunk of the episode walking through their experience at Epic Universe and Islands of Adventure. They talk strategy for entering the park without early-access privileges, how they navigated long waits, why some online advice helped and some of it only created anxiety, and which lands felt the most immersive. Their coverage includes Dark Universe, Harry Potter's Ministry of Magic, Super Nintendo World, and the How to Train Your Dragon area, which may have stolen the show. Food gets plenty of love too, with shoutouts to the butterbeer crepe, mac-and-cheese cone, and Toadstool Cafe.    They also compare Universal's newest park design choices with Disney's standards, especially when it comes to ride throughput, theming detail, and visible wear-and-tear. Later, the conversation expands to Islands of Adventure, where they touch on the nostalgia of Toon Lagoon, the legal oddity of the Marvel section, and the thrills of Hagrid's and Velocicoaster.  Dave Podnar keeps things lighter with his Awesome Thing of the Week: the new McDonald's Happy Meal Crocs. Tiny? Yes. Silly? Absolutely. Weirdly great? Also yes. The team has fun showing off the miniature details, “sport mode,” and QR-game tie-in.  Then comes Chachi Says Video Game Minute, which this week covers a Mario gathering in New York that won't count as a record because Guinness wasn't notified, updated PEGI rating guidance for paid random-item mechanics and blockchain-related content, and a SAG-AFTRA move against Capcom over union protections tied to Mega Man voice work.  The episode also includes a smart Women's History Month spotlight on Hedy Lamarr, with Dave explaining how her work on frequency-hopping communication connects to the foundations of Wi-Fi and wireless communication. It's a great reminder that tech history is full of people whose contributions weren't fully recognized in their own time.  Rounding things out, the crew talks about seeing LEGO smart blocks at Disney Springs, a Switch 2 update that boosts original Switch games in handheld mode, and Payphone Go, a California-only game that turned public payphones into a live scavenger hunt. It's a very AwesomeCast mix: theme parks, gadgets, gaming, weird internet projects, and a little tech history all in one place. 

The Cinematography Podcast 2026 Oscar Special Jenelle Riley, three-time Emmy-winning entertainment journalist and host, chats with Ben and Illya for our SEVENTH annual Oscar nominations special. With a focus on cinematography, they discuss what they liked, what will win, what should win, and their favorite movies of the year that may not have been recognized. They discuss this year's nominations, including the likeliest Best Picture and Best Director contenders, Paul Thomas Anderson's One Battle After Another and Ryan Coogler's Sinners. F1 is also mentioned as an outlier for the category, although the cinematography by Claudio Miranda is excellent. This year's new category, Achievement in Casting, is celebrated as a much needed addition. The cinematography competition is a heated one, with both Autumn Durald Arkapaw and Michael Bauman as favorites, with Bauman recently winning the ASC Award. Some of the snubs this year include one of Jenelle's favorite movies, Life of Chuck.  Song Sung Blue also didn't receive much awards love. Last year's awards omitted the worthy film, Thelma.  Also discussed: Best Actor, Best Actress, Best Supporting Actor, and Best Supporting Actress. Find Jenelle Riley on Facebook, Instagram, Blue Sky, X: @jenelleriley and Substack: https://substack.com/@rileywrites74/note/p-183180534 Tune in to the SAG/AFTRA foundation YouTube Channel to see Jenelle's interviews with several of the nominees this year. https://www.youtube.com/@SAGAFTRAFoundation The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Send a textByteDance  — the company behind TikTok — just released Seedance, a next-generation AI video model capable of generating shockingly realistic cinematic footage from simple text prompts. And the industry is not amused.From viral AI-generated clips featuring hyper-realistic versions of stars like Tom Cruise to growing legal threats from studios and unions like SAG-AFTRA, this isn't just another tech story — it's a potential turning point for actors, studios, visual effects teams, and the entire economics of filmmaking.Are we witnessing the democratization of cinema…or the destabilization of Hollywood itself?In this episode, we break down:• What Seedance actually does• Why studios are reacting so aggressively• The copyright and likeness issues at stake• And whether this is the future of filmmaking — or a legal war waiting to explodeThis isn't sci-fi anymore. It's happening now. Let us know your thoughts in the comments — is AI the ultimate creative tool… or Hollywood's biggest threat?Support the show

THIS WEEK: I provide info on what you need to know before you buy WWE 2K26. SAG-AFTRA is going after MEGA-MAN DUEL OVERRIDE, and BANDAI NAMCO fixes a frustrating problem with MY HERO ACADEMIA: ALL'S JUSTICE. Then, in our FINAL STAGE segment, I review DISNEY AFTERNOON COLLECTIONS.

Jamie Lee Curtis just admitted it's a “desperate time” in Hollywood — even lead actors are fighting for tiny roles because work has completely dried up. In a new Hollywood Reporter interview she says she sees big-name stars who had their own TV shows or movies now auditioning for anything just to stay working. Clownfish TV breaks down how the long 2023 WGA and SAG-AFTRA strikes left thousands of actors unemployed, how the industry never fully recovered, and why so many veterans are struggling years later while the studios keep pretending everything is fine.Watch the podcast episodes on YouTube and all major podcast hosts including Spotify.CLOWNFISH TV is an independent, opinionated news and commentary podcast that covers Entertainment and Tech from a consumer's point of view. We talk about Gaming, Comics, Anime, TV, Movies, Animation and more. Hosted by Kneon and Geeky Sparkles.Get more news, views and reviews on Clownfish TV News - https://more.clownfishtv.com/On YouTube - https://www.youtube.com/c/ClownfishTVOn Spotify - https://open.spotify.com/show/4Tu83D1NcCmh7K1zHIedvgOn Apple Podcasts - https://podcasts.apple.com/us/podcast/clownfish-tv-audio-edition/id1726838629

This week, the boys headed to 1970 to the new decade of the new wave of American independent cinema! Bob Rafelson's “Five Easy Pieces” established the behavior-driven, theme-over-plot indie movies that paved the way for the best era for indies. Jack Nicholson is a badass (asshole) prodigy-turned-roustabout looking to find himself in people he's willing to screw over in Bob Rafelson's seminal movie. After John fires off some mini-reviews and news, we set up the film year of 1970 before we drink beers and try to keep our conversation positive! linktr.ee/theloveofcinema - Check out our YouTube page!  Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 5:45 “Crime 101” mini-review; 7:25 “Midwinter Break” mini-review; 13:52 1970 Year in Review; 28:00 Films of 1970: “Five Easy Pieces”; 1:11:48 What You Been Watching?; 1:21:36 Next Week's Episode Teaser Additional Cast/Crew: Karen Black, Sally Struthers, Billy Green Bush, Fannie Flagg, Lois Smith, Carole Eastman, Laszlo Kovacs, Chris Hemsworth, Mark Ruffalo, Barry Keoghan, Bart Layton, Hale Berry, Jennifer Jason Leigh, Tate Donovan, Corey Hawkins, Don Winslow, Polly Findlay, Lesley Manville, Ciaran Hinds. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Recommendations: Springsteen: Deliver Me From Nowehere, Nuremburg, Fallout, Star Trek: Starfleet Academy, They Live, Paradise, John Carpenter, The Muppet Series, Bedknobs and Broomsticks, The Pitt, Blue Moon, A Knight of the Seven Kingdoms.  Additional Tags: Warner Discovery, Paramount Skydance, Annapurna Films, Old Man Marley, Home Alone, Shawshenk Redemption, Gordon Ramsay, Thelma Schoonmaker, Stephen King's It, The Tenant, Rosemary's Baby, The Pianist, Cul-de-Sac, AI, The New York City Marathon, Apartments, Tenants, Rent Prices, Zohran Mamdani, Andrew Cuomo, Curtis Sliwa, Amazon, Robotics, AMC, IMAX Issues, Tron, The Dallas Cowboys, Short-term memory loss, Warner Brothers, Paramount, Netflix, AMC Times Square, Tom Cruise, George Clooney, MGM, Amazon Prime, Marvel, Sony, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Apple Podcasts, West Side Story, Adelaide, Australia, Queensland, New South Wales, Melbourne, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir, Jidaigeki, chambara movies, sword fight, samurai, ronin, Meiji Restoration, plague, HBO Max, Amazon Prime, casket maker, Seven Samurai, Roshomon, Sergio Leone, Clint Eastwood, Stellan Skarsgard, the matt and mark movie show.The Southern District's Waratah Championship, Night of a Thousand Stars, The Pan Pacific Grand Prix (The Pan Pacifics), Jeff Bezos, Rupert Murdoch, Larry Ellison, David Ellison, Elon Musk, Mark Zuckerberg.   

Mega Man's voice actor Ben Diskin just dropped out of the new game Dual Override because Capcom refused to give him a proper union contract. He was offered the role but only if he worked without SAG-AFTRA protections — even though they claimed they had “full AI protections in writing.” Diskin said he doesn't have the money or energy to sue a giant company like Capcom if they break that promise later, so he walked away. Clownfish TV breaks down how game companies keep trying to dodge unions with AI loopholes and why this is becoming a huge problem for voice actors across the industry.Watch the podcast episodes on YouTube and all major podcast hosts including Spotify.CLOWNFISH TV is an independent, opinionated news and commentary podcast that covers Entertainment and Tech from a consumer's point of view. We talk about Gaming, Comics, Anime, TV, Movies, Animation and more. Hosted by Kneon and Geeky Sparkles.Get more news, views and reviews on Clownfish TV News - https://more.clownfishtv.com/On YouTube - https://www.youtube.com/c/ClownfishTVOn Spotify - https://open.spotify.com/show/4Tu83D1NcCmh7K1zHIedvgOn Apple Podcasts - https://podcasts.apple.com/us/podcast/clownfish-tv-audio-edition/id1726838629

Want to memorize your lines faster without sounding robotic?Many actors repeat their lines the exact same way while memorizing. The words stick - but the performance can become stiff and locked into one emotion. When a director asks for a change, it can be hard to adjust quickly.In this episode, you'll learn how the Variance Method can help you memorize lines while keeping your performance flexible, alive, and easy to direct.Here are three things you'll discover:A simple trick that helps your brain lock in lines faster by connecting emotion to memoryA surprising way to break out of rigid line readings that make auditions feel flatA fun exercise that can unlock emotional range you didn't even know was in the scenePress play to learn how the Variance Method can help you memorize faster, stay flexible with direction, and bring more life into every performance.Email: martin@cityheadshots.comWebsite: https://www.martinbentsen.comAdditional Resources:Headshots: https://www.cityheadshots.comShoot Footage for Your Reel: https://www.actorscreenershoot.comEdit Footage Into a Reel: https://www.demoreelsnyc.com"This show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles."

Born and raised just outside of Boston, Ian Cardoni currently stars in Adult Swim's two-time Emmy Award-winning animated comedy series “Rick and Morty” as the titular character Rick Sanchez. Cardoni stepped into the iconic role at the start of season 7 and can be heard as the voice of Rick in seasons 7 & 8 which are available to watch on HBO Max, with season 9 coming to Adult Swim soon. The hit series was recently renewed through season 12.Cardoni has voiced numerous roles across adult and children's animation, video games, TV promo, and commercials, including recent roles in the Children's & Family Emmy-nominated and Annie Award-nominated Nickelodeon series “Rock, Paper, Scissors,” in Fox's animated series “Krapopolis,” and in the Sony Pictures Classic film “Scarlet” from Academy Award-nominated director Mamoru Hosoda which had its national theatrical release on February 13, 2026, and was an official selection at Venice and Toronto international film festivals in 2025. Cardoni's voice has also been heard announcing for WWE, SyFy Network, Apple TV, and Disney+.In the video game space, Cardoni has voiced roles across various critically-acclaimed titles, including “DC: Dark Legion” by Warner Brothers Games, “CookieRun: The Darkest Night” by Devsisters, “Tony Hawk's Pro Skater 3 & 4” by Iron Galaxy, and he reprised his “Rick and Morty” role of Rick Sanchez in the chart-topping game “MultiVersus” from Warner Brothers Games which has received multiple Game Awards nominations. Most recently, Cardoni can be heard as the villain Magrus in third-person action game “Romeo is a Dead Man” by Grasshopper Manufacture and legendary developer Suda51, which released in February 2026. Outside of his acting career, Cardoni is a proud and active Emerson College alumni who spends his time on philanthropic ventures and educational endeavors. He currently resides in Los Angeles with his wife.@iancardoniHow ‘Rick and Morty' Cast Its New Voice Stars*Ian Cardoni (Rick) and Harry Belden (Morty) were cast in Rick and Morty under the SAG-AFTRA 2023 Basic Cable Animation Agreement as the series began production on Season 7

Are you sending out tons of submissions but still not booking roles?Many actors feel stuck. They submit again and again but hear nothing back. It can start to feel like bad luck, or even make you question your talent.But the real issue may be simpler: you're not tracking the right numbers. When you know your numbers, you can see what's really holding you back and fix it faster.In this episode, you'll discover:The three key numbers that reveal why some actors keep booking while others stay stuckThe minimum submission, audition, and booking goals every actor should aim forHow tracking your ratios can show exactly what part of your strategy needs to changeListen now to learn how understanding your numbers can turn confusion into a clear path toward more auditions and bookings.Email: martin@cityheadshots.comWebsite: https://www.martinbentsen.comAdditional Resources:Headshots: https://www.cityheadshots.comShoot Footage for Your Reel: https://www.actorscreenershoot.comEdit Footage Into a Reel: https://www.demoreelsnyc.com"This show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles."

