Podcast appearances and mentions of Sharon Lawrence

Ms. Sharon Lawrence is a Licensed Clinical Social Worker, Certified Anger Management Specialist, Certified Life Coach, Prepare/Enrich Facilitator and Trainer, and a credentialed Employee Assistance Specialist – Clinician.    Ms. Lawrence is also a speaker, author, and the founder of Selah Wellness and Therapeutic Services, based in Largo, Maryland.    With over 15 years of clinical experience and multiple certifications, Sharon discusses the moment she realized it was time to launch her own business, thanks in part to a pivotal networking event and the encouragement of her husband.   Ms. Lawrence emphasizes that therapy begins long before the first session, starting with a supportive first conversation.   In addition, she discusses the value of community, mentorship, and pushing past fear, offering advice to aspiring entrepreneurs to “do it afraid” and always lead with purpose and vision.   Website: Selah Wellness & Therapeutic Services, LLC  LinkedIn: Sharon Lawrence   Previous Episode: iam304-therapist-finds-passion-in-improving-clinicians-and-professionals-lives   Check out our CEO Hack Buzz Newsletter–our premium newsletter with hacks and nuggets to level up your organization. Sign up HERE.  I AM CEO Handbook Volume 3 is HERE and it's FREE. Get your copy here: http://cbnation.co/iamceo3. Get the 100+ things that you can learn from 1600 business podcasts we recorded. Hear Gresh's story, learn the 16 business pillars from the podcast, find out about CBNation Architects and why you might be one and so much more. Did we mention it was FREE? Download it today!

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

Get ready for an exciting conversation with Emmy-nominated and SAG Award-winning actress Sharon Lawrence, whose career spans iconic roles in NYPD Blue, Grey's Anatomy, Shameless, Joe Pickett, and more. From auditioning on fire escapes to commanding the stage and screen, Sharon shares invaluable insights on mastering auditions, navigating crucial one-on-one meetings, and making bold choices in a competitive industry. She reflects on landing her breakout role on NYPD Blue, the cultural phenomenon it became, and the transition back into the audition game afterward. Sharon also dives into the power of authenticity in storytelling, how saying "yes" to new filmmakers can lead to unexpected opportunities, and the importance of collaboration and respect on set. She opens up about navigating nudity on screen, tangible tools for script analysis, and how embracing vulnerability can be a source of power. Plus, she gives us a sneak peek into her upcoming theater performances and the ever-evolving phases of her career. These are the unforgettable stories that landed Sharon Lawrence right here. CREDITS: Grey's Anatomy On Becoming A God In Central Florida Joe Pickett NYPD Blue Dynasty Shameless Criminal Minds Rebel The Ranch Walker The Last Tycoon Queen Sugar One Tree Hill Cheers Resources GUEST LINKS: IMDB: Sharon Lawrence, Actress, Producer, Soundtrack THAT ONE AUDITION'S LINKS: For exclusive content surrounding this and all podcast episodes, sign up for our amazing newsletter at AlyshiaOchse.com. And don't forget to snap and post a photo while listening to the show and tag me: @alyshiaochse & @thatoneaudition MAGIC MIND: Get 48% off with code ONEAUDITION20 THE BRIDGE FOR ACTORS: Become a WORKING ACTOR THE PRACTICE TRACK: Membership to Practice Weekly PATREON: @thatoneaudition CONSULTING: Get 1-on-1 advice for your acting career from Alyshia Ochse COACHING: Get personalized coaching from Alyshia on your next audition or role INSTAGRAM: @alyshiaochse INSTAGRAM: @thatoneaudition WEBSITE: AlyshiaOchse.com ITUNES: Subscribe to That One Audition on iTunes SPOTIFY: Subscribe to That One Audition on Spotify STITCHER: Subscribe to That One Audition on Stitcher EPISODE CREDITS: WRITER: Erin McCluskey WEBSITE & GRAPHICS: Chase Jennings ASSISTANT: Elle Powell SOCIAL OUTREACH: Alara Ceri

This is Still Here Hollywood. I'm Steve Kmetko. Join me with today's guest, and prosecutor Sylvia Costas from NYPD BLUE,, Sharon Lawrence.Now I know that not many, if any, of you will remember the show DRAGNET, because it originally aired in the 1950's, I mean I was barely around then. But DRAGNET was one of the first big TV “Cop Shows” that came on just a smidge after TV was invented.Since then, police dramas have pretty much taken up residence on network television schedules…In the 1980's there was one show that broke the mold, showing the personal side of the people in law enforcement and the judicial system. That show was NYPD BLUE.  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

This is Still Here Hollywood. I'm Steve Kmetko. Join me with today's guest, and prosecutor Sylvia Costas from NYPD BLUE,, Sharon Lawrence.Now I know that not many, if any, of you will remember the show DRAGNET, because it originally aired in the 1950's, I mean I was barely around then. But DRAGNET was one of the first big TV “Cop Shows” that came on just a smidge after TV was invented.Since then, police dramas have pretty much taken up residence on network television schedules…In the 1980's there was one show that broke the mold, showing the personal side of the people in law enforcement and the judicial system. That show was NYPD BLUE.  Show CreditsHost/Producer: Steve KmetkoAll things technical: Justin ZangerleExecutive Producer: Jim LichtensteinMusic by: Brian SanyshynTranscription: Mushtaq Hussain https://stillherehollywood.comSuggest Guests at: stillherehollywood@gmail.comAdvertise on Still Here Hollywood: jim@stillherenetwork.comPublicist: Maggie Perlich: maggie@numbertwelvemarketing.com

Ojai author and playwright Robin Gerber recently returned from New York City where her play about Katherine Graham's tumultuous and consequential life was performed by the inimitable Sharon Lawrence. Afterwards, Robin hosted a panel discussion about domestic violence with Gloria Steinem. It's been quite a journey for Gerber, whose one-woman work about Graham was developed at the Ojai Playwrights Conference in 2017. It's been performed several times since with Lawrence on stage and Michelle Joyner directing. Graham's husband Phil, publisher of the Washington Post, was a confidante and close personal friends to JFK and other men of power. He was also abusive toward Katherine; he was mentally ill and ended his life with a shotgun blast. Graham, despite efforts by Washington Post board members to sideline her, went on to become a formidable publisher herself, publishing the Pentagon Papers and Watergate investigations. The deeply personal play bears witness to the tortured inner life of this remarkable woman, who went from abused spouse to become one the leading lights of the 20th century. We talked about Robin's biography of Ruth Handler, the inventor of Barbie, her inspiring book on Eleanor Roosevelt's leadership wisdom, and her next project, about caretaking her husband through his Parkinson's experience. We also talked our shared experience with Cary Odes' standup comedy class. We did not talk about Amazonian bio-char, Adelaide penguins or ancient flint-knapping technologies. You can check out more about Robin and her impressive body of work at her publishers' - HarperCollins.com and on Facebook. Robin is a professional public speaker and her website is RobinGerber.com.