Today in the business of podcasting:Podcast Movement Evolutions at SXSW adds Penn Badgley and SAG-AFTRA President Sean Astin to its lineup, with Oxford Road and founding sponsor Libsyn hosting the inaugural Indie PaC Awards on Sunday, and Spotify marking its 20th birthday with keynotes and a star-studded concert hosted at Stubb's BBQ.Tom Webster argues that coverage of a new Edison Research Share of Ear data point - in which spoke-word daily consumption percentage for podcasting passes AM/FM radio for the first time since Share of Ear started - misses the caveat that Share of Ear isn't taking spoken word video podcasts primarily watched by audiences into account. Audible launches a new $8.99 Standard membership tier with a streaming-focused model, folding former Wondery+ subscriber perks into Audible Originals (such as ad-free listening, early access, and exclusive podcasts).SAG-AFTRA is expanding its podcast contract coverage to include more interview and narrative formats as video podcasting grows. Sue-Anne Morrow also addresses the notion SAG-AFTRA actors are taking a pay cut if they choose video podcasting over daytime TV. To find links to these, and every article covered in today's episode, click here. You can also subscribe to The Download's newsletter to receive the full issue straight to your email inbox every day.

Today in the business of podcasting:Podcast Movement Evolutions at SXSW adds Penn Badgley and SAG-AFTRA President Sean Astin to its lineup, with Oxford Road and founding sponsor Libsyn hosting the inaugural Indie PaC Awards on Sunday, and Spotify marking its 20th birthday with keynotes and a star-studded concert hosted at Stubb's BBQ.Tom Webster argues that coverage of a new Edison Research Share of Ear data point - in which spoke-word daily consumption percentage for podcasting passes AM/FM radio for the first time since Share of Ear started - misses the caveat that Share of Ear isn't taking spoken word video podcasts primarily watched by audiences into account. Audible launches a new $8.99 Standard membership tier with a streaming-focused model, folding former Wondery+ subscriber perks into Audible Originals (such as ad-free listening, early access, and exclusive podcasts).SAG-AFTRA is expanding its podcast contract coverage to include more interview and narrative formats as video podcasting grows. Sue-Anne Morrow also addresses the notion SAG-AFTRA actors are taking a pay cut if they choose video podcasting over daytime TV. To find links to these, and every article covered in today's episode, click here. You can also subscribe to The Download's newsletter to receive the full issue straight to your email inbox every day.

We've all seen the headlines about A.I. and wondered what it all means for your career. There's a lot of anxiety and uncertainty about what AI synthetics can actually accomplish. Writer-director and Emmy-winning creator Sergio Cilli, decided to find out by auditioning them. In his viral video series "Will AI Actors Replace Us?!," which has reached 45 million views, Sergio puts AI synthetics through typical audition scenarios and watches them fail spectacularly at basic tasks like loading a dishwasher or performing emotional scenes. He joins the show to discuss how humor helps performers process anxiety about A.I., and why directors still prefer working with humans over robots. *The views expressed by guests are their own and do not necessarily reflect the views of their organization or SAG-AFTRA. Any mention of products or services does not imply endorsement. 

The landscape of Geekdom is shifting beneath our feet! In Episode 460, host Steve "Megatron" Phillips and TFG1Mike break down the massive industry-shaking news that HBO Max and Paramount+ are officially merging into a single streaming titan. We discuss what this means for your wallet and Paramount's promise to let the HBO brand "operate with independence."We also dive into a serious local and national issue: Colorado's proposed law that could force surveillance on 3D printers to regulate digital files. Is this a necessary safety measure, or are we officially living in a surveillance state? Plus, we cover SAG-AFTRA's move to organize the booming video podcast industry, the Supreme Court's major ruling on AI copyrights, and the bizarre news of a Funko-inspired cinematic universe in the works. From "Book Meets World" nostalgia to cleaning up messy news headlines regarding Tubi and Cartoon Network, we've got it all.What you'll get out of this episode:Critical analysis of the Paramount+ and Max merger and its impact on subscribers.A deep dive into the legal battle over 3D printing rights and digital privacy.The latest on AI copyright laws and what the Supreme Court's refusal to hear the case means for creators.A look at the future of video podcasting under SAG-AFTRA labor rules.Get Altered, Get Geeky, with the Altered Geeks!Altered Geek, Steve Phillips, TFG1Mike, Paramount Plus, HBO Max, Streaming Merger, 3D Printing, Colorado Law, Surveillance State, AI Copyright, SAG-AFTRA, Funko Pop, Rideback, Cartoon Network, Tubi, Boy Meets World, Tech News, Podcast Industry, Intellectual Property, Digital Rights,

How Much Should Actors Really Get Paid for Film and TV Work?Are you getting paid what you're actually worth as a film or TV actor?Many actors accept low pay simply because they don't know the real numbers. In this episode, Martin Bentsen breaks down what actors are typically paid - both union and non-union - so you can recognize fair rates and avoid underselling yourself.Listen to this episode to discover:The surprising daily and weekly pay rates union actors can earn on major productionsWhat fair non-union pay actually looks like for indie films, shorts, and background workThe simple mindset shift that helps actors set a personal minimum rate and negotiate with confidencePress play to learn the real pay standards in film and television so you can start valuing your work - and your career - the right way.Email: martin@cityheadshots.comWebsite: https://www.martinbentsen.comAdditional Resources:Headshots: https://www.cityheadshots.comShoot Footage for Your Reel: https://www.actorscreenershoot.comEdit Footage Into a Reel: https://www.demoreelsnyc.com"This show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles."

American bombs fall on Iran; Michael B Jordan wins at SAG AFTRA and NAACP; Delroy Lindo addresses the BAFTAs; 50 Cent vs TI; Ryan Coogler's college dating life somehow inspires dusty men; chaos finds Deon Cole; Hillary Clinton is badgered by a cabal of deplorables; Hanifa says goodbye… for now; flasks are (coming) back. Thanks to our sponsor: Sign up and get 10% off at https://www.betterhelp.com/RATCHET. ABOUT ME:  http://www.demetrialucas.com/about/ STAY CONNECTED:  IG: demetriallucas Twitter: demetriallucas FB: demetriallucas YouTube: demetriallucas Learn more about your ad choices. Visit podcastchoices.com/adchoices

Become an Emsolation Extra Member - access BONUS eps & more NOW @ https://emsolation.supercast.com/ Get new Emsolation merch for a LIMITED TIME @ https://emrusciano.store/ On Sunday Em celebrated her birthday by gathering some of her best mates together for a delightful pub meal, you'll hear more about what went down including what it's like to walk into a pub with Australia's sweetheart Missy Higgins. There's also a Delta Goodrem at Eurovision side quest from Em with stage direction and fashion suggestions thrown in too. Then the recent Actor Awards presented by SAG-AFTRA (aka the Awards formerly known as the SAGs) have thrown a spanner in Michael's Oscar winning predictions, so he's keen to talk through why he's changing his picks for the big winners. Em is also doing another F1 info dump as the Melbourne Grand Prix returns this weekend. Em and her Dad Vincie have concerns about huge changes that are coming to the race. This weekend F1 moves away from petrol, to a 50-50 split between internal combustion and electric power, running on 100% sustainable fuel plus there's new drivers & one entirely new team. Then in our Sealed Section, on our premium service Emsolation Extra, Em and Michael work their way through “The Audacity File”, a collection of the most unhinged dating profiles from men on the Hinge dating app. Get access for just $1.87 a week, or watch the full video of both episodes back to back via the Supercast website for $2.50 a week at emsolation.supercast.com Learn more about your ad choices. Visit megaphone.fm/adchoices

It's time for Star Wars News! Harrison Ford received a lifetime achievement award from SAG-AFTRA, so let's look back (and ahead) at Harrison Ford's career and impact. Plus, are Disney execs allegedly worried about The Mandalorian and Grogu? What's working against and for that movie? Joseph Scrimshaw and Ken Napzok talk about all that and more on the 843rd episode of ForceCenterFrom the minds of Ken Napzok (comedian, host of The Blathering), Joseph Scrimshaw (comedian, writer, director of Dead Media), and Jennifer Landa (actress, YouTuber, crafter, contributor on StarWars.com) comes the ForceCenter Podcast Feed. Here you will find a series of shows exploring, discussing, and celebrating everything about Star Wars. Subscribe on Apple Podcasts and Google Podcasts. Listen on TuneIn, Amazon Music, Spotify, and more!Follow ForceCenter!Watch on YouTube!Support us on PatreonForceCenter merch!All from ForceCenter: https://linktr.ee/ForceCenter Hosted on Acast. See acast.com/privacy for more information.

Today on the radio show. 1 - Smoko. 4 - Your backyard gold finds. 7 - Biggest gold nuggets found in NZ/Aus. 10 - Woody Harrelson blows out at the SAG Aftra awards. 13 - The internet is broken. 18 - Self-help Singh. 23 - The greatest car advertisement of all time. 27 - Let’s sell Benny Boy’s car. 28 - Benny Boy’s initiation video. 30 - The dick fixers. 34 - VHS Dating tapes - Harry. 37 - Dud drivers in NZ. 42 - Dud Drivers part 2. 45 - Blood moon 47 - Late mail. 50 - Last drinks.

Perez is under the weather so Booker is going SOLO! We also spotlight a few moments that you didn't hear from our Patreon exclusive shows! Enjoy!See omnystudio.com/listener for privacy information.

In this episode, writer-producer Hilliard Guess and guest co-host actor-writer-prod-dir Dalila Ali Rajah sit down for an educational conversation (we do talk a bit of politics in this one - FYI), with actor/writer/coach and 2026 NAACP Image Award nominee ADAM DAVENPORT, recognized in the Outstanding Literary Work – Journalism category for his essay examining Audra McDonald's 2025 Tony Awards performance of “Rose's Turn.” The piece reframes the performance as a landmark cultural moment - serving as an act of protest, reclamation, and artistic defiance within the lineage of Black women reshaping American performance. The nomination is a full-circle moment for Davenport, as the NAACP was the first organization to recognize his writing when he was in high school. He can speak to the nomination as well as his broader career as a multidisciplinary artist working across acting, writing, directing, producing, casting, and education. A Chicago native and Yale graduate, Davenport is a member of SAG-AFTRA, BAFTA, the European Film Academy, and the Recording Academy. His screen work includes Glass Onion: A Knives Out Mystery (Netflix), for which he received a Satellite Award for Best Ensemble alongside multiple critics' group honors. In 2020, he founded The International Acting Studio (TIAS), where he coaches actors working at the highest international level. Two performers he coached are current 2026 Czech Lion Award nominees, and his clients have appeared in projects including The Brutalist, Dune: Part Two, The Crown, and numerous network and cable series.Read the Essay here:https://www.bronzecommhub.com/blog/audra-mcdonald-took-the-stage-and-rewrote-the-rules

Today in the business of podcasting: Ashley Carman's recap of the Bloomberg Podcast Business Summit finds video now essential to podcast strategy, with executives like Kara Swisher and Goalhanger's Jack Davenport treating YouTube presence as a baseline requirement for new and existing shows.IAB Australia's 2025 internet advertising report shows the country's digital ad market hit $18.4 billion AUD, with podcasting outpacing streaming audio in a segment that grew 8.2% year-over-year.Oxford Road and founding sponsor Libsyn launch the Indie Podcasters and Creator Awards, exclusively for independent podcasters, with the inaugural ceremony set for March 15th at Evolutions by Podcast Movement.Audion co-founder Arthur Larrey argues audio advertising must adopt performance marketing metrics (addressable scale, third-party measurement, in-flight optimization, and dynamic creative) to compete for budgets currently flowing to CTV and social.The Hollywood Reporter covers how SAG-AFTRA is expanding its podcast contracts to cover more interview and narrative formats as video podcast growth raises questions about whether the format constitutes daytime talk television.To find links to these, and every article covered in today's episode, click here. You can also subscribe to The Download's newsletter to receive the full issue straight to your email inbox every day.

Today in the business of podcasting: Ashley Carman's recap of the Bloomberg Podcast Business Summit finds video now essential to podcast strategy, with executives like Kara Swisher and Goalhanger's Jack Davenport treating YouTube presence as a baseline requirement for new and existing shows.IAB Australia's 2025 internet advertising report shows the country's digital ad market hit $18.4 billion AUD, with podcasting outpacing streaming audio in a segment that grew 8.2% year-over-year.Oxford Road and founding sponsor Libsyn launch the Indie Podcasters and Creator Awards, exclusively for independent podcasters, with the inaugural ceremony set for March 15th at Evolutions by Podcast Movement.Audion co-founder Arthur Larrey argues audio advertising must adopt performance marketing metrics (addressable scale, third-party measurement, in-flight optimization, and dynamic creative) to compete for budgets currently flowing to CTV and social.The Hollywood Reporter covers how SAG-AFTRA is expanding its podcast contracts to cover more interview and narrative formats as video podcast growth raises questions about whether the format constitutes daytime talk television.To find links to these, and every article covered in today's episode, click here. You can also subscribe to The Download's newsletter to receive the full issue straight to your email inbox every day.

Are you confident in your acting choices - but secretly scared to let them go when a director gives you a note?Many actors think confidence means sticking to their first idea. But on set, that can make you look rigid or hard to direct.In this episode of The Actor's Career Compass, Martin Bentsen explains how real confidence actually makes you more flexible, not less - and why directors trust actors who can adjust fast.You'll discover:Why trusting your instincts makes you easier to direct, not harderHow to stay emotionally detached so feedback never shakes youA simple rehearsal mindset that builds both boldness and humilityIf you want to feel strong in your choices and calm when direction comes your way, press play now and start building the kind of confidence directors love.Email: martin@cityheadshots.com Website: https://www.martinbentsen.comAdditional Resources: Headshots: https://www.cityheadshots.com Shoot Footage for Your Reel: https://www.actorscreenershoot.com Edit Footage Into a Reel: https://www.demoreelsnyc.com"This show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles."

Learn more at TheCityLife.org

The Awards Circuit Roundtable dissects what happened at the BAFTA Awards, when the tape-delayed telecast didn't bleep the N-word despite knowledge that Tourette's campaigner John Davidson was in the audience. Also, final predictions for SAG-AFTRA's Actor Awards; and Oscar nominee Tig Notaro discusses honoring her friend in “Come See Me In the Good Light.” Learn more about your ad choices. Visit megaphone.fm/adchoices