Hi! My name is Terry J. Aman, marking my 93rd episode of VideoFuzzy, reporting the progress I've made in cataloging thousands of VHS transfers and digital recordings. In my Fuzzy Feature, I talk about the two-part series finale of "Monk," which turned up in my cataloging efforts this time. In Cross Connections I traced ties through "Monk," "Fringe" and "Moonlighting," and highlighted Golden Thread connections with Larry Clarke and Sharon Lawrence. In my Classic Collection (VHS-to-DVD), cataloging discs 1576 to 1600, I found where I'd appeared on local noon shows promoting community theater, clip posted to VideoFuzzy's Instagram. Also, "Fringe" – both here and in my Current Collection – "Medium" "Monk," "Criminal Minds" "Prison Break" and "NUMB3RS" and animated shows like "American Dad," "Venture Brothers," "Harvey Birdman, Attorney at Law" and "Tom Goes to the Mayor." I found some racy commercials and talk about the marketing concept of "floym." Plus, music videos (check out Jack Johnson's 2005 "Sitting, Waiting, Wishing" here: https://bit.ly/3WFdK7q) and episodes of "The Twilight Zone." In my Current Collection, I added a BUNCH of material this time including I already mentioned "Fringe" up there, I added seasons 4 and 5 to my collection, plus the entire series of "Moonlighting" and a couple different ties to "Medium" and "Fringe." Plus comments on "Feud: Capote vs. The Swans," "Spider-Man: No Way Home," "The Batman," Alanis Morrisette's recent turn on "Austin City Limits," and more from the new season of "Doctor Who." I close out with a couple unique productions. I explore the Indigo Girls' 1995 VHS release "Watershed: 10 Years of Underground Video" callback to sister podcast "VideoFuzzy the Soundtrack" Ep. 10: Caramia, some of the cool things I found there. Then my hubby, Ralph, and I recently took in the "Wheel of Fortune LIVE" production at Prairie Knights Casino and Lodge with cohosts Bob Goen and Daisy Wang and announcer Cody Dove, who was really leaning into that "Better Call Saul" credit. It was a great time and they put on a fun show. TOP TWELVE: Here's a "Top Twelve" episode guide for people looking for a quick read-in on this blog and podcast effort: https://videofuzzy.libsyn.com/about. Enjoy!

Tom Vaughan has been writing professionally for over twenty years. He studied at the University of Houston with Broadway legend Jose Quintero and three-time Pulitzer Prize winner Edward Albee. It was his work as a writer and director in Houston theatre that got him recognized by Hollywood. He was soon writing screenplays for, among others, Phoenix Pictures, TNT, MTV Films, Castle Rock Entertainment, ABC, NBC, CBS, Warner Brothers, Sony Pictures and Disney. He has developed screenplays for Matthew McConaughey, Nicolas Cage, Barry Sonnenfeld, Chow-Yun Fat and many others. WINCHESTER, the film he co-wrote starring Helen Mirren and Jason Clarke, about the infamous Winchester Mystery House, opened nationwide in 2018. His eighth film, THE QUEEN MARY will release in August 2023 and DADDY'S GIRL for XYZ Films will shoot later this year (WGA strike willing.) Tom recently set up MOST WANTED at Miramax with director Ruben Fleischer (ZOMBIELAND, VENOM) attached.  His feature film debut was the action film UNSTOPPABLE, starring Wesley Snipes. In 2011, he completed his directorial debut, PLAYING HOUSE, based on a script written with Kristy Dobkin. His past productions include BLACKOUT with Jane Seymour for CBS, and CRITICAL ASSEMBLY with Katherine Heigl for NBC. He served as writer as well as Co-Producer on ATOMIC TWISTER with Sharon Lawrence and DEAD IN A HEARTBEAT with Penelope Anne Miller and Judge Reinhold, both for TBS.  He is currently the screenwriting instructor at his beloved alma mater, The University of Houston. https://storyandplot.com/WOLFPACK https://twitter.com/storyandplot Connect with your host Kaia Alexander: https://entertainmentbusinessleague.com/ https://twitter.com/thisiskaia  Produced by Stuart W. Volkow P.G.A. Get career training and a free ebook “How to Pitch Anything in 1Min.” at www.EntertainmentBusinessLeague.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Elise Antoine, MSW and Life Coach, joins T-Kea and Jordan to discuss her personal experience with suicide as a social worker, Christian, and Haitian-American. Elise also discusses how her personal experience led to the founding of an organization dedicated to dismantling the stigma around mental health.Personal IG: eliseiantoineWebsite: www.eliseiantoine.comNon-profit IG: ripthestigmaSpotlightAttorney, TV Correspondent and Former Miss USA Cheslie Kryst.April 28, 1991 - January 30, 2022ResourceRIP the StigmaWebsite: https://www.ripthestigma.org/ IG: @ripthestigmaCommunity Change-maker:Sharon Lawrence of My Selah Wellness Website: https://www.myselahwellness.com/Resource Sheet: https://www.blackpeoplediebysuicidetoo.org/_files/ugd/c79b52_8baa68adc228487d9906b12722f86b61.pdf Moment of Inspiration“Turn your wounds into wisdom.” - Oprah WinfreyConnect With UsFollow us on IG: https://www.instagram.com/blackpeoplediebysuicidetoo/ Follow us on TikTok: https://www.tiktok.com/@blackpeoplediebysuicide2?_t=8cjqDTiqHbq&_r=1Youtube: https://www.youtube.com/@BPDBSTPodcast Follow T-Kea!IG: https://www.instagram.com/t_keablackman/TikTok: https://www.tiktok.com/@t_keablackman?_t=8bmrLfPUQV4&_r=1 Follow Jordan!IG:https://www.instagram.com/thelatebluumer/?igshid=YmMyMTA2M2Y%3D Donate - Help us end suicide in the Black community and donate: https://www.paypal.com/donate?campaign_id=FRHD8VAWVWV56 Shop - Get your merch and support the show: https://bpdbst-podcast.printify.me/products