I am Rolf Claessen and together with my co-host Ken Suzan I welcome you to Episode 172 of our podcast IP Fridays. Today's interview guests are Co-Founder & CEO of Inception Point AI, Jeanine Whright, and Mark Stignani, who is Partner & Chair of Analytics Practice at Barnes & Thornburg LLP. https://www.linkedin.com/in/jeaninepercivalwright https://www.linkedin.com/in/markstignani Inception Point AI But before the interview I have news for you: The Unified Patent Court (UPC) ruled on Feb 19, 2026, that specialized insurance can cover security for legal costs. This is vital for firms, as it eases litigation financing and lowers financial hurdles for patent lawsuits by removing the need for high liquid assets to enforce rights at the UPC. On Feb 12, 2026, the WIPO Coordination Committee nominated Daren Tang for a second six-year term as Director General. Tang continues modernizing the global IP system, focusing on SMEs, women, and digital transformation. His confirmation in April is considered certain. An AAFA study from Feb 4 reveals 41% of tested fakes (clothing/shoes) failed safety standards. Many contained toxic chemicals like phthalates, BPA, or lead. The study highlights that counterfeiters increasingly use Meta platforms to sell unsafe imitations directly to consumers. China's CNIPA 2026 report announced a crackdown on bad-faith patent and trademark filings. Beyond better examination quality, the agency will sanction shady IP firms and stop strategies violating “good faith” to make China’s IP system more ethical and innovation-friendly. Now, let's hear the interview with Jeanine Whright and Mark Stignani! How AI Is Rewiring Media & Entertainment: Key Takeaways from Ken Suzan's Conversation with Jeanine Wright and Mark Stignani In this IP Fridays interview, Ken Suzan speaks with two repeat guests who look at the same phenomenon from two angles: Jeanine Wright, Co-Founder & CEO of Inception Point AI, as a builder of AI-native entertainment, and Mark Stignani, Partner and Chair of the Analytics Practice at Barnes & Thornburg LLP, as a lawyer advising clients who are trying to use AI without stepping into a legal (or ethical) crater. What emerges is a clear picture: generative AI is not just “another tool.” It is rapidly becoming the default infrastructure for creative work—while the rules around ownership, consent, and accountability lag behind. 1) What “AI-generated personalities” really are (and why that matters) Jeanine's company is not primarily “cloning” real people. Instead, Inception Point AI creates original, fictional personalities—characters with backstories, ambitions, and evolving arcs—then deploys them into the world as podcast hosts and content creators (and eventually actors and musicians). Her key point: the creative work still starts with humans. Writers and creators define the concept, tone, audience, and story engine. What AI changes is speed, cost, and iteration—and therefore what is economically feasible to produce. 2) The “generative content pipeline” isn't a magic button A recurring misconception Ken raises is the idea that someone “pushes a button” and content pops out. Jeanine explains that real production looks more like a hybrid studio: A creative team defines character, voice, format, and storyline. A technical team builds what she calls an “AI orchestration layer” that combines multiple models and tools. The “stack” differs by format: the workflow for a long-form audio drama is different from a short-form beauty clip. This matters because it reframes AI content not as a single output, but as a pipeline decision: which tools, which data sources, which QA, and which governance steps are used—and where human review happens. 3) The biggest legal questions: origin, liability, ownership, and contracts Mark doesn't name a single “top issue.” He describes a cluster of problems that repeatedly show up in client conversations: Training data and “origin story” Clients keep asking: Can I legally use AI output if the tool was trained on copyrighted works? Even if the output looks new, the unease is about whether the tool's capabilities are built on unlicensed inputs. Liability for unintended harm Mark flags risk from AI content that inadvertently infringes, defames, or carries bias. The legal exposure may not match the creator's intent. Ownership and protectability He points to a big gap: many jurisdictions are still reluctant to grant classic IP rights (copyright or patent-style protection) to purely AI-generated material. That creates uncertainty around whether businesses can truly “own” what they produce. Old contracts weren't written for AI A final, practical point: many agreements—talent contracts, author clauses, data licenses—predate generative AI and simply don't address it. That leads to disputes about scope, permissions, and—crucially—indemnities. 4) Are we at a tipping point? The “gold rush” vs. “next creative era” views Jeanine frames AI as “the world's most powerful creative tool”—comparable to previous step-changes like animation, special effects, and CGI. For her, the strategic implication is simple: creators who learn to use AI well will expand what they can build and test, faster than ever. Mark's metaphor is more cautionary: he calls the moment a “gold rush” where technology is sprinting ahead of law. Courts are getting flooded with foundational disputes, while legislation is fragmented—he notes that states may move faster than federal frameworks, and that labor agreements (e.g., union protections) will be a key pressure point. 5) Democratization: more creators, more niche content, more experimentation One of the most concrete themes is access. Jeanine argues AI will: Lower production barriers for independent filmmakers and storytellers. Reduce the need for “hit-making only” economics that dominate Hollywood. Make micro-audience content commercially viable. Her example is intentionally niche: highly localized, specialized content (like a “pollen report” for many markets) that would never have made financial sense before can now exist—and thrive—because the production cost drops and personalization scales. 6) Likeness, consent, and “digital performers”: what happens when AI resembles a real actor? Ken pushes into a sensitive area: what if someone generates a performance that closely resembles a living actor without consent? Mark outlines the current (imperfect) toolbox—because, as he emphasizes, most laws weren't built for this scenario. He points to practical claims that may come into play in the U.S., such as rights of publicity and false endorsement-type theories, and notes that whether something is parody or “too close” can become a major fault line. Jeanine explains her company's operational approach: They focus on original personalities, designed “from scratch.” They build internal checks to avoid misappropriating known names, likenesses, or recognizable identities. If they ever work with real people, the model would be licensing their likeness/voice. A subtle but important business point also appears here: Jeanine expects AI-native characters themselves to become licensable assets—meaning the entertainment economy may expand to include “celebrity rights” for fully synthetic personalities. 7) Ethics: the real line is “deception,” not “AI vs. human” The ethical core of the conversation is not “AI is bad” or “AI is good.” It's how AI is used—especially whether audiences are misled. Mark highlights several ethical risks: Misuse of tools to manipulate faces and content (“AI slop” and political misuse). Displacement of creative workers without adequate transition support. A concern that AI often optimizes toward “statistical averages,” potentially flattening originality. Jeanine agrees ethics must be designed into the system. She describes regular discussions with an ethicist and emphasizes a principle: transparency. Her company discloses when content or personalities are AI-generated. She argues that if people understand what they're engaging with and choose it knowingly, the ethical problem shifts from “AI exists” to “Are we tricking people?” Mark adds a real-world warning: deepfakes are now credible enough to enable serious fraud—he references a case-like scenario where a synthetic video meeting deceived an employee into authorizing a payment. The point is clear: authenticity and verification are no longer optional. 8) The “dead actor” hypothetical: legal permission vs. moral intent Ken raises a provocative scenario: an actor's estate authorizes an AI-generated new performance, but the actor opposed such technology while alive. Neither guest offers a simplistic answer. Jeanine suggests that even if the estate holds legal rights, a company might choose to avoid such content out of respect and because the ethical “overhang” could damage the storytelling outcome. She also notes the harder question: people who died before today's capabilities may never have been able to meaningfully consent to what AI can now do—raising questions about how we interpret legacy intent. Mark underscores the practical contract problem: many rights are drafted “in perpetuity,” but that doesn't automatically settle the ethical question. 9) Five-year forecast: “AI everywhere,” but audiences may stratify Ken closes with a prediction question: in five years, how much entertainment content will significantly involve AI—and will audiences care? Jeanine predicts AI becomes the default creative layer for most content creation. Mark is slightly more conservative on the percentage, but adds an important nuance: the market will likely stratify. Low-cost, high-volume content may become saturated with AI, while premium segments may emphasize “human-made” as a differentiator—especially if disclosure norms become standard. Bottom line for business leaders and creators This interview lands on a pragmatic conclusion: AI will change how content is made at scale, and the competitive edge will go to teams that combine creative taste, operational discipline, and legal/ethical governance. If you're building, commissioning, or distributing content, the questions you can't dodge anymore are: What's the provenance of the tools and data you rely on? Who is responsible when output harms, infringes, or misleads? What rights can you actually claim in AI-assisted work? Do your contracts and disclosures match the new reality? Ken Suzan: Thank you, Rolf. We have two returning guests to the IP Friday’s podcast. Joining me today is Janine Wright and Mark Stignani. Our topic for discussion, how is AI transforming the media and entertainment industries today? We look at the issues from differing perspectives. A bit about our guests, Janine Wright is a seasoned board member, CEO, global COO and CFO. She’s led organizations from startup to a $475 million plus revenue subsidiary of a public company. She excels in growth strategy, adopting innovative technologies, scaling operations and financial management. Janine is a media and entertainment attorney and trial litigator turned technologist and qualified financial expert. She is the co-founder and CEO of Inception Point AI, a growing company that is paving new ground with AI-generated personalities and content through developing technology and story. Mark Stignani is a partner with Barnes & Thornburg LLP and is based in Minneapolis, Minnesota. He is the chair of the data analytics department with a particular emphasis on artificial intelligence, machine learning, cryptocurrency and ESG. Mark combines the power of artificial intelligence and machine learning with his skills as a corporate and IP counsel to deliver unparalleled insights and strategies to his clients. Welcome, Janine and Mark to the IP Friday’s podcast. Jeanine Whright: Thank you. Thank you. Thank you so much for having me and fun to be back. It feels nostalgic to be here. Ken Suzan: That’s right. And you both were on the program. So it’s fantastic that you’re both back again. So our format, I’m going to ask a question to Janine and or Mark and sometimes to both of you. So that’s going to be how we proceed. Let’s jump right in. Janine, your company creates AI-generated actors. For listeners who may not be familiar, can you briefly explain what that means and what’s now possible that wasn’t even two years ago? Jeanine Whright: Sure. Yeah, we are creating AI-generated personalities. So new characters, new personalities from scratch. We design who these personalities are and will be, how they will evolve. So we give them complex backstories. We give them hopes and dreams and aspirations. We every aspect of them, their families, how they’re going to evolve. And in the same way that, say, you know, Disney designs the character for its next animated feature or, you know, an electronic arts designs a character for its next major video game. We are doing that for these personalities and then we are launching them into the world as podcast hosts, content creators on social platforms like YouTube, Instagram and TikTok. And even in the future, you know, actors in feature length films, musicians, etc. Ken Suzan: Very fascinating. Mark, from your practice, what’s the single biggest legal question or dispute you’re seeing clients wrestle with when it comes to AI and media creation? Mark Stignani: Well, I think that, you know, it’s not just one thing, it’s like four things. But most of them tend to be kind of the origin story of AI data or AI tools that they use because, you know, but for the use of AI tools trained on copyrighted materials, the tools wouldn’t really exist in their current form. So a lot of my clients are wondering about, you know, can I legally use this output if it’s built upon somebody else’s IP? The second ask, the second flavor of that is really, is there liability being created if I take AI content that inadvertently infringes or defames or biases there? So there’s the whole notion of training bias from the training materials that comes out. The third phase is really, you know, can I really own this? Because much of the world does not really give IP rights into AI-generated inventions, copyrighted materials. It’s still kind of a big razor. Then at the end of the day, you know, if it’s an existing relationship, does my contract even contemplate this? So everything from authors contracts on up to just use of data rights that predate AI. Ken Suzan: And Janine and Mark, a question to both of you. How would you describe where we are right now in the AI revolution in media and entertainment? Are we approaching a tipping point? And if so, what are the things we need to watch for? Jeanine Whright: Yeah, I definitely think that we’re at a phase where people are starting to come to the realization that AI is the world’s most powerful creative tool. But that, you know, storytelling and point of view is what creates demand and audiences. And AI doesn’t threaten or change that. But it does mean that as people evolve in this medium, they’re very likely going to need to adopt, utilize and figure out how to hone their craft with these AI-generated content and these AI-generated toolings. So this is, you know, something that people have done certainly in the past in all sorts of ways in using new tools. And we’ve seen that make a significant change in the industry. So you look at, you know, the dawn of animation as a medium. You look at use of special effects, computer-generated imagery in the likes of Pixar. And this is certainly the next phase of that evolution. But because of the power of the tool and what will become the ubiquity of the tool, I think that it’s pretty revolutionary and all the more necessary for people to figure out how to embrace this as part of their creative process. Ken Suzan: Thank you, Janine. Mark, your thoughts? Mark Stignani: Yeah, I mean, I liken this to historically to like the California gold rush right now, because, you know, the technology is so far outpaced in any of the legal frameworks that are available. And so we’re just trying to shoehorn things in left and right here. So, I mean, the courts are beginning to start to engage with the foundational questions. I don’t think they’re quite there yet. I just noticed Anthropic got sued again by another group of people, big music group, because of the downloaded works they’ve done. I mean, so the courts are, you know, the courts are certainly inundated with, you know, too many of these foundational questions. Legislatively, hard to tell. I mean, federal law, the federal government is not moving uniformly on this other than to let the gold rush continue without much check and balance to it. Whereas states are now probably moving a lot faster. Colorado, Illinois, even Minnesota is attempting to craft legislation and limitations on what you can do with content and where to go with it. So, I mean, the things we need to watch for any of the fair use decisions coming out here, you know, some of the SAG-AFTRA contract clauses. And, you know, again, the federal government, I just, you know, I got a big shrug going as to what they’re actually going to come up with here in the next 90 to 100 days. So, but, you know, I think they’ll be forced into doing something sooner than later. Ken Suzan: Okay, let’s jump into the topic of the rise of generative content pipelines. My first question to Janine. Studios and production companies are now building what some call generative content pipelines. This is where AI systems produce everything from scripts to visual effects to voice performances. What efficiencies and creative possibilities does this unlock for the industry? Jeanine Whright: Yeah, so this is quite a bit of what we do. And if I could help pull the curtain back and explain a little bit. Ken Suzan: That’d be great. Jeanine Whright: Yeah, there’s this assumption that, you know, somebody is just sitting behind a machine pushing a button and an out pops, you know, what it is that we’re producing. There’s actually quite a bit of humans still in the loop in the process. You know, we have my team as creators. The other half of my team is the technologists. And those creators are working largely at what we describe as the the tip of the sphere. So they’re, of course, coming up with the concepts of who are these personalities? What are these personalities, characters, backgrounds going to be a lot of like rich personality development? And then they’re creating like what are the formats? What are the kind of story arcs? What is the kinds of content that this this character wants to tell? And what are the audiences they’re desiring to reach and what’s most going to resonate with them? And then what we built internally is what we refer to as an AI orchestration layer. So that allows us to pull from basically all of the different models and then all of these different really cool AI tools. And put those together in such a way and combine those in such a way that we can have the kind of output that our creative team envisions for what they want it to be. And at the end of the day, what you what the stack looks like for, say, a long form audio drama, like the combination of LLMs that we’re going to use in different parts of scripting and production and, you know, ideating and all of that. And the kinds of tooling that we use to actually make it and get it to sound good and have the kinds of personality characteristics that we want to be in an authentic voice for a podcast is going to be different than the tech stack and the tool stack that we might use for a short form Instagram beauty tip reel. And so there’s a lot of art in being able to pull all of these tools together to get them to do exactly what you want them to do. But I think the second part of your question is just as interesting as the first. I mean, what is what possibilities is this unlocking? So of course you’re finding efficiencies in the creative production process. You can move faster. You can do things were less expensive, perhaps, and you were able to do it before. But on the creator side, I think one thing that hasn’t been talked about enough is how it is really like blown wide the aperture of what creators can do and can envision. Traditionally, you know, Hollywood podcasting, many of these businesses that become big businesses have become hit making businesses where they need to focus on a very narrow of wide gen pop content that they think is going to get tens of millions, hundreds of millions in, you know, fans and dollars in revenue for every piece of content that they make. So the problem with that is, is that it really narrows the kinds of things that ultimately get made, which is why you see things happening in Hollywood, like the Blacklist, which is, you know, this famous list of really exceptional content that remains unpredited, unproduced, or why you see things like, you know, 70 to 80% of the top 100 movies being based on pre-existing IP, right? Because these are such huge bets that you need to feel very confident that you’re going to be able to get big, big audiences and big, big dollars from it. But with AI, and really lowering the barrier to entry, lowering the costs of production and marketing, the experimentation that you can do is really, really phenomenal. So, you know, my creative team, if they have an idea, they make it, you know, they don’t have to wring their hands through like a green lighting process of, you know, should we, shouldn’t we, like we, we can make an experiment with lots of different things, we can do various different versions of something. We can see what would this look like if I placed it in the 1800s, or what if I gave this character an Australian accent, and it’s just the power of being able to have this creative partner that can ideate with you and experiment with you at rocket speed. With the creators that are embracing it, you can see how it is really fun for them to be able to have this wide of a range of possibility. Ken Suzan: Mark, when you hear about these generative pipelines, what are the immediate red flags or concerns that come to mind from a legal standpoint? How about ethics underlying all of this? Well, Mark Stignani: that was not, that’s the number one red flag because I mean, we are seeing not just that in the entertainment industry, but it literally at political levels, and the kind of the phrase, to turn the phrase AI slop being generated, we’re seeing, you know, people’s facial expressions altered. In some cases, we’re seeing AI tools being misused to exploit various groups of individuals and genders and age groups. So I mean, there’s a whole lot of things ethically that people are using AI for that just don’t quite cover it. Especially in the entertainment industry, I mean, we’re looking at a fair amount of displacement of human workers without adequate transition support, devaluation of the creative labor. I mean, the thing though that I’m always from a technical standpoint is AI is simply a statistical average of most everything. So it kind of devalues the benefit of having a human creator, a human contribution to it. That’s the ethical side. But on the legal side, I see chain of title issues. I mean, because these are built on very questionable IP ownership stages, I mean, in most of these tools, there has been some large copying, training and taking of copyrighted materials. Is it transformational? Maybe. But there’s certainly not a chain of title, nor is there permission granted for that training. I mentioned SAG-AFTRA earlier, I think there’s a potential set of union contract aspects to this that if you know many of these agreements and use sub-licenses for authors and actor agreements, they weren’t written with AI in mind. So that’s another red flag. And also I just think in indemnification. So if we ultimately get to a point where groups are liable for using content without previous license, then who’s liable? Is the tool maker the liable group or the actual end user? So those are probably my top four red flags. But I think ethics is probably my biggest place because just because we can do something from an ethical standpoint doesn’t mean we should. Jeanine Wright: Yeah, if I can respond to both of those points. I mean, one from a legal perspective, just to be very clear, I mean, we are always pulling from multiple different models and always pulling from multiple different sources. And we even have data sources that we license or use for single source of truth on certain pieces of information. So we’re always pulling things together from multiple different sources. We also have built into our process, you know, internal QAing and checking to make sure that we’re not misappropriating the name or likeness of any existing known personality or character. We are creating original personalities there. We design their voice from scratch. We design their look from scratch. So we’re not on our personality side, we’re not pulling or even taking inspiration from existing intellectual property that’s already out there in creating these personalities. On the ethical side, I agree. I mean, when we came out of stealth, we came out of stealth in September. There was certainly quite a bit of backlash from folks in my—I previously co-founded a company in the audio space. I mean, there’s been many rounds of layoffs in audio and in many other parts of the entertainment industry. So I’m very sensitive to the feedback around, like, is this job displacement? I mean, I do think that the CEO of NVIDIA said it right when he said, you’re likely not going to lose your job to AI, but you will lose your job to somebody who knows how to use AI. I think these tools are transforming the way that content is made and that the faster that people can embrace this tooling, the more likely they’re going to be having the kinds of roles that they want in, you know, in content creation and storytelling in the future. And we are hiring. I’m hiring AI video creators, AI audio creators. I’m hiring AI developers. So people who are looking for those roles, I mean, please reach out to me, we would love to work with you and we’d love to grow with you. We also take the ethics very seriously. For the last few months or so, I’ve met regularly with an ethicist, we talk about all sorts of issues around, you know, is designing AI-generated people, you know, good for humanity? And what about authenticity and transparency and deception, and how are we in building in this space going to avoid some of the problems that we’ve seen with things like social media and other forms of technology? So we keep that very top of mind and we try to build on our own internal values-based system and, you know, continue to elevate and include the humanity as part of the conversation. Ken Suzan: Thank you, Janine. Janine, some argue that AI content pipelines will level the field for filmmaking, giving independent creators access to tools that were once available only to major studios. Is that the future you envision? Jeanine Wright: I do think that with AI you will see an incredible democratization of access to technology and access to these capabilities. So I do think, you know, rise of independent filmmakers, you won’t have as many people who are sitting on a brilliant idea for the next fantastic script or movie that just cannot get it made because they will be able to with these tools, get something made and out there, at least to get the attention of somebody who could then decide that they want to invest in it at a studio kind of level in the future. The other thing that I think is really interesting is that I think, you know, AI will empower more niche content and more creators who can thrive in micro-communities. So it used to be because of this hit generation business model, everything needed to be made for the masses and a lot of content for niche audiences and micro-communities was neglected because there was just no way to make that content commercially viable. But now, if you can leverage AI—we make a pollen report podcast in 300 markets, you know, nobody would have ever made that before, but it is very valuable information, a very valuable piece of content for people who really care about the pollen in their local community. So there’s all sorts of ways that being able to leverage AI is making it more accessible both to the creator and to the audience that is looking for content that truly resonates with them. Ken Suzan: Mark, let’s talk about the legal landscape right now. If someone creates an AI-generated performance that closely resembles a living actor without their consent, what legal recourse does that actor have? Mark Stignani: Well, I mean, I think we can go back to the OpenAI Scarlett Johansson thing where, you know, if it’s simply—well, the “walks like a duck, quacks like a duck” type of aspect there. You know, I think it’s pretty straightforward that they need to walk it back. I mean, the US doesn’t have moral rights, really, but there’s a public visage right, if you will. And so, one of the things that I find predominantly useful here is that these actors likely have rights of publicity there, we probably have a Lanham Act false endorsement claim, and you know, again, if the performance is not parody, and it’s so close to the original performance, we probably have a copyright discussion. But again, all of these laws predate the use of AI, so we’re going to probably see new sets of law. I mean, we’re probably going to see “resurrection” frameworks, we’ll probably have frameworks for synthetic actors and likenesses, but the rules just aren’t there yet. So, unfortunately, your question is largely predictive versus well-settled at this point. Ken Suzan: Janine, your company works with AI actors. How do you navigate the questions of consent and likeness compensation when creating digital performers? Jeanine Wright: I mean, if we—so first of all, if we were to work with a person who is an existing real-life person or was an existing real-life person, then we would work with them to license their name and likeness or their voice or whatever aspects of it we were going to use in creating content in partnership with them. Not typically our business model; we are, as I said, designing all of our personalities from scratch and making all of our content originally. So, we’ve not had to do that historically. Now, you know, the flip side is: can I license my characters as if they’re similar to living characters? Like will I be able to license the name and likeness and voice of my AI-generated personalities? I think the answer is yes and we’re already starting to do that. Ken Suzan: Let’s just switch gears into ethics and AI because I find this to be a really fascinating issue. I want to look at a hypothetical. And this is to both of you, Janine and Mark: an AI system creates a new performance by a beloved actor who passed away decades ago, and the actor’s estate authorizes it, but the actor was known to have expressed opposition to such technology during their lifetime. Is this ethical? Jeanine Wright: This feels like a Gifts, Wills, and Trusts exam question. Ken Suzan: It sounds like it, that’s right. Jeanine Wright: Throwing me back to my law school days. Exactly. What are your thoughts? It’d be interesting to see like who has the rights there. I mean, I think if you have the legal rights, the question is around, you know, is it ethical to go against what you knew was somebody’s wishes at the time? I guess the honest answer is I don’t know. It would depend a lot on the circumstances of the case. I mean, if we were faced with a situation like that where there was a discrepancy, we would probably move away from doing that content out of respect for the deceased and out of a feeling that, you know, if this person felt strongly against it, then it would be less likely that you could make that storytelling exceptional in some way—it would color it in a way that you wouldn’t want in the outcome. And I feel like there’s—I mean, certainly going forward and it’s already happening—there are plenty of people I think who have name, likeness, and voice rights that they are ready to license that wouldn’t have this overhang. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I mean, again, I have to kind of go back to our property law—the Rule Against Perpetuities. You know, from a property standpoint to AI rights and likenesses—since most of the digital replica contracts that I’ve reviewed generally do talk about things in perpetuity. But if it’s not written down for that actor and the estate is doing this—is it ethical? You know, that is the debate. Jeanine Wright: Well, gold star to you, Mark, for bringing up the Rule Against Perpetuities. There’s another one that I haven’t heard for many years. This is really taking me back to my law school days. Ken Suzan: It’s a throwback. Jeanine Wright: The other thing that’s really interesting is that this technology is really so revolutionary and new that it’s hard to even contemplate now what it is going to be in a decade, much less for people who have passed away to have contemplated what the potential for it could be today. So you could have somebody who is, perhaps, a deceased musician who expressed concerns about digital representations of themselves or digital music while they were alive. But now, the possibility is that you could recreate—certainly I could use my technology to recreate—that musician from scratch in a very detailed way, trained on tons of different available data. Not just like a digital twin or a moving image of them, but to really rebuild their personality from scratch, so that they and their music could be reintroduced to totally new generations in a very respectful and authentic way to them. It’s hard to know, with the understanding that that is possible, whether or not somebody who is deceased today would or would not agree to something like that. I mean, many of them might want, under those circumstances, for their music to live on. These deceased actors and musicians could live forever with the power of AI technology. Mark Stignani: Yeah, I really just kind of go to the whole—is deep-faking a famous actor the best way to preserve them or keep them live? Again, that’s a bit more of an ethical question because the deep fakes are getting good enough right now to create huge problems. Even zoom meetings in Hong Kong where a CFO was on a call with five synthetic actors who all looked like his coworkers and they sent a big check out based upon that. So again, the technology is getting good enough to fool people. Jeanine Wright: I think that’s right, Mark, but I guess I would just highlight the same way that it always has been: the ethical line isn’t AI versus human, the ethical line is about deception. Like, are you deceiving people? And if people know what it is that they’re getting and they’re choosing to engage with it, then I think it isn’t about the power of the technology. In our business, we have elected—not everybody has—but we have elected to be AI transparent. So we tell people when they listen to our show, we include it in our show notes, we include it on our socials. Even when we’re designing our characters to be very photo-realistic, we make an extra point to make sure that people know that this is AI-generated content or an AI personality. Like, our intention is not to deceive and to be candid. From a business model perspective, we don’t need to. I mean, there’s already people who know and understand that it is AI, and AI is different than people. Because it is AI, there’s all sorts of things that you can do with it that you would not be able to do with a real person. You know, we get people who ask us on the podcast side, we get all sorts of crazy funny requests. You know, people who say, “Can I text with this personality? Can I talk to them on the phone? Can they help me cook in the kitchen? Can they sing me Happy Birthday? Can they show up at my Zoom meeting today because I think my boss would love it?” You know, all sorts of different ways that people are wanting to engage with these characters. And now we’re in the process of rolling out real-time personalities so people will be able to engage with our personalities live. It is a totally different way that people are able to engage with content, and people can, as they choose, decide what kind of content they want to engage with. Ken Suzan: Jeanine and Mark, we’re coming to the end of this podcast. I would love to keep talking for hours but we have to stay to our timetable here. Last question: five years from now, what percentage of entertainment content do you predict will involve significant AI generation, and will audiences care about that percentage? Jeanine? Jeanine Wright: I mean, I would say 99.9%. I mean, already you’re seeing—I think YouTube did a survey—that it was like 90% of its top creators said that they’re using AI as material components of their content creation process. So, I think this will be the default way that content is created. And content that is not made with AI, you know, there’ll be special film festivals for non-AI generated content, and that will be a special separate thing than the thing that everybody is doing now. Ken Suzan: Mark, your thoughts? Mark Stignani: Yeah, I go a little lower. I mean, I think Jeanine is right that we’re seeing, especially in the low-quality content creation and like the YouTube shorts and things like that, you know, there’s so much AI being pushed forward that the FTC even acquired an “AI slop” title to it. I do think that disclosure will become normalized, that the industries will be pushed to say when something is AI and what is not. And I think it’s very much like, you know, do you care about quality or not? If you value the human input or the human factor in this, there will be an upper tier where it’s “AI-free” or low AI assistant. I think that it’s going to stratify because the stuff coming through the social media platforms right now—I can’t be on it right now just because there’s so much nonsense. Even my children, who are without much AI training at all, find it just too unbelievable for them. So, I think it will become normalized, but I think that we’re going to see a bunch of tiers. Ken Suzan: Well, Jeanine and Mark, this has been a fantastic discussion of an ever-evolving field in IP law. Thank you to both of you for spending time with us today on the IP Friday’s podcast. Jeanine Wright: Thank you so much for having me. Mark Stignani: Appreciate your time. Thank you again.