Greg Thompson is a writer-producer known for Bob's Burgers, Glenn Martin D.D.S., and King of The Hill.Greg Thompson on IMDB: https://www.imdb.com/name/nm0860188/Greg Thompson on Twitter: https://twitter.com/gregthompMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutogenerated TranscriptionsGreg Thompson:Try to pay attention to the voices of the show. Know the show. Watch, watch every episode. Um, you know, when we were hired on King of the Hill, I, I'd watched King of the Hill, but I hadn't seen everything. But, you know, I methodically started plowing through hundreds of episodes at that point. I think maybe 200 episodes had happened by the time we, we joined it. So, and that's just kind of an education and you internalize the voices of the characters and, and it, it helps you. It helps you know what to pitch. You'reMichael Jamin:Listening to Screenwriters. Need to Hear This with Michael Jen.Hey everyone. Welcome to Screenwriters. Need to hear this. I'm Michael Jamin and I got another special guest today. This is my old friend. I'm gonna, this is my friend Greg Thompson, and I'm gonna give you a proper introduction, Greg. So sit down, just relax. Let me just talk to the people for a second. Um, so Greg is a very successful TV writer and he started on bunk, a show called Bunk Bread Brothers. We're gonna run through some of, through some of the credits. I'm heard of Bunk Bread Brothers, then fired up, which was interesting. This was the heyday of nbc. This was when, uh, the character she lived instead of a clock. She was, she was a church mouse, wasn't she? GregGreg Thompson:. Yeah, she was a church MassMichael Jamin:WhoGreg Thompson:Is second, second season. She moved into a shoe, uh,Michael Jamin:.Greg Thompson:It was Sharon Lawrence with, uh, Leah Remedy.Michael Jamin:Ah, Sharon Lawrence with Leah Remedy. This was back in the heyday of NBC shows like, uh, musty tv. And then a show called, I'm gonna run through some of your credits. Maggie, big Wolf on campus, then one of your bigger credits. 30, uh, third Rock from the Sun. Great show, then Grounded for Life. Another great show. Everyone hates Chris. Everybody hates Chris. Everybody hates Chris. Another great show. I'm in Hell. We're gonna talk about that. King of the Hill. You were there for many years. Glen Martin, dds. I never heard of that one, but I was involved in it. then Now, most recently you were writer, what are you executive, co-executive producer on Bob's Bergs.Greg Thompson:So I, I'm, I'm down to consulting producer. Technically I was we'll talk, I was co exec. I was actually executive, I was actually executive producer to be, to be most technical. Well, yeah, we all got promoted up to executive producer after aMichael Jamin:Certain And what happened? Why did you get bounced down to co exec? I mean, a consulting producer.Greg Thompson:I decided to rank fewer, fewer days a week. So I, I've, I've, am I, do you still want me on the show?Michael Jamin:Yeah, I'm, now I'm jealous of you. How many days a week are you working?Greg Thompson:I only work two days.Michael Jamin:Oh. And of those two days, how many days are you really working? ?Greg Thompson:I don't know. Probably four. Cuz it filters into other days andMichael Jamin:Yeah,Greg Thompson:It does over it also. Yeah.Michael Jamin:We're gonna talk about that. But I wanna get into the beginning, Greg. Cause I, I, I, so we met in the Warner Brothers Writers Program, writers workshop, or whatever it was called. Yeah, we did. And you were, were supposed to be you and your partner. Our Abrams were supposed to be the competition that me and Seavert were facing. And, but very quickly we realized we weren't, we weren't gonna, we weren't gonna make good enemies, friends and love.But, but I gotta say, Greg, you've always been, and I know I've never, probably never said this to you personally, but you were, it may seem odd since we don't talk that often, but you were definitely one of my closer friends, closest friends in the industry, because I always feel like I, I feel like we're not in competition. I can always be, I can confide in you to tell you what's going on with my career. I never feel like I'm gonna get stabbed in the back. You always got my back. I got your back. So you, you've always been a great friend. And that's why as I thank, thank you for doing the show and helping everyone Oh, tell your story.Greg Thompson:You're, you're very welcome. You, of course, it's of course it's mutual. Um, and I'll just say at the Radcliffe or at the, uh, pardon me, the Writer's Warner Brothers Writer's Workshop, um, I was, uh, so intimidated by you and Seavert. I, uh, you like you, we were kind of sited. We were seated in kind of a big o and you were, you guys were like across the room and you already, you already had credit. You had a credit on Lois and Clark, which was like, you know, incredibly impressive. We didn't have credits.Michael Jamin:That's what you were, that's what you're, because there was no other reason to be intimidated by us. So we never said anything like, IGreg Thompson:Think, I don't know, you just, you looked, you looked the right part. Sea had this kind of scowl on his face all the time, which, which was very untrue to his personality. But he just looked, uh, super serious. Like, like heMichael Jamin:WasGreg Thompson:Interesting figuring it all out.Michael Jamin:Turns out neither of us. It was a prestigious program. And, and it didn't help either of us. It didn't help. It definitely didn't help. But it didn't help you did itGreg Thompson:Other than Well, it, it did get us, it did lead us to an agent, which then, which then led us to our first job. So it actually did help us, even though the Warner Brothers, the studio was not interested in hiring us,Michael Jamin:Right? So after,Greg Thompson:After watching us work,Michael Jamin:As I tell our audience to catch 'em up, um, so yeah, we worked together. So we never worked together. We were just, we became friends on that. And then later, then later we shared a bungalow. We both had overall deals at CBS Radford. And so we shared a bungalow. We'd have lunch together. Remember we'd hang out in your office and just talk about ideas. Bounce Yeah. Each other that think an overall deal's great. That was fun. And then later was, no, king Hill was before that.Greg Thompson:King Hill was beforeMichael Jamin:That. Right? And then later Radford, our overall deal. Then later we hired you guys on, on Glen Martin. And you guys saved our butts. You and your partner Aaron, saved our butts. And then how did I Thank you. I almost, I almost thanked you by destroying your career. . I only remember you guys, you guys came in, was it, it was season two, right? Of Glen Martin.Greg Thompson:Yeah. Season two. Yeah.Michael Jamin:We, we brought you in. We had the money. We wanted very, we wanted season writers. And you guys came in, you always delivered great drafts, which is, is, I always say, this is all you want from a writer. Can you turn in a good draft? And you guys always did. And then there was talk of spinning off Glen Martin to a spinoff. And I remember we were like, Hey, we'll do this show. And then you could run the other show or which one, one or the other you guys could run. And you're like, eh, we got this other offer to go to this cartoon called Bob's Burgers. You don't wanna go to Bob's Burgers,Greg Thompson:,Michael Jamin:You wanna stay here? . And then, and thank God you took that offer, cuz I would've felt terrible like ruining your career. Cause that they spinoff never happened. . And then Glen Martin was canceled and it jumped off just in time to go to,Greg Thompson:There was an idea that Glen Martin was gonna jump to Fox or something, andMichael Jamin:There was a lot of lies floating .Greg Thompson:Yeah. It was probably Michael Eisner was planning these thoughts.Michael Jamin:Um, right. I forgot Fox. Fox didn't, Fox had no, had no knowledge of that. They weren't on Greg Thompson:. But, uh, yeah. But yeah, I think we all thought the puppet animation genre was gonna explode. And, and I have to say, it's really funny. It's still, when I look at, I've dug up some old Glen Martin's. It is really funny. I mean, it is, it was an underrated show under watched certainly, but also underrated.Michael Jamin:Yeah. Yeah. It was, we did some good stuff. You guys wrote some great episodes. But then, so you got the offer because Bob's Burgers co-create by Jim Dore. We both work with on King of the Hill. So he reached out to you guys. How did you have this Bob about, and why didn't he reach out to us? ?Greg Thompson:I didn't probably You were working. You, you're busy. Um, weMichael Jamin:Were busyGreg Thompson:Developed by Jim DotR. I should make sure I say that properly. Created by Lauren Bouchard, developed by Jim DotR. Um, yeah, he was just staffing up. And actually he, he had hired two other guys, uh, before us. And then there, um, and gosh, I'm blanking blanket on their names. Sorry. Um, but they had a pilot going, and their pilot got picked up to production. So they had to drop out of Bob's burger's mm-hmm. . And, and then that opened up a slot and Jim, Jim called us to, to come interview for it. And we saw the That's been, and, and you guys, you guys let us out of our Glen Martin deal early by the way. You, you did us a favor that not everybody would've done.Michael Jamin:That's that is true. Now some people wouldn't. But, but I think most,Greg Thompson:I most, I think most would good, good people would,Michael Jamin:Good people let you out. Our contract. Um, and so, and how many that was 2008, you've been on that? Oh, no,Greg Thompson:That was 2000, 2010. We went over there, 10, I think we, we went over to Glen Martin. We were there for actually second half of the first season through most of the second season.Michael Jamin:Oh, that's what it wasGreg Thompson:Like Glen Martin. Yeah. So I think we wrote It'sMichael Jamin:A amazing song. You've been on Bob's Burgers. It's crazy. Like that's, that's job security.Greg Thompson:Yeah, I was thinking, yeah, it's, it's 12 over 12 years now. And I, I'm wearing, um, I'm wearing the first piece of swag we ever got on Bob's. I don't know if it's visible on camera or not. This, this, uh, old hoodie, which is now just in taters. It's 12 years old. AndMichael Jamin:Do you, is it hard coming up with stories that at the, for 12 years?Greg Thompson:Yes. Yes. Very hard. Um, also because unlike The Simpsons, which is kind of branched off into the peripheral characters, they'll do a episode about APU or whatever they used to. Anyway. Um, Bob's stays with the, the family. Right. And, and doMichael Jamin:You, how, how does the musical numbers work? How do you guys produce, you know, how do you write and produce that?Greg Thompson:Uh, well, I, Lauren is extremely musical. Lauren Bouchard very musical. So he always had, you know, a big interest in that. And he can, he can write and play. And then there are, you know, there are, uh, musical people, you know, uh, uh, on the show.Michael Jamin:Who writing the lyrics for that? Do you write some script or what?Greg Thompson:Well, we do, yeah. Yeah. Most of the writers will write some lyrics. I've written. Yeah, I've written some lyrics. And that's, you know, don't write the music occasionally. You might like take a stab at a tune for something silly, but yeah. And that's, that's like, and that's, that's like funMichael Jamin:For the music as wellGreg Thompson:Then. Yeah. Yeah. You do like the, um, yeah, we're like members of ASCAP or BMI or something. Yeah. And, um, yeah, there's actually been, um, two Bobs Burgers record albums that have come out. Didn't that sub pop?Michael Jamin:Were you with the movie as well,Greg Thompson:Though? Yeah, I mean, to a limited degree. It was, the movie was, was really written by, by Lauren and Nora Smith, who's also the, you know, his number two, she's also Show Runner. Um, and then, but all the other writers pitched in on Story and, and jokes and, you know, we looked at lots of cuts. And so we, we were, we were part of it. Uh, we're, we have credit, but, um, but they did the, uh, heavy lifting for sure.Michael Jamin:And, you know, you're kind of like the last writer, Guild of America. Cartoon , one of the last, right. I mean, you're covered by the writer Guild, right? It's not ascap. I mean, notGreg Thompson:Yeah, yeah, yeah. It's, it's a, yeah, it's a, it's a writer's guilded show. Yeah. And I guess, like, I don't know, not to tell Tales Outta School. I think Disney is still trying to, you know, put shows on the air on, you know, Disney now owns 20th Century Fox Television. Um, still try to get, you know, II covered shows, which that's a, a guild with fewer, bene fewer benefits for your, your viewers.Michael Jamin:It's nonstarter now. It's like, it's, I, it's, it's the animation.Greg Thompson:Oh, is it really? Yeah. Okay. Things are tough. Okay. I didn't realize that.Michael Jamin:How did you, now you didn't start you, what was your career for the, for people who are listening, what was your career before you got into writing? I'll start from theGreg Thompson:Beginning. Um,Michael Jamin:Year was 1948.Greg Thompson:. I was, I was 12. The, uh, that wasThe, I I would just say in brief that like, I always loved television growing up. I loved movies and television. Uh, and I, I became a writing major in college, uh, creative writing major, which wasn't, wasn't a good idea. Uh, but at all that time, it never occurred to me that there were people that wrote television . I never looked at the credits. And so it never occurred to me that there would be a career doing screenwriting. Um, and so after I got outta college, I went into, I moved to New York and I got into, uh, book publishing and was a, worked in marketing for a few different publishers. Uh, book and magazine publishing. And that was go, that was my career. That was what I was doing. I was gonna be kind of a business person. And, you know, in, I wore a suit, uh, took the subway.Um, and then I went to business school to get an MBA thinking, well, that's the next step of my, my, uh, tremendous business career. And that brought me out to LA afterwards to work at the LA Times. Um, and, uh, uh, Aaron Abrams. So you bet you, before my friend, uh, had split up with his wife, he'd moved out to LA to be a screenwriter, and then his marriage had blown up. Um, so he had an empty bedroom. And I moved in with him to begin my job at the LA Times. And Aaron was trying to be a screenwriter. And so for the,Michael Jamin:From college,Greg Thompson:Uh, yeah, we kind of, we did an equivalent of the, uh, we, we did a little, uh, summer school publishing bootcamp kind of thing. Um, interesting. One summer after college, like a six week program, a little like the, the sitcom writing workshop in a way, but for people interested in publishing. Um, and so just like a summer school thing. So I met him doing that. We, we hit it off. We had, you know, kind of this instant, instant rapport. Um, and, uh, I thought he was hilarious and everything. And so I wasn't surprised when he eventually decided that he was gonna try to be a screenwriter. So then I move into the, I move into his, uh, terrible, messy apartment. Um, and, and I see like he is got a bunch of scripts. I'd never seen a script before. Uh, you know, it's kind of, it was pre-internet.You couldn't like, download scripts. It's like, oh, wow, this is weird. So that led me to reading scripts, talking to Aaron about what he was doing. Uh, you know, he very generously would ask me to read things he was working on and ask if I had any ideas or thoughts. Uh, and, and then, and then, and then Aaron suggested we were, we were having some conversation about the, uh, actually the NFL player's strike, uh, of the eighties. And he said, I always thought that would be an interesting movie. Um, so, uh, then he said, do you wanna try to write a movie about that with me? So together, we basically hammered out this, um, comedy that did not become the, was it a Keanu Reeves movie, but was The Replacements. Ours was called Substitute Heroes. And it was much like The Replacements. And, and that was the first thing we wrote together. And that ended up, um, we ended up selling that for a guild minimum to some place.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you, and it's absolutely free. Just go to michael jamin.com/watchlist.Greg Thompson:The substitution Heroes, where did you sell it? Football comedy. Yeah.Michael Jamin:AndGreg Thompson:Where did you want? And it ended up selling to like, uh, some producers for Guild minimum, um, low budget minimum, which was I think like $26,000 or something like that. Or maybe, maybe more. Uh, but that was, I, you know, obviously that would be thrilling even now to sell a movie for, you know, a little bit of money. So it was very thrilling to, to me and, um, and Aaron. And so, and then at the same time, like I'm working my LA Times job, and I wasn't enjoying that a ton. You know, I was in like this, I don't know, weird little group called Market Planning. And we'd do these like analyses of like Orange County advertising market and stuff that no one would ever look at. Um, and, uh, and the LA Times was a place, I always remember this. They would do casual Friday, one day a month.So you had to, you had to remember what Friday remember? Casual. Casual. That was before we were casual all the time. Yeah. Right. So you had to remember what Friday of the month was, casual Friday. So you could not wear your suit. Um, and then for our, uh, Christmas party, we had a, like an annual Christmas party. You'd have to come in an hour early that morning. And the, the Christmas party would be like, between the hours of 7:00 AM and 8:00 AM , or 8:00 AM and 9:00 AM I, I forget when work started , at least in my department, that's,Michael Jamin:You have to get up to your party. Some party.Greg Thompson:It wasn't . Yeah, no, it wasn't, it wasn't festiveMichael Jamin:.Greg Thompson:So it was that there was that kind of, it was that kind of play. So meanwhile, you know, then I'm like, you know, thinking, oh, well this, this screenwriting thing's working out great. I'll do that instead. Um, you know, and I think, you know, like, you know, we are getting a lot of meetings and I think, you know, in Hollywood, like a meeting sounds exciting. Yeah. It'll almost inevitably lead to nothing. But still for a moment you feel like, you know, you're driving on a lot, you have a pass, they're waiting for you, you sit down, someone brings you out water, you feel important. And, and it's, the people you're meeting with are almost always just filling their schedule to feel important. Yes. So you go in there and together, all of you feel important, and then you leave. ItMichael Jamin:Sounds like you're, you've listened to my podcast. Cause I've said these words many times.Greg Thompson:OhMichael Jamin:Yes, go important, but go on. Right. Then go. What happened?Greg Thompson:Uh, so then, um, I, I remember Aaron was like, he had this, um, he played like beach volleyball, uh, in this like league or something like that, even though he was terrible. ButMichael Jamin:I don't, I don't believe that part of his story,Greg Thompson:But, well, I'll say he was on a beach volleyball team. Whether you could describe it as playing, I don't know. But I think he was trying to beat girls. And so, but he, but there were a couple like TV writers in his, in the beach volleyball group, and he said, these guys are all doing great. They all have like, big houses. Uh, they're so successful. We should like, let's forget movies. Let's try to write television. So we started working on, uh, some spec scripts, as you know, I'm sure you've probably talked about that at different times. And, uh, you know, we wrote an Ellen, you know, and a spec is your sample to get hired onto a show. We wrote an Ellen that I thought was great, uh, that I still remember what it was about. It was about Ellen dates her assertiveness instructor and then can't break up with him because she's not assertive enough. Which,Michael Jamin:Funny.Greg Thompson:Well, well, for one thing, I, I don't know if there is such a thing as an assertive assertiveness instructor , I think it felt, it felt right to us in 1994 or so. Um, but, you know, but we thought, okay, we've nailed it. We've written one spec, now we're gonna, now our career will begin in television. And everybody hated it. And I mean, you've probably experienced this, or people experienced people who've felt this way. They fall in love with their spec. They think their spec is great. It's really the, the first spec they've written. And they become very, very attached to it. Not attached to every part of it. Every, every element. They're not receptive to notes. And I, I think I was certainly that way about this, this one, but the, uh, the feedback was so uniformly negative. It was like, okay, well let's , I think we have to write another one. So we wrote a Larry Sanders uhhuh, uh, a Larry Sanders spec, which went much better. It was just a much better show for us. It was more in our sensibility. It was. So, uh, that's the one that, uh, we ended up using to get into the, uh, Warner Brothers sitcom writing workshop.Michael Jamin:Yeah. And that, the rest, now Aaron, Aaron Abras was this, you know, we were both friends. One of the sweetest guys you ever met. And then he tragically died halfway through your career. And then I remember, I mean, it was just awful, but I remember either calling you or writing to you, and I was like, listen, cuz you had to reinvent your career at that point. You were, you had a writing partner that you relied on and you bounced things off. And then you had to become a solo writer. And I remember reaching out to you saying, listen, if, like, if you wanna, if you might need to write new samples, if you want help breaking a story or anything, like just call me receiver. Well, happy. But, but you never did. What wasGreg Thompson:That like? I re I re I I, I, I do remember that, and I still grateful for that. Uh, but you and Stever both reached out and were were terrific during that time. Um, it was, it was fortunate for me that I was on Bob's burgers. We had done, Aaron and I had done a season on Bob's, so, uh, it hadn't even aired yet. Um, but it was, I'm trying to think when it got it. Season two order, I guess it didn't get that until it had aired for a few, a few weeks. Um, once Bob's began airing and the show got picked up for another season, which was a little nip and tuck, cuz the ratings were a little, um, or touch and go rather, uh, uh, the Lauren and Jim offered me, you know, the opportunity to come back as a solo writer. Uh, so I, I did not have to produce those other specs. I did have to write a pilot that Aaron and I had been contracted to write. So I had to, I did have to finish the pilot. We'd outlined it, but we hadn't written it yet. And, um, I had to, I had to write it. But when you, that was, so that was the first thing I wrote.Michael Jamin:And was it like, even now, do you hear his voice? Like, do you think, what would Aaron do here? Or, or are you like, you know, now this is, are you, you know, areGreg Thompson:You Yeah, no, I I I, I still totally do. Uh, I mean, he was, he's such a funny guy and, you know, it was, you know, he used to say like, you know, the, unfortunately the funny person of the writing team died. So the, the, the guy who's like, does little, I don't even know what my specialty was, kind of doing things Aaron did, but a little less well founded. Uh, and, um, but yeah, no, I'll, I'll sometimes if I'm, if I'm writing and if a, a joke will occur to me, and I'll think that is an Aaron kind of joke, right. You know, that that's, that's his sensibility. So as much as I can cha uh, channel, uh, Aaron's voice, I, I I try to, um, he was, you know, just a unique voice.Michael Jamin:I imagine it would be honestly be a little paralyzing that first, at least the first couple of scripts you're like, I'm, I'm, I'm flying solo here.Greg Thompson:Yeah. Uh, and I, you know, I don't know how it is with you and Seaver, I think, you know, you, you do work separately at times. I know. Um, but, uh, every, everything Aaron and I had written, we'd written together in the same room. You know, we might go off and work on a scene by ourselves for a while and then share it, but mostly it was like kind of taking turns at a keyboard while the other guy was there in the room. Yeah. Uh, looking, you know, looking over the shoulder. So it was, uh, it was, you know, a pretty, um, uh, uh, close writing situation. So yeah, I just, um, I, I, I would do a couple tricks of, I would, I remember the, when I was writing the pilot, uh, it was like, okay, I'm gonna write the scenes that I think are easier to write first.Mm-hmm. . And so I wrote scenes out of order just to make progress. Right. Uh, and so then when you make a little progress, you begin to feel better, you begin to feel more confident. Um, right. And, and I also, and I still do this, I'll, I'll write a scene maybe with some, some of the dialogue at all caps, which is my way of saying this is not the dialogue. This is an approximation of what has to be said here in this moment. Uh, just to get through it, just to get through it so I don't get stuck. Um, yeah. Uh, because yeah, I mean, Erin and I would, we'd, we would try to do as little rewriting as possible, just maybe outta laziness. So we would kind of get a lot of consensus on everything before we wrote, uh, or as, you know, as we worked our way down the page. But as a, as a solo writer, I just couldn't do that. It was like, Nope, I'm, I'm gonna have to do more revisions, I'll have to do more passes. Um mm-hmm. . So that's what, that's what I started doing.Michael Jamin:And now does it just feel comfortable on your own or, you know, I, it's interesting,Greg Thompson:You know, I know it, it, it does and it doesn't, it always feels a little in like, you know, right now I'm, you know, trying to come up with story ideas to write one and looking at the calendar and looking at how much time I have, and I think, oh God, am I gonna have enough time to break it? And, uh, you know, holidays are coming up that's gonna cut into time. Uh, so I, I always have a little bit of panic, and I think I'm known for this on the show of being fairly neurotic about scripts, worried I won't put it together. Uh, cuz you know, there's so many, so many, Michael, you know, there's so many jokes in the script, it's like several hundred by the time you're done. And it's like, oh, how will I think of all those jokes?Michael Jamin:It's that, that's the part that's intimidating to me. It's the getting the story out. Well,Greg Thompson:Yeah, no, I mean, the story, you know, obviously the most important part. Um, but, you know, every element is hard. And so it's whatMichael Jamin:Now how mu like how is it run, how is it differently working on Bob's workers than it was either at Glen Martin or Kim King of the Hill for you? You know, the process.Greg Thompson:Uh, I'd say Bob's Berger's, it's much more, uh, you kind of become your own little executive producer of your episode all the way through production, you know, and basically, most of the times you will be coming up with the idea of your episode. You will be pitching it, you will be running the room, uh mm-hmm. as you, you know, put, uh, break the story. Uh, you know, then you're updating, you know, Lauren, the, and Laura, the showrunners. But you're, it's, it's kind of on you. It's, it's not, it's not like, and there will be people breaking stories simultaneously, which I guess was what we had at King of the Hill too. Yeah. Uh, a a few small rooms, um, but it isn't like probably most of television today still where it's everybody around a table, the whole staff breaking one story at a time. Right. With, you know, walking through the beats on a, on a board, kind of assembling it all, everybody, the staff, everybody together. It's, it's more individual. Uh, you, you, we kind of have more rope to, you know, make magic or get in trouble.Michael Jamin:And now you're doing, you're consulting, which is so interesting, just a couple days a week. Um, yeah. What, how's that for you working out? Everyone talks about what?Greg Thompson:It's,Michael Jamin:It'sGreg Thompson:Perfect. It's simultaneous with, it's simultaneous with C so it's, it's, it's hard to separate the two in a way. So it's, so far it's been people are beginning to come back to the office, but for the last two and a half years, it's been all Zoom.Michael Jamin:Yeah. Uh,Greg Thompson:And uh, I would say like, if I didn't have to like write scripts occasionally, it would be fent it would be so easy. I mean, not easy, but, but it's always like, you know, if you could sit back and give people pitches on their episode all day, and it's like, well, here's my idea. If it works, terrific. If it doesn't work, well , you know, it's not my problem. It it is. ButMichael Jamin:Do you think you'll stay there for, for a, for a while longer? What do you, what are your plans? Do you have any?Greg Thompson:I I, I, you know, I've just kind of taken it year by year. Uh, the, um, we'll see, um, I don't know. It's, it's still been a fun thing and, and most of the staff is the same staff as when we first grouped up 12 years ago.Michael Jamin:No one's, no one's leaving back, back when we started, um, uh, you know, we, you could jump shows, you might work on a show for a couple years, then jumped to another show. But now with the market, you'd be crazy to leave any show if you're on a show, you stay there and you hang on for dear life.Greg Thompson:I think so. I think so. I think that's been true of Bob's and, you know, uh, Wendy and Lizzie Molino, two of to have really, you know, very funny writers on, on Bob's. They did, they left only because they developed their own show, uh, the Great North. So, but despite that, they still have a hand in Bob's and write an episode a year. So nobody really wants to let go of Bob's.Michael Jamin:Yeah. And then, uh, yeah. Do you, are you developing at all? Have you tried to develop in recent