Are you about to sign an acting contract - and wondering if it's safe or a big mistake?Many actors get excited about a role and forget to check the fine print. That can lead to unpaid work, lost footage, or even giving away your image forever.In this episode, you'll learn how to protect yourself before you sign, so you can build a real career without getting burned.Here's what you'll gain from listening:The must-have parts of every real acting contract so you can feel calm and confident before you sign.The biggest red flags that scream “walk away” before it's too late.Simple ways to protect yourself on small or non-union projects without feeling awkward or difficult.If you want to feel smart, safe, and in control of your acting career, press play now and learn how to spot a legit contract fast.Email: martin@cityheadshots.comWebsite: https://www.martinbentsen.comAdditional Resources:Headshots: https://www.cityheadshots.comShoot Footage for Your Reel: https://www.actorscreenershoot.comEdit Footage Into a Reel: https://www.demoreelsnyc.com"This show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles."

This week, the boys grabbed some beers and kept it positive while they fired off some mini-reviews before featuring a conversation about “Eternal Sunshine of the Spotless Mind”. As part of the random year generator series, 2004 was a great year for movies, with over 50 $100m movies and many likable ones. While “Eternal Sunshine” didn't gross in the top 70, it may be the year's greatest film. Props to Michel Gondry and Charlie Kaufman for giving Jim Carrey and Kate Winslet some juicy roles and incredibly shifty worlds! As for the mini-reviews, the boys can't speak highly enough of Gore Verbinski's “Good Luck, Have Fun, Don't Die”, starring Sam Rockwell, and the intense and captivating “If I Had Legs I'd Kick You”, and the Academy Award-nominated “It Was Just An Accident”. Grab some beers and join us!  linktr.ee/theloveofcinema - Check out our YouTube page!  Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 04:19 “If I Had Legs I'd Kick You” mini-review; 12:10 “Good Luck, Have Fun, Don't Die” mini-review; 18:24 “It Was Just An Accident” mini-review; 22:20 2004 Year in Review; 39:01 Films of 2004: “Eternal Sunshine of the Spotless Mind”; 1:16:10 What You Been Watching?; 1:23:05 Next Week's Episode Teaser Additional Cast/Crew: Michel Gondry, Charlie Kaufman, Pierre Busmuth, David Cross, Elijah Wood, Mark Ruffalo, Kirsten Dunst, Tom Wilkinson, Sam Rockwell, Gore Verbinski, Michael Pena, Zazie Beetz, Haley Lu Richardson, Juno Temple, Jafar Panahi, Rose Byrne, Conan O'Brien, A$AP Rocky. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Recommendations: Fallout, Star Trek: Starfleet Academy, They Live, Paradise, John Carpenter, The Muppet Series, Bedknobs and Broomsticks, The Pitt, Blue Moon, A Knight of the Seven Kingdoms.  Additional Tags: Old Man Marley, Home Alone, Shawshenk Redemption, Gordon Ramsay, Thelma Schoonmaker, Stephen King's It, The Tenant, Rosemary's Baby, The Pianist, Cul-de-Sac, AI, The New York City Marathon, Apartments, Tenants, Rent Prices, Zohran Mamdani, Andrew Cuomo, Curtis Sliwa, Amazon, Robotics, AMC, IMAX Issues, Tron, The Dallas Cowboys, Short-term memory loss, Warner Brothers, Paramount, Netflix, AMC Times Square, Tom Cruise, George Clooney, MGM, Amazon Prime, Marvel, Sony, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Apple Podcasts, West Side Story, Adelaide, Australia, Queensland, New South Wales, Melbourne, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir, Jidaigeki, chambara movies, sword fight, samurai, ronin, Meiji Restoration, plague, HBO Max, Amazon Prime, casket maker, Seven Samurai, Roshomon, Sergio Leone, Clint Eastwood, Stellan Skarsgard, the matt and mark movie show.The Southern District's Waratah Championship, Night of a Thousand Stars, The Pan Pacific Grand Prix (The Pan Pacifics), Jeff Bezos, Rupert Murdoch, Larry Ellison, David Ellison, Elon Musk, Mark Zuckerberg.   