years or,Greg Thompson:You know, I, past the first year, no, I haven't, I haven't tried to develop, and that's, you know, I have to say that's a little bit of laziness on my part. Like, you know, why do I wanna develop myself out of a job, this great job on Bob's? Uh, yeah. And, and also it was like, you know, we, Aaron and I, Aaron and I think did like eight or nine pilots, only one produced, but it was always really hard and, uh, a distressing experience. You'd, you'd, you know, we'd go in full of, full of ambition and hopes and dreams of how this next pilot was gonna be great. And then, and then you'd get so ground down by the process, we'd be miserable and hate, and hate our pilot by the end of it. Michael Jamin:People don't under no understanding, uh, of how the industry actually works. That's what I'm trying to educate them. But like we say the same things, like if we didn't have, if we were on full time staff, we, we wouldn't have to develop, we wouldn't run out to develop. It's only because staffs, the orders are so much shorter that you kind of have to, if you wanna make a living, you gotta sell what you gotta,Greg Thompson:Yeah. Yeah. But yeah, tell provision's changed, changed it that way. So so, you know, I'm a little embarrassed. I haven't, you know, tried to develop in the last decade, but I don't know, I'm just,Michael Jamin:So what, what advice do you have? Do you, I mean, are you bringing on any young writers or what advice do you have when you see a young writer join the show?Greg Thompson:Uh, well, boy, I don't know. I guess it would be the advice. Uh, I'd give any young writer, you know, just try to, try to pay attention to the voices of the show. Know the show, watch, watch every episode. You know, when we were hired on King of the Hill, I, I'd watched King of the Hill, but I hadn't seen everything. But, you know, I methodically started plowing through hundreds of episodes at that point. I think maybe 200 episodes had happened by the time we, we joined it. So, and that's just kind of an education and you internalize the voices of the characters and, and it, it helps you, it helps you know what to pitch. So, you know, we'll, we'll have, obviously, like a new writer will often like, pitch an episode idea that we've kind of already done. And, you know, it's hard to catch up with everything, but you have to try.Michael Jamin:Right.Greg Thompson:And just, I guess trust that you're, trust that you're there for a reason and that your ideas are good and, you know, do your best.Michael Jamin:Right. Right. But it's a pretty supportive environment there, it sounds like.Greg Thompson:Oh, it's great. Yeah. No, it's, it's really a nice group of people. Um, you know, you've been on many staffs and I was on many staffs, and I think my experience was almost always good. Uh, I hope yours was too. But you know, the, I think we probably all have both had the experience of being in a room where you're sitting in the same, you're around a table, same table every day. You're not only that, but you're seated in the same seat every day. Mm-hmm. , uh, same person to the left, same person to the right. And, and sometimes there will be people who will make a point of only laughing at, uh, somebody's, somebody several people's pitches, but never several other people's pitches.Interesting. Trying to, right. Yeah. I mean, uh, and, uh, it, it is a little bit of a, and this is, you know, it was rare to have this experience, but, you know, maybe did once or twice, um, pe writers are trying to get their jokes in. Uh, they would rather have their joke in than a funnier joke from somebody else. So there is that, there is that bit of competition. And I'm not saying I would have the funnier joke that no one would want in or anything like that, but, uh, uh, it's, it's this natural, um, selfishness, self-preservation, I guess. Yeah. Of like, right. I must, I must have a certain number of jokes in the, in the episode, or I'm not, I'm not earning my, my morsel of meat Yeah. Today. Yeah. So, um, so there, you know, there is a competitiveness. And I think, I think some shows, I think very could be bad miserable places. Um, Bob's was a fantastic place. Everybody was great. Right. Everybody was supportive. Uh, everybody was funny. Uh, everybody is funny. So many great writers. So it's been a, a fantastic situation.Michael Jamin:And how, and you say you were, you're involved heavily in the production. So you'll watch the animatics, you'll give notes on the air, or do you watch all the automatics or just the ones you, you produce?Greg Thompson:Uh, we watch all thematics and colors. Uh, but the animat, you know, for your own episode, you, you will be, you know, more involved in notes and revisionismMichael Jamin:Just forGreg Thompson:People. And the,Michael Jamin:The a animat are the rough, uh, before like crude sketches of the, uh, cartoon, the animation. And then you give notes on that. And then, then it's more like for blocking, which before the character should do and what kind of shot you have. And then later they color it in and, you know, that's, then you, you give notes on that as well. But you, are you also at the record? Are you, um, recording the actors?Greg Thompson:Yeah. Yeah. And, uh, we've done that a few different ways. In the beginning of the show, it was the, uh, Bob's was unique in this, in that they, you'd have multiple actors in, you know, on, on Mike, uh, at the same time. And it would be a simultaneous recording, so you'd have overlap mm-hmm. , uh, and improv. And that was kind of a hallmark of Bob's. And then in, uh, as c happened, we had to kind of break that apart and actors were recording in their homes, and so we were getting them one at a time. Right. Um, and so now it's, it's kind of a little combination of,Michael Jamin:But are you direct in a way, the actress yourselves or someone else? One of the store runners directingGreg Thompson:Lauren, Lauren was the director for like the first 10 years mm-hmm. every episode. And then during Covid we began to direct our own episodes. Right. Uh, but now we're actually in the process of having one writer direct all the episodes, uh, uh, with the, uh, a writer producer will direct all of them. And just so there's kind of a, a unified voice coming from the directing booth. Right. Um, and then Theri, the writer is also there to give notes and suggestions.Michael Jamin:Roll their eyes. You're doing it wrong.Greg Thompson:Yeah. I'd say, no, that's not, that's not, it's goes. So, yeah. And uh, I'd say Lauren is kind of constantly tinkering with the process, trying to improve it, even after like 12 years you think it would, things would be, okay, this is how we do it, this is how we'll always do it. But no, it's still being, aspects of production are being reinvented and tinkered with all the time.Michael Jamin:It's a great show. Cause it has such a sweetness to it, such an earnestness to, uh, who knew, who knew it was gonna be sort of giant.Greg Thompson:It does. It does. Uh, and I know early on, like, um, you know, Aaron and I would pitch, uh, coming from a, well, I guess working on every other show, we pitched a lot of, like, stories that involved conflict between the family, you know, uh, that was a little maybe sharper than Lauren wanted to do. Yeah. He didn't want, you know, his thing is he doesn't ever want the characters being mean to each other. Right. Anything perceived as mean. And so, like, you know, like, oh, if you're watching most sitcoms, it's like, oh, I don't know, everybody's, everybody does this all the time. You know what, so, but he wanted something sweetie.Michael Jamin:Yeah. And it's a good instinct. When we, we, when we worked for, uh, Chris Lloyd who, you know, he ran Frazier for many years, and then later we worked for Man Practice. He used to say the same things. He, he would say Velvet Gloves. So when the characters slapped each other, they had to be wearing velvet gloves. So you never wanna hit too hard. Everyone saw too hard, you know, I was like, oh, that's, that's smart. I'll start using that wordGreg Thompson:. I won't do it, but I'll use the word. Yeah. Um, yeah. And, and, and certainly like, you know, one thing with the internet, now, you can see what everybody thinks of every episode and on Reddit. And do you guysMichael Jamin:Do that?Greg Thompson:Uh, Twitter? Do you go? Yeah. Yeah. DoesMichael Jamin:That change the way you write future episodes?Greg Thompson:I think a little, um, like we did an episode once where the family was on a game show, which is kind of an unusual episode for us. It was pretty early. And they end up kind of getting cheated out of their prize at the end of the game show. It's kind of a, they're kind of ripped off. Mm-hmm. and the ending, we thought, no, it's a great ending. It's, you know, it's, it's perfect. It's funny, it's, uh, it's television viewers hated the bels that that had happened to the Belchers that they'd been, it, it felt like an unsatisfying ending to many, many, many viewers. And they would keep bringing it up. In fact, they still bring it up, uh, online as, as a, an episode ending. They don't like, uh, and you know, I think maybe because it was an unearned, they hadn't really done anything wrong and they ended up being, you know, kind of robbed. So I think we, we avoid, we try to avoid lessons where they, or episodes where they just have complete egg on their face by the end. Right. There has to be some kind of little, little victory or something learned, something positive that comes outMichael Jamin:It. Yeah. That's interesting. It's interesting you take that few, cuz I never sire kind of does. I, I'm really kind, I stay away from, I don't want to hear about the reviews. I don't want to hear about what the viewers think, just wanna, you know, do my thing and cross my fingers. But it's, you know, different.Greg Thompson:I mean, that's probably healthier. But if it's an episode that I wrote that's airing, um, I just devour Twitter.Michael Jamin:Do you really?Greg Thompson:Trying to, trying to, uh, oh, yeah. No, I, I I definitely try to cherry pick , you know, any positive comments.Michael Jamin:We went on, geez, this is about a year ago, Sierra and I went on, I don't know when we went on YouTube to like, see what people were saying about Glen Martin. We hadn't watched the show in years. And, and then there's some guy from his basement, some young guy talking about the show and he nailed it. He, he was as if he was in the writer's room. Like he understood the show better, better than we did. And it was just hilarious to hear him take it apart. I was like, man, this guy,Greg Thompson:I think, did you send that around? Did you send that around to the writers? I kind of remember reading something that I thought, yeah, this guy's, this guy's good, thisMichael Jamin:Guy's, he was like a spy me. So much Funny .Greg Thompson:Yeah. Yeah.Michael Jamin:Wow.Greg Thompson:That, oh, it was a funny, it was a funny show. Does that air, I mean, does that, how does that, as a quick aside, is Glen Martin accessible on anyMichael Jamin:Platform? I think, yeah, I think it's on YouTube where you can watch it all for free. So we don't get any, I mean, we have some points and we don't get any of it. I don't think you make money by showing,Greg Thompson:But it'sMichael Jamin:For free.Greg Thompson:Did some, I mean, did some kid upload it or is it, is it like they're all this, whoever owns it, put it, putMichael Jamin:It on Michael Eisner there as a whole, like maybe we get enough used, like he can even sell it again somewhere. I'm like, you know, yeah. Sell it somewhere. Let's, let's bring it back. But I don't think we've pushed band to bring it back. I can't, we reboot Glen Martin. I don't think there's anything there. Oh, that's funny.Greg Thompson:Oh. Oh,Michael Jamin:Well,Greg Thompson:Uh,Michael Jamin:Greg, is there any place, is there anything you wanna plug? Do you wanna talk about your next season? Should people follow you anywhere? Is there anything you wanna get off your chest before eight?Greg Thompson:Oh, well, God, I'm not really on Twitter. No. I mean, I can't, it's, I'm unfollowable on social media cuz um, I don't know. Just, uh, I guess keep watching. Uh, uh, I kind of forget where we are production-wise. I never know what episodes about to air. Yeah. Cause as you know, the, the production schedule in in animation is very long. It's almost don'tMichael Jamin:Without nine months with you guys in almost a year.Greg Thompson:Well, it can be, you know, if, especially if you know, the order changes. Right. And, andMichael Jamin:How manyGreg Thompson:Episodes do you get, you know, after production. But it's a longMichael Jamin:Time. What, what is your order this year? Like 22?Greg Thompson:Uh, I think it's 22. I think it's, yeah, Bob's is one of the last, you know, shows that still gets a 22 order. Uh, and it does less so now, but it did, you know, repeat a lot too. So there was residuals involved. Um, so, but fortunateMichael Jamin:It worked out.Greg Thompson:Um,Michael Jamin:,Greg Thompson:No. Let's see what I, I, I, uh, I would merely plug, uh, your,Michael Jamin:My Plus this in my Pod . All right. Everyone that well,Greg Thompson:Are you still doing the videos as uh, what? Oh, I was just asking if you're doing the video, the video, uh, podcast things as well. Yeah.Michael Jamin:These will air, yeah, they air they'll be on YouTube as well, and we run clips across media. Okay. People can, you know, they can get it everywhere. They can. Yeah. Continue following.Greg Thompson:Okay. It'sMichael Jamin:All part of that. Yeah. It's all, but that's, yeah. I, I, I, this has been fascinating hearing your story as far as I'm concerned, but ,Greg Thompson:But Greg,Michael Jamin:Thank you forGreg Thompson:I, I, uh, well, thank you. I hopeMichael Jamin:You're a good dude.Greg Thompson:Uh, thank, thank you for having me, Michael. I, you know, I'm a, I'm a huge fan of yours, uh, and, uh, yeah, honored.Michael Jamin:Oh God, this is my honor. But alright, everybody, thank you so much to great comic comedian, writer Greg Thompson. And, uh, yeah. So what, let me tell you what else is going on over here. So keep, if you guys wanna sign up for my watch list, that's my free newsletter where I send out daily tips for screenwriters and creative types at Michael jam.com/watchlist and keep following us here. And, uh, yeah, we have different content on YouTube. Our YouTubes at Michael Jam, writer and, uh, Instagram. Keep follow My Instagram, the TikTok Act. Michael Jam writer. All right, everyone. Thank you so much, Greg. Thank you. Until next week for more people. All right. Be good.Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you'd like to support this podcast, please consider subscribing, leaving your review and sharing this podcast with someone who needs to hear today's subject. For free daily screenwriting tips, follow Michael on Instagram, Facebook, and TikTok @MichaelJaminWriter. You can follow me on Instagram, Facebook, and TikTok @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

So honored that five-time Emmy Nominated actress Sharon Lawrence answered my call. With a career that spans TV, Movies & Theatre, Sharon Lawrence has been entertaining audiences for over 30 years! I have been a fan of Sharon's since 1997 when she starred in her own NBC comedy series Fired Up (co-starring Leah Remini). On Broadway, Sharon has been seen in the revivals of Cabaret, Fiddler on the Roof & Chicago. Her TV/Film credits include NYPD Blue, Queen Sugar, Shameless, Dynasty, Rizzoli & Isles, Drop Dead Diva, One Tree Hill, Grey's Anatomy, The Christmas House & The Christmas House 2: Deck Those Halls. Sharon just finished filming Season 2 of Spectrum's Joe Pickett. Next week, Sharon returns to NYC to star in Robin Gerber's new play The Shot at the 2022 United Solo Festival. In this interview Sharon pulls back the curtain to reveal: How she got involved in Robin Gerber's The Shot How she prepares for such a demanding role How she decompresses after a show The boundaries she puts up when working How The Shot can help those affected by domestic violence The Shot is a work of fiction drawn from the story of former Washington Post publisher Katharine Graham. Before becoming publisher, Katharine was an abused wife, derided in public & beaten in private by her husband, who had inherited The Washington Post newspaper from Katharine's father. The Shot will play at Theatre Row in NYC for 3 performances only: 10/27, 10/28 & 11/2. Click here for tickets! Connect with Sharon: Twitter Instagram Like What You Hear? Follow me @callmeadamnyc on Facebook, Twitter and Instagram Visit https://callmeadam.com for more interviews Special Thanks: Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Adam Rothenberg Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) P.S. This interview was originally presented as a video interview, which you can watch here Learn more about your ad choices. Visit megaphone.fm/adchoices