Gabrielle Carteris helped define a generation as Andrea Zuckerman on Beverly Hills 90210. But the story behind the show is bigger, deeper, and more surprising than you think. In this candid and wide-ranging conversation, Gabrielle opens up about the truth behind landing 90210, including the age secret she kept when she was cast as a 16-year-old. She reflects on overnight fame, Beatles-level chaos, and how the show shaped her adult life in ways she is still unpacking. But this episode goes far beyond nostalgia. Gabrielle reveals the devastating on-set injury that temporarily left her partially paralyzed and unable to speak, the lawsuit that followed, and why she refused to sign an NDA after winning her case. That experience ultimately led her into leadership, where she became President of SAG-AFTRA and helped guide the union through historic negotiations. She also discusses: • The real impact of the Hollywood strikes • Why AI and voice replication are changing the entertainment industry • The merger of SAG and AFTRA • Losing Luke Perry and Shannen Doherty • The isolation of extreme fame • Aging in Hollywood and rejecting shame • Why family matters more than celebrity From 90s television icon to labor leader and activist, Gabrielle Carteris shares what she has learned about power, resilience, identity, and what no longer scares her. This is one of the most revealing Beverly Hills 90210 interviews you'll see. Subscribe for more conversations with the stars you grew up with.      Chapters 00:00 Opening Introduction 01:00 Gabrielle Carteris on Aging and Growth 02:32 Learning to Stop Performing for Approval 04:41 Aging in Hollywood and Saying “I'm 65” 06:55 The 90210 Age Secret Revealed 07:57 Overnight Fame and Losing Anonymity 09:45 The Power and Pressure of Being Known 12:33 Looking Back on the 90210 Era 12:47 How Fox Saved Beverly Hills 90210 14:09 Did Andrea Shape Gabrielle or Vice Versa? 15:21 How the SAG-AFTRA Merger Happened 16:29 “I Am an Activist” 17:49 The On-Set Injury That Changed Her Life 20:05 Relearning Speech and Movement 21:35 Refusing to Sign an NDA 22:50 Why Safety Became Her Mission 24:04 Patty Duke, Sean Astin, and Hollywood Legacy 25:14 The Hollywood Strike and the Rise of AI 29:25 Remembering Luke Perry and Shannen Doherty 31:14 Still Close with the 90210 Cast 35:40 Beatles-Level Fame and Fan Chaos 36:25 What Matters Most Now: Family 37:53 Becoming President of SAG-AFTRA 39:25 Leadership and Unsung Heroes 40:02 “I'm Okay” — Owning Her Legacy 41:03 Dubbing for Netflix and Amazon 42:05 Fear of Returning to the Stage 43:25 What No Longer Scares Her 45:22 What She'd Tell Her Younger Self 45:50 “The Girl I Was Is the Woman I Am” 46:23 Closing Show CreditsHost/Producer: Steve KmetkoAll things technical: Justin ZangerleExecutive Producer: Jim LichtensteinMusic by: Brian SanyshynTranscription: Mushtaq Hussain https://stillherehollywood.comhttp://patreon.com/stillherehollywoodSuggest Guests at: stillherehollywood@gmail.comAdvertise on Still Here Hollywood: jim@stillherenetwork.comPublicist: Maggie Perlich: maggie@numbertwelvemarketing.com Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Can your accent really pass as native, or is it just close enough to fool your friends?Many actors list accents on their profile hoping it will help them book more work. But casting directors expect near-perfect fluency. If your “British” or “Southern” accent slips in the audition room, it can hurt your chances.In this episode, you'll learn how to test your accent the smart way, without paying for a coach or agent.You'll discover:A simple three-step test to see if your accent is truly profile-readyWhat casting directors really think when they see accents listedHow to get honest, free feedback that tells you the truth fastIf you want to protect your credibility and only list accents you can fully deliver, this episode will show you how - so press play now and make sure your profile works for you, not against you.Email: martin@cityheadshots.comWebsite: https://www.martinbentsen.comAdditional Resources:Headshots: https://www.cityheadshots.comShoot Footage for Your Reel: https://www.actorscreenershoot.comEdit Footage Into a Reel: https://www.demoreelsnyc.com"This show dives deep into the world of acting in film, exploring the journey of movie acting with stories, building confidence among aspiring actors, navigating auditions and productions, and offering insights from acting agents, coaches, and the challenges of becoming SAG-AFTRA eligible to advance your acting career, skills, and landing roles."

Le moteur chinois de génération vidéo ultra-réaliste Seedance 2.0 met Hollywood en alerte maximale. Dans le même temps, Meta envisage de ressusciter les profils des personnes décédées pour leur donner une nouvelle vie... virtuelle. Avec Bruno Guglielminetti (Mon Carnet https://moncarnet.com/)Seedance 2.0 : Hollywood contre-attaque face à la vidéo IA “trop parfaite”La sortie de Seedance 2.0 — attribuée à ByteDance — déclenche une riposte en chaîne des studios américains, qui dénoncent l'usage présumé de contenus protégés et l'exploitation non autorisée de personnages et de likeness d'acteurs. Disney dégaine en premier avec une mise en demeure, bientôt suivi par d'autres acteurs majeurs comme Netflix, pendant que la Motion Picture Association et le syndicat SAG-AFTRA mettent la pression sur le plan juridique et éthique. En filigrane, une crispation : certains studios ont déjà conclu des accords avec des acteurs américains de l'IA, notamment autour de Sora (OpenAI), avec l'idée d'un accès encadré aux catalogues. Voir arriver un outil concurrent, perçu comme plus performant et potentiellement entraîné sans autorisation, ravive le sentiment de “double peine” : payer pour protéger, tout en subissant la concurrence.Pour prolonger : sur Monde Numérique, l'épisode qui revenait déjà sur l'irruption de Seedance et ses vidéos “à la Hollywood” Les “films” IA existent déjà : l'exemple des Berlinois The Dor BrothersLes outils étant désormais capables de produire des séquences très cinématographiques, avec effets, sound design et codes du blockbuster, des créateurs, comme les berlinois de The Dor Brothers, publient des courts spectaculaires et alimentent la crainte d'une désintermédiation partielle de la production.Meta et l'au-delà numérique : simuler un défunt sur les réseaux sociauxUn sujet vertigineux ! Meta a obtenu un brevet décrivant une technologie capable d'apprendre à partir des contenus d'une personne pour ensuite simuler ses interactions après son décès (posts, commentaires, messages privés). Officiellement, Meta n'annoncerait pas de lancement immédiat, mais la simple existence du brevet relance la question : que devient un compte “posthume” demain ? Lunettes Meta et reconnaissance faciale : la tentation du “Name Tag”Et si Meta ajoutait l'identification faciale à ses lunettes connectées, permettant dereconnaître quelqu'un instantanément. De quoi rouvrir le dossier explosif de l'acceptabilité sociale et des garde-fous. France : des algorithmes pour détecter le vol en magasin, sans reconnaissance facialeCôté français, focus sur la vidéosurveillance “algorithmique” dédiée au vol à l'étalage : détection de gestes et de comportements (glisser un objet dans un sac, etc.), sans identification nominative ni reconnaissance faciale — du moins dans le cadre voté. Le texte ouvre une expérimentation encadrée, avec un débat déjà très vif sur l'équilibre entre efficacité et libertés publiques.Dans Mon Carnet : “Mon robot, mon amour”, enquête sur l'amour à l'ère des chatbotsBruno recommande une série audio de La Presse consacrée aux relations affectives avec des IA conversationnelles, avec des témoignages et une démarche très “audio-first” pour capter l'intime. Il annonce une interview de Léa Carrier (La Presse), journaliste à l'origine de cette série.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

AI-generated content and deepfakes are rewriting the rules of creative ownership. So what are writers, artists, and performers doing about it? In this panel discussion from the AI House at the World Economic Forum in Davos, Switzerland, SAG-AFTRA National Executive Director and Chief Negotiator Duncan Crabtree-Ireland joined multidisciplinary artist Emi Kusano and MIT Technology Review Editor-in-Chief Mat Honan for a discussion about how performers secured contract protections for digital replicas, how artists are using AI ethically in their own creative practice, and how journalists are setting boundaries around AI-generated content in newsrooms. The panel was moderated by Nicholas Thompson, CEO of The Atlantic. *The views expressed by guests are their own and do not necessarily reflect the views of their organization or SAG-AFTRA. Any mention of products or services does not imply endorsement.

The head of SAG-AFTRA is speaking out following the viral A-I fight video of Tom Cruise and Brad Pitt. Culver City will add more affordable housing in an unlikely space. And we'll hear about the legendary Oscar-nominated songwriter behind classic love songs like 'Unbreak my Heart' Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.comSupport the show: https://laist.com

What are the odds of another Hollywood strike in 2026? The answer to who has more leverage — the guilds or the studios — may surprise you. With AI, healthcare and streaming again on the bargaining table just three short years after the writers and actors strikes shuttered the town — Elaine Low, Sean McNulty, Natalie Jarvey and Dealmakers columnist Ashley Cullins discuss the talks between SAG-AFTRA and the Alliance of Motion Picture and Television Producers. Plus, who might buy Casey Wasserman's namesake agency after his tawdry email exchanges with Ghislaine Maxwell came to light and blew up his empire? The team has some ideas. Learn more about your ad choices. Visit megaphone.fm/adchoices

Are casting directors skipping your profile before they even see your headshot?Many actors work hard on their reels and photos. But they forget one small thing that can stop auditions fast.If your size card is blank or wrong, casting directors may never find you in their search. That means no audition. No callback. No chance.In this episode, you'll learn:• Why your size card matters more than you think in film, TV, and commercials• When size details are less important, so you don't stress• How to make your profile look clean, complete, and professionalIf you want more auditions and fewer missed chances, this episode will help you fix a simple mistake that could be costing you roles.Press play now and make sure your profile never gets filtered out again.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.

Marvel sits out the Super Bowl for the first time in over a decade, Star Wars leans into nostalgia with a Grogu-powered parody, and an AI-generated Tom Cruise vs. Brad Pitt fight clip sends shockwaves through Hollywood. Jim Hill and Dan Graney unpack what Disney's marketing restraint really signals for Avengers: Doomsday, how The Mandalorian & Grogu is being positioned for theaters, and why a 15-second AI video may have just changed the rules of the game. HIGHLIGHTS • Marvel breaks a 14-year tradition by skipping a Super Bowl spot for Avengers: Doomsday, signaling a long-term narrative strategy rather than a short-term hype spike. • No Super Bowl presence for Spider-Man: Brand New Day, despite mounting online speculation and leaks. • Disney pivots to nostalgia with a parody-style ad for The Mandalorian & Grogu, complete with Tauntauns and clear Clydesdale-inspired staging. • The economics of Super Bowl advertising - including the staggering production and airtime costs behind the Jurassic Park-inspired Infinity commercial. • Disney's multi-year theatrical roadmap and how Sony's Spider-Man releases help build runway toward Avengers: Secret Wars. • Daredevil: Born Again undergoes a major creative reset after six completed episodes, with Charlie Cox and Vincent D'Onofrio reportedly pushing for tonal recalibration. • Legal guardrails surrounding Sony's Spider-Man film rights continue to restrict Kingpin's potential big-screen appearances. • A hyper-realistic AI-generated Tom Cruise vs. Brad Pitt fight ignites industry-wide concern from SAG-AFTRA and studio executives. • What AI disruption could mean for blockbuster filmmaking, union protections, and the future of human performance. HOSTS • Jim Hill - IG: @JimHillMedia | X: @JimHillMedia | Website: JimHillMedia.com • Dan Graney - YouTube: @TheHubbubbery | Facebook: thehubbubbery FOLLOW • Facebook: JimHillMediaNews • Instagram: JimHillMedia • TikTok: JimHillMedia SUPPORT Support the show and access bonus episodes and additional content at Patreon.com/JimHillMedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - Strong Minded Agency If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. Learn more about your ad choices. Visit megaphone.fm/adchoices

ByteDance's Seedance 2.0 kicked up a Hollywood copyright-and-likeness firestorm, while SAG-AFTRA floats a “Tilly tax” aimed at fully synthetic performers. Meanwhile, big audiences still show up for tentpoles (Super Bowl, Puppy Bowl, Muppets) as streamers keep chasing bundles, rights, and consolidation chess moves.This week on The FULL Experience: Lost (101 - "Pilot: Part 1")Next week: Lost (405 - "The Constant")Subscribe, get expanded show notes, and past episodes at http://Cordkillers.comSupport Cordkillers at http://Patreon.com/CordkillersYouTube: https://youtu.be/dG_MVNHvtbA Hosted on Acast. See acast.com/privacy for more information.

ByteDance's Seedance 2.0 kicked up a Hollywood copyright-and-likeness firestorm, while SAG-AFTRA floats a “Tilly tax” aimed at fully synthetic performers. Meanwhile, big audiences still show up for tentpoles (Super Bowl, Puppy Bowl, Muppets) as streamers keep chasing bundles, rights, and consolidation chess moves.This week on The FULL Experience: Lost (101 - "Pilot: Part 1")Next week: Lost (405 - "The Constant")Subscribe, get expanded show notes, and past episodes at http://Cordkillers.comSupport Cordkillers at http://Patreon.com/CordkillersYouTube: https://youtu.be/dG_MVNHvtbA Hosted on Acast. See acast.com/privacy for more information.

This week Fran Drescher pays us a visit along with our first non-human guest (her dog Angel)! Fran talks to Ted Danson about her role in “Marty Supreme,” pitching “The Nanny,” forging her own leadership style during her eventful two terms as president of the SAG-AFTRA actors' union, and the relationship she sees between trauma and cancer. Like watching your podcasts?  Visit http://youtube.com/teamcoco to see full episodes.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

What happens when a tech giant is accused of copying your voice? Podcast host David Greene is suing Google, claiming his voice was used to create an AI clone inside NotebookLM without his permission and raising serious questions about how far AI tools can go when training on public content. That is just one headline in this week's news roundup. We also look at Apple finally leaning into native video on its platform and ask the obvious question: Why now? Is this a response to YouTube and Spotify gaining ground, or a long-overdue shift in strategy? Plus, we touch on SAG-AFTRA and ongoing union conversations around AI. Big tech is making big moves, and tensions between platforms and creators continue to grow. Are we watching the start of a major reset in how voice, video, and ownership are regulated in podcasting?Episode Highlights: [03:56] Newsday metrics and Apple and Spotify top five charts[06:04] Upcoming podcasting events, conferences, and weekly meetup[08:13] Creator money tip on 1099-K traps, tracking income, and tax prep[17:09] Captivate hires Rob Walsh and Elsie Escobar[25:27] SAG-AFTRA vs.Netflix and defining the Pete Davidson show as a podcast[32:47] Concerns about union impact on indie podcasting[38:27] NPR's David Greene sues Google over AI voice likeness[45:06] Apple Podcasts expands native video distribution[49:24] Apple's long-term video strategy and hardware positioningLinks & Resources: The Podcasting Morning Chat: www.podpage.com/pmcJoin The Empowered Podcasting Facebook Group:www.facebook.com/groups/empoweredpodcasting⁠Book A Free Call With Me: https://calendly.com/ironickmedia/freestrategycallJoin The Empowered Podcasting Facebook Group:www.facebook.com/groups/empoweredpodcasting⁠Application To Submit Your Show For Evaluation: https://docs.google.com/forms/d/e/1FAIpQLSc8-Xv6O6lrNPcPJwj3N0Z5Osdl-5kHGz_PiAU45U57S-XgoA/viewform?usp=headerPodnews: www.Podnews.netNPR's David Greene Sues Google Over AI Voice Cloning:www.washingtonpost.com/technology/2026/02/15/david-greene-google-ai-podcast SAG-Aftra and Netflix Agree on Terms for Pete Davidson Show https://variety.com/2026/digital/news/pete-davidson-show-sag-aftra-podcast-agreement-netflix-1236661709/Apple Goes All In On Video: https://podcasters.apple.com/video-apple-podcasts?src=emailRemember to rate, follow, share, and review our podcast. Your support helps us grow and bring valuable content to the podcasting community.Join us LIVE every weekday morning at 7 am ET (US) on ⁠Clubhouse⁠: ⁠⁠⁠ https://www.clubhouse.com/house/empowered-podcasting-e6nlrk0w⁠⁠Live on YouTube: ⁠https://youtube.com/@marcronick⁠Brought to you by⁠ ⁠iRonickMedia.com⁠⁠ Please note that some links may be affiliate links, which support the hosts of the PMC. Thank you!--- Send in your mailbag question at:⁠ https://www.podpage.com/pmc/contact/⁠ or ⁠marc@ironickmedia.com⁠Want to be a guest on The Podcasting Morning Chat? Send me a message on PodMatch, here: ⁠https://www.podmatch.com/hostdetailpreview/1729879899384520035bad21b⁠

ByteDance's Seedance 2.0 kicked up a Hollywood copyright-and-likeness firestorm, while SAG-AFTRA floats a “Tilly tax” aimed at fully synthetic performers. Meanwhile, big audiences still show up for tentpoles (Super Bowl, Puppy Bowl, Muppets) as streamers keep chasing bundles, rights, and consolidation chess moves.This week on The FULL Experience: Lost (101 - "Pilot: Part 1")Next week: Lost (405 - "The Constant")Subscribe, get expanded show notes, and past episodes at http://Cordkillers.comSupport Cordkillers at http://Patreon.com/CordkillersYouTube: https://youtu.be/dG_MVNHvtbA Hosted on Acast. See acast.com/privacy for more information.

SAG-AFTRA is beginning its second week of contract negotiations with Hollywood studios. The union, representing actors and performers, is hoping to avoid a repeat of 2023, when talks broke down and a strike lasted more than a hundred days. AI is expected to be one of the main focuses of the talks. Guest: Gene Maddaus, Variety A new bill in the California legislature aims to improve the safety of e-bikes. It would require owners of certain types of e-bikes to register with the DMV and display a license plate. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, Donna and Sam spoke with Stephanie Wright Griggs and Brian Taylor Sullivan about preserving Black history, the legacy of Dr. Charles H. Wright, and The Mountaintop, written by Katori Hall and currently directed by Brian Marable at the Detroit Public Theatre.Healthcare Administration and African American history are the paths by which Stephanie has given a lifetime of public service. Her passion for both runs deep. She organically entered the path of preserving African American history in childhood as her father founded Detroit's Charles H. Wright Museum of African American History. Brian Sullivan Taylor is a SAG-AFTRA actor, director, and acting coach from Southfield, Michigan. He has experience across film, television, theatre, commercial, print, and voiceover. brian is the founder of the award-winning Detroit Drama Studio, where he trains actors using the Ivana Chubbuck Technique. Brian is honored to portray Dr. Martin Luther King Jr. on The Mountaintop. To learn more about Detroit Public Theatre and purchase tickets to The Mountaintop, click here. FOR HOT TAKES:HOLLIER DROPS SECRETARY OF STATE BID TO LAUNCH EASTSIDE STATE SENATE CAMPAIGNSupport the showFollow us on Instagram, Facebook and Twitter.

What if optimizing your health is less about guessing and more about testing? You explore the science behind diet and intermittent fasting while learning why food quality, timing, and even your wine choices matter more than most people think. The focus shifts toward intentional living—where data, not trends, guides your next move. You'll also look into practical biohacking tools you can actually use, from blue light blockers and red light therapy to continuous glucose monitors and cold exposure. The big idea is simple: when you measure what's happening inside your body, you make smarter decisions outside of it. Along the way, you're encouraged to take a more holistic path—one that blends modern tech, ancient longevity principles, and open-minded medical care. Because real performance and long-term health come from understanding your body, not just managing symptoms.   About Melanie Avalon: Melanie Avalon, a top health influencer, captivates thousandsof listeners with millionsof downloads through her podcasts, The Melanie Avalon Biohacking Podcast and TheIntermittent Fasting Podcast. Her journey into health and wellness began as shesought resources toaddress her personal health issues. Melanie becamefascinated with optimizing her body for vitality and longevity, ultimately discovering the world of "biohacking." With a background as a SAG-AFTRA actress, Melanie became enamored with this new realm and yearned toshare her passion. Today, a fiercelyengaged audienceand community join her weekly as sheinterviews someof the most respected names in health and wellness. Melanie authored What When Wine:Lose Weightand Feel Great with Paleo-Style Meals, Intermittent Fasting,and Wine(W. W. Norton Countryman Press,2018), created thetop Appleapp Food Sense Guide, and launched thesuccessful supplement line, AvalonX. She has been featured in numerous publications, including USA Today, Forbes, Entrepreneur, CNBC MakeIt!,LA Weekly,and Fox News.   Connect with Melanie: Instagram: @melanieavalon Website: melanieavalon.comLinktree: linktree Connect with Anna: Email: annamarie@happywholeyou.com / info@HappyWholeYou.com Website: www.happywholeyou.com / https://linktr.ee/happywholeyou Personal Website: www.DrAnnaMarie.com Instagram: @happywholeyou Personal Instagram: @Dr.Anna.Marie Facebook: Happy Whole You LinkedIn: Anna Marie Frank Venmo: @happywholeyou

Audible Hall of Fame narrator Andi Arndt joins Fresh Fiction to discuss audiobook narration, dual vs duet recording, romance audiobook performance, pseudonyms, union contracts (SAG-AFTRA), and what really happens inside the recording booth. With over 700 audiobooks narrated, Andi shares how she physically embodies characters and why listeners trust her voice.

Johnny Mac delivers a politically heavy Daily Comedy News episode. He reports that a planned pasta sauce collaborationinvolving Jimmy Fallon fell through, and discusses Jimmy Kimmel's monologue proposal to rebrand the Epstein files as the “Epstein Trump files,” including Kimmel saying he trademarked the phrase. He summarizes a Hollywood Reporter piece about “comedy bros” (including Joe Rogan, Andrew Schulz, Theo Von, and Tony Hinchcliffe) cooling on Trump,.00:00 Welcome to Daily Comedy News (and why today gets political)00:31 Fallon's pasta sauce deal derails 01:08 Kimmel's ‘Epstein Trump Files' bit: comedy vs. the horror of the story02:38 Hollywood Reporter: Comedy bros, podcasts, and political influence05:30 Dave Chappelle in Minnesota  s06:34 Joe Rogan reacts to being named in the Epstein files08:14 SAG-AFTRA vs. Netflix: Pete Davidson's ‘video podcast' deal09:14 Cristela Alonzo reschedules to avoid sharing a venue with Kill Tony10:32 New comedy pods & festival check-in: Melbourne's Callback + JFL Vancouver11:56 Comedy Survivor update + how to join the Facebook group12:24 Ben Bankas controversy: venue move, backlash, and ‘don't go' debate14:20 Matt Rife stars in Red Clay Strays music video + wrap-up and tomorrow's teaseBecome a supporter of this podcast: https://www.spreaker.com/podcast/daily-comedy-news-with-johnny-mac--4522158/support.Daily Comedy News is the number one comedy news podcast, delivering daily coverage of standup comedy, late night television, comedy specials, tours, and the business of comedy.COMEDY SURVIVOR in the facebook group.Contact John at John@thesharkdeck dot com For Uninterrupted Listening, use the Apple Podcast App and click the banner that says Uninterrupted Listening.  $4.99/month John's Substack about media is free.This is the animal sanctuary mentioned in the February 10 episode.