A homicidal rapist is shot in self-defense by a prostitute (Sharon Lawrence). Munch and Fin learn the gun was used in connection with a string of unsolved murders of johns. When Stabler tries to interrogate her, the woman climbs on the table and gives him a peek up her dress. Cabot fights with Lewin to seek the death penalty, but Benson uncovers a secret about her child that forces the defendant to rethink her position.We're getting an eyeful of Special Victims Unit season 4 episode 1 "Chameleon." Our special guest is Ronald Young Jr. from the Leaving the Theater podcast.This episode is inspired by the story of Aileen Wournos.

Mark and Andrew start the year off right by looking back into the past, twenty years to be specific. January is all about movies from 2002, and we begin with a white-knuckle thriller from TBS called "Atomic Twister." Starring NYPD Blue's Sharon Lawrence and Saved by the Bell's Mark-Paul Gosselaar, "Twister" sees a frantic race to stop a tornado-caused meltdown. But, the more frantic race involves stopping a child from being an even larger creep. Listen in, how about?

Chinggay and Patty look back on all 40 movies they've watched since October and rank the worst, the almost but not quites, and of course, the year's Top 12. Also included: this year's secondary characters who need to score major roles, our dream collabs among the stars of the HCU, our (loving) co-opting of Hanukkah traditions, who our Hallmark Santa is, and the one star who deserves so much credit, we mention him in all our Christmas episodes. Stand by for F*ck, Marry, Kill: Holiday Edition.The Christmas House 2: Deck Those Halls - Ana Ayora, Sharon Lawrence, Robert Buckley, Jonathan Bennett, Treat Williams, Brad Harder'Tis the Season to Be Merry - Rachael Leigh Cook, Travis Van WinkleThe Eight Gifts of Hannukkah - Inbar Levi, Jake EpsteinAn Unexpected Christmas - Bethany Joy Lenz, Tyler Hynes My Family Christmas Tree - Aimee Teegarden, Andrew WalkerOne December Night - Peter Gallagher, Bruce Campbell, Eloise Mumford, Brett DaltonDebbie McComber's Mrs. Miracle Christmas - Caroline Rhea, Katilin Doubleday, Steve LundA Christmas Together With You - Laura Vandervoort, Niall Matter, Harry LennixThe Nine Kittens of Christmas - Kimberly Sustad, Brandon RouthA Very Merry Bridesmaid - Emily Osment, Casey DiedrickNantucket Noel - Sarah Power, Travis DonovanTime for Them to Come Home This Christmas - Jessie Schram, Brendan PennyThanks to Pietro Lazatin for our music and Paola Lazatin for our cover artFollow us on Twitter: @makeithallmark and on Instagram: @butmakeithallmark