The boys thought the San Francisco Super Bowl was so boring, we checked ourselves into Alcatraz! The random year generator spun 1979, a year we've visited in the past (Apocalypse Now Director's Cut, The Warriors, 1941, Mad Max), and “Escape From Alcatraz” was the perfect movie for this frigid February weekend. After John gave us a mini-review of “Send Help”, we grabbed some beers and discussed! linktr.ee/theloveofcinema - Check out our YouTube page!  Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro; 06:04 “Send Help” mini-review; 12:28 1979 Year in Review; 30:19 Films of 1979: “Escape From Alcatraz”; 1:04:24 What You Been Watching?; 1:08:15 Next Week's Episode Teaser Additional Cast/Crew: Clint Eastwood, Don Siegel, Patrick McGoohan, Roberts Blossom, J. Campbell Bruce, Richard Tuggle, Sam Raimi, Rachel McAdams, Dylan O'Brien, Fred Ward, Paul Benjamin, Larry Hankin. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Recommendations: Fallout, Star Trek: Starfleet Academy, They Live, John Carpenter, The Muppet Series, Bedknobs and Broomsticks, The Pitt.  Additional Tags: Golden Gate Bridge, Old Man Marley, Home Alone, Shawshenk Redemption, Gordon Ramsay, Thelma Schoonmaker, Stephen King's It, The Tenant, Rosemary's Baby, The Pianist, Cul-de-Sac, AI, The New York City Marathon, Apartments, Tenants, Rent Prices, Zohran Mamdani, Andrew Cuomo, Curtis Sliwa, Amazon, Robotics, AMC, IMAX Issues, Tron, The Dallas Cowboys, Short-term memory loss, Warner Brothers, Paramount, Netflix, AMC Times Square, Tom Cruise, George Clooney, MGM, Amazon Prime, Marvel, Sony, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Apple Podcasts, West Side Story, Adelaide, Australia, Queensland, New South Wales, Melbourne, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir, Jidaigeki, chambara movies, sword fight, samurai, ronin, Meiji Restoration, plague, HBO Max, Amazon Prime, casket maker, Seven Samurai, Roshomon, Sergio Leone, Clint Eastwood, Stellan Skarsgard, the matt and mark movie show.The Southern District's Waratah Championship, Night of a Thousand Stars, The Pan Pacific Grand Prix (The Pan Pacifics), Jeff Bezos, Rupert Murdoch, Larry Ellison, David Ellison, Elon Musk, Mark Zuckerberg.   

To celebrate the anniversary of Red for Revolution's Radiotopia debut, we're dropping a special bonus episode.  Join members of the cast and creative team as they revisit the story's earliest seeds, its unexpected turns, and the beautiful collaboration. You'll also hear exclusive, unreleased audio scenes from the cutting‑room floor. Part reflection, part celebration, and part revelation, this episode invites listeners into the room where the revolution truly began.Red for Revolution is created, written, and directed by Jana Naomi Smith with Musical Direction by Tammy L. Hall and Sound Design by Collin Gerald Thomas. Original Music by Tammy L.  Hall and Jana Naomi Smith and performed by Renée Wilson, Loretta Devine, and Jordan Hull featuring the Red for Revolution band, Tammy L. Hall on piano, Kofy Brown on electric Bass, Ruth Davies on acoustic Bass, Ruthie Price on drums, Kristen Strom on saxophone and flute, and Vicki Randle on percussion. Cover art by Shefon N. Taylor. The series is executive produced by Renée Wilson, Jana Naomi Smith, and Meta Mana Media with associate producers Jordan Hull, Adrian Snegg, and Vanessa E. Williams. All episodes produced by Liz McBee.The Red for Revolution team would like to thank each person who helped bring this project to life. Please visit redforrevolution.com for the complete credit and gratitude list. For additional resources and to sign up for our newsletter, visit redforrevolution.com.This audio drama was recorded under the SAG-AFTRA 2020 New Media Principal Performer Contract.This episode includes interviews with Jana Naomi Smith Jordan HullTammy L. Hall Liz McBeeRenée WilsonAlimi BallardAnd features performances by:adrienne maree brown as series sonic guideAshley J. Hobbs as additional narrations Renée Wilson as Lorraine Giovanni (1970s)Rutina Wesley as Ella Ali (1970s)Alimi Ballard as LeRoy (1970s)Will Kachi (Volunteer 1970s)Music Featured:“Revolution”Written by Jana Naomi SmithOriginal Composition by Tammy L. Hall Performed by Renée Wilson and the Red For Revolution BandTammy Hall, pianist & music directorKofy Brown, electric BassistRuth Davies, acoustic BassistRuthie Price, drummerVicki Randle, percussionistKristen Strom, saxophonist/flautist For Radiotopia Presents, Yooree Losordo is the Managing Producer. Audrey Mardavich is the Executive Producer. Red for Revolution is part of Radiotopia Presents, a podcast feed that debuts limited-run, artist-owned series from new and original voices.  Learn about your ad choices: dovetail.prx.org/ad-choices

MUSICGene Simmons and Paul Stanley, Taylor Swift, Alanis Morissette and Kenny Loggins have been elected in the Performing Songwriters category for induction into the Songwriters Hall of Fame. At 36, Taylor is the youngest female to achieve this honor.In the Non-Performing Songwriters category, those elected are:Walter Afanasieff (for Mariah Carey) - "All I Want For Christmas Is You," "My All," "Hero," and "One Sweet Day"Terry Britten and Graham Lyle (for Tina Turner) - "What's Love Got To Do With It" and "We Don't Need Another Hero," and for Cliff Richard - "Devil Woman"Christopher “Tricky” Stewart - "Umbrella" (Rihanna), "Single Ladies" and "Break My Soul" (Beyonce), "Obsessed" (Mariah Carey), and "Just Fine" (Mary J. Blige)To be nominated, a songwriter with a catalog of notable songs qualifies for induction 20 years after their first commercial release of a song. The induction ceremony will be held on June 11th in New York City.Among those nominated but who fell short this year were:Randy Bachman and Burton Cummings - The Guess WhoDavid Byrne - Talking HeadsSarah McLachlanPink - real name Alecia B. MooreBoz ScaggsLL Cool J - real name James Todd Smith Maynard James Keenan's Puscifer will screen their concert film Normal Isn't: Puscifer Live at The Pacific Stock Exchange from February 6th through the 8th for free at 100 independent record stores. The film will then go on sale February 9th through the band's website. Phil Collins turns 75 on January 30th, and things aren't going great. https://consequence.net/2026/01/phil-collins-health-update-2026/ TVKaramo Brown reportedly fell out with his "Queer Eye" costars because they were talking behind his back . . . and his mother overheard it. https://www.tmz.com/2026/01/21/queer-eye-karamo-brown-hot-mic-rift-hosts/ William Shatner went viral the other day for eating cereal behind the wheel. But it turns out it was all for Kellogg's Super Bowl commercial. He took a few publicity photos at different locations, including the behind the wheel shot, which he says is one of the silliest photos he's ever taken. Shatner says the actual commercial will be him inside a spaceship. Here are a few other Super Bowl commercials we can expect to see: 1. Post Malone, Shane Gillis, and Peyton Manning are returning as the "Big Men on the Cul-de-Sac" for Bud Light. Instead of a neighborhood block party, they're on their way to a wedding with a keg of Bud Light.2. Liquid I.V. released a short clip of Rumi from "Kpop Demon Hunters" . . . singing a cover of Phil Collins' "Against All Odds". Netflix's revival of the talent show "Star Search" is live, and one of the singers, Bear Bailey, had signed up to sing Jelly Roll's song "Hard Fought Hallelujah" before Jelly was announced as a judge on the show. Bear's performance had Jelly in tears and speechless for a while. Wheel of Fortune co-host Vanna White married her longtime partner, John Donaldson, in a private ceremony, the 68-year-old announced on Instagram Wednesday.“Surprise! We got married!” White wrote, sharing a photo from the celebration with Donaldson carrying her in his arms. The couple, together since meeting at a 2012 barbecue, said they “wanted to make it official” after more than a decade of dating.White has been a fixture on the hit game show since 1982 and now co-hosts alongside Ryan Seacrest following Pat Sajak's retirement. She was previously married to restaurateur George Santo Pietro, with whom she shares two adult children. Kristen Bell will return to host the 32nd Annual Actor Awards presented by SAG-AFTRA on March 1st. https://variety.com/2026/tv/news/kristen-bell-host-sag-aftra-actor-awards-1236636289/ If you've been planning to pick up a Nintendo Switch 2, you might want to act fast. Industry insiders are noticing that the cost of the high-tech parts inside the console, like memory and storage, has been quietly climbing, which means Nintendo might have to raise the price of the Switch 2. It wouldn't be such a radical move as the PlayStation and Xbox have already increased the prices of their consoles after releasing them to the public. Netflix has canceled both "The Vince Staples Show" and "The Abandons." https://deadline.com/2026/01/the-abandons-the-vince-staples-show-canceled-netflix-1236691960/ MOVING ON INTO MOVIE NEWS: The Mel Brooks documentary, "The 99 Year Old Man", includes posthumous interviews with David Lynch and Rob Reiner. It airs in two parts, tonight and tomorrow ON HBO. https://nypost.com/2026/01/21/entertainment/mel-brooks-doc-will-include-posthumous-interviews-with-david-lynch-rob-reiner-its-a-tribute/ The annual Goop Valentine's Day gift guide is here. And as usual, it includes a wide range of vibrators . . . including one you wear around your neck called the Vesper Mini. It's 2.75 inches long, has variable speeds and . . . it's waterproof! And if you feel like taking things to the next level, you can kick it into TURBO MODE. The price for pleasure, in this case, is $165.For his-n-hers action, there's also The Hug. It wraps around him, but it stimulates both of you at the same time. And for just $79. Ladies, if you really want him to have a VD he'll never forget, you can throw down $10,000 to design your own lingerie. That price gets you a session with an actual designer, and together you to come up with your own three-piece collection. AND FINALLY – it's time for the RIZZIE RAZZIES:The Golden Raspberry Awards, known as the Razzies, has announced the nominations for its 46th edition. Here are the nominees: WORST PICTURE “The Electric State” “Hurry Up Tomorrow” “Snow White” (2025) “Star Trek: Section 31” “War of the Worlds” (2025) WORST ACTOR Dave Bautista / “In the Lost Lands” Ice Cube / “War of the Worlds” Scott Eastwood / “Alarum” Jared Leto / “Tron: Ares” Abel “The Weeknd” Tesfaye / “Hurry Up Tomorrow” WORST ACTRESS Ariana DeBose / “Love Hurts” Milla Jovovich / “In the Lost Lands” Natalie Portman / “Fountain of Youth” Rebel Wilson / “Bride Hard” Michelle Yeoh / “Star Trek: Section 31” WORST REMAKE/RIP-OFF/SEQUEL “I Know What You Did Last Summer” (2025) “Five Nights at Freddy's 2” “Smurfs” (2025) “Snow White” (2025) “War of the Worlds” (2025) WORST SUPPORTING ACTRESS Anna Chlumsky / “Bride Hard” Ema Horvath / “The Strangers: Chapter 2” Scarlet Rose Stallone / “Gunslingers” Kacey Rohl / “Star Trek: Section 31” Isis Valverde / “Alarum” WORST SUPPORTING ACTOR All Seven Artificial Dwarfs / “Snow White” (2025) Nicolas Cage / “Gunslingers” Stephen Dorff / “Bride Hard” Greg Kinnear / “Off the Grid” Sylvester Stallone / “Alarum” WORST SCREEN COMBO All Seven Dwarfs / “Snow White” (2025) James Corden & Rihanna / “Smurfs” (2025) Ice Cube & His Zoom Camera / “War of the Worlds” (2025) Robert DeNiro & Robert DeNiro (as Frank & Vito) / “The Alto Knights” The Weeknd & His Colossal Ego / “Hurry Up Tomorrow” WORST DIRECTOR Rich Lee / “War of the Worlds” (2025) Olatunde Osunsanmi / “Star Trek: Section 31” The Russo Brothers / “The Electric State” Trey Edward Shults / “Hurry Up Tomorrow” Marc Webb / “Snow White” (2025) WORST SCREENPLAY “The Electric State” / Screenplay by Christopher Markus and Stephen McFeely. Adapted from the illustrated novel by Simon Stalenhag. “Hurry Up Tomorrow” / Screenplay by Trey Edward Shults, Abel Tesfaye, Reza Fahim “Snow White” (2025) / Screenplay by Erin Cressida Wilson and a bunch of others too numerous to mention. Drawing from the original fairy tale by the Brothers Grimm. “Star Trek: Section 31” / Screenplay by Craig Sweeny with original story concept developed by Bo Yeon Kim & Erika Lippoldt “War of the Worlds” (2025) / Screen Story and Screenplay by Kenny Golde and screenplay by Marc Hyman, adapting (or destroying) the classic novel by H.G. Wells. AND THAT IS YOUR CRAP ON CELEBRITIES!Follow The Rizzuto Show → linktr.ee/rizzshow for more from your favorite Saint Louis comedy show.Connect with The Rizzuto Show Comedy Podcast online → 1057thepoint.com/RizzShow.Hear The Rizz Show daily on the radio at 105.7 The Point | Hubbard Radio in St. Louis, MO.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.