Chinggay and Patty are sad to see the Miracles of Christmas bangers come to a resounding crash with this week's tragic movies. But are revived and revved up with two of the year's best movies yet: a reprise from the beloved Christmas House cast and the best triple-name pairing we've seen yet: Rachael Leigh Cook and Travis Van Winkle. Raise your hot cocoa glasses—we made it to the end of 2021!A Godwink Christmas: Miracle of Love (Katherine Barrell, Alberto Frezza)Christmas for Keeps (Christa B. Allen, Ashley Newbrough, Marielle Scott, Ryan Rottman, Cardi Wong)Sister Swap: Christmas in the City (Ashley Williams, Kimberly Williams-Paisley, Keith Robinson)A Royal Queens Christmas (Megan Park, Julian Morris)‘Tis the Season to Be Merry (Rachael Leigh Cook, Travis Van Winkle)The Christmas House 2: Deck Those Halls (Ana Ayora, Sharon Lawrence, Robert Buckley, Jonathan Bennett, Treat Williams, Brad Harder)Thanks to Pietro Lazatin for our music and Paola Lazatin for our cover artFollow us on Twitter: @makeithallmark and on Instagram: @butmakeithallmark

It's finally here! I'm so excited for our second Annual "Home for the Holigays" Month!What happens when a white suburban mom has way too much time on her hands and very forgiving men in her life? Find out as Chad and Carlotta join for "The Christmas House" (2020), Hallmark's first Christmas movie that proudly presents openly gay characters, that weren't shoehorned in!"The Christmas House" (2020) Directed by Michael Grossman and Written by Erin Rodman and Robert Buckley. Starring Robert Buckley, Jonnathan Bennett and Sharon Lawrence. Working through some difficult decisions, a mother and father summon their two grown sons home for the holidays.Hear this episode early on Patreon!  http://patreon.com/rwacpodMerch Store: https://rwacshop.online/RWACpod on Facebook: https://www.facebook.com/groups/rwacpodFollow on IG:  @RWACpodWhere to find the Rebels:Stefan: @sjmaroni on IGBearSailorMoon: @bearsailormooonon all social mediaCarlotta Carlisle: @carlottacarlisle on IG / Carlotta1987 on RedBubbleChad: @cski01 on IGPJ: @xndra_design on IGStu: @janikon_ on IG & TikTok

Sharon Lawrence stars in The Christmas House 2: Deck Those Halls (December 18th on The W Network) (wt), starring Robert Buckley (Chesapeake  Shores), Ana Ayora (In the Dark), Jonathan Bennett (Mean Girls), with Sharon Lawrence (NYPD   Blue), Treat Williams (Chesapeake Shores) and Brad Harder (Aurora Teagarden Mysteries) See omnystudio.com/listener for privacy information.

Today, Kara and Liza cover “Chameleon” (Season 4, Episode 1), serial killer Aileen Wuornos, and talk with the chameleon herself, Sharon Lawrence.  SOURCES: NY Times - 1 NY Times -2 Jacksonville.com Dignity: A Journal of Analysis of Exploitation and Violence Ms. Magazine “Aileen: Life and Death of a Serial Killer” documentary Wikipedia WHAT WOULD SISTER PEG DO: Her Whole Truth - https://www.instagram.com/herwholetruth/ Next week's episode will be “Taboo” (Season 7, Episode 14). See omnystudio.com/listener for privacy information.

If there is one thing the pandemic has taught me it's that our health and our well being is so important. People often don't realize that our gut health has so much to do with our mental clarity, focus, mood...and that my friends all starts with nutrition. My guest today is Sharon Lawrence who is a recognized leader in science based nutrition education and health promotion with 45 years of experience. She's been a clinical nutritionist specializing in integrative medicine, a health educator and motivational speaker. Sharon does FREE 1:1 evaluations and would love to help you come up with a nutritional plan specific to your child and their needs. You can reach Sharon by texting her at 716-570-5560. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Sharon Lawrence joined the staff of California CASA in November 2017, and in the period since, has seen the organization grow significantly, from $780,000 when she arrived, to $1.9 million in FY2019-2020. During her tenure, she has been able to secure more than $5 million annually for distribution to the local CASA network through VOCA. In the past year, California CASA has had to pivot from program growth to helping the network deal with COVID-19 and the economic and health crises that have gripped California and the nation over twelve months. We talk about those, and other realities of the foster youth system. For 20 years, from 1997 to 2017, Sharon Lawrence served as President/CEO of Voices for Children, the Court Appointed Special Advocate program for San Diego and Riverside Counties. She is a member of the California Child Welfare Council and the Family and Juvenile Law Advisory Committee to the California Judicial Council. Sharon received her Bachelor’s degree in Psychology, Speech Communications, and Political Science from the University of Denver in 1985 and her law degree from the University of Texas in 1988, where she served as a student attorney for the Children’s Rights Clinic and managing editor of the Texas International Law Journal. For more information go to http://arcaandassociates.com/ © 2021 Philip Arca

Attention, SAG-AFTRA members! We’re dedicating this episode to a deep dive on the SAG-AFTRA Foundation, your guild’s 501(c) non-profit organization. Board members Sharon Lawrence and Jason George are here to check in on the state of the biz in 2021, offer advice to their fellow working actors, and remind union and non-union artists alike of the resources, programming, and aid the Foundation offers. From the award-winning children’s literacy series Storyline Online to over $6 million and counting in COVID-19 relief, the SAG-AFTRA Foundation “is dedicated to helping performers reach their highest heights while always landing firmly on their feet,” per their official site: https://sagaftra.foundation. Sharon Lawrence, Second Vice President of the SAG-AFTRA Foundation, is a SAG Award winner and four-time Primetime Emmy nominee, for “NYPD Blue” and “Grey’s Anatomy,” and has starred on “The Ranch,” “Shameless,” “Dynasty,” and the upcoming series “Rebel.” Jason George, a Foundation board member and chair of the diversity advisory committee, is a Daytime Emmy nominee for “Sunset Beach,” and can be seen on “Eli Stone,” “Mistresses,” and as Dr. Ben Warren on “Grey’s Anatomy” and “Station 19.” Stay tuned for Christine’s advice for actors looking to join SAG-AFTRA, and visit backstage.com for more: https://bit.ly/3fs7UAJ -- Backstage has been the #1 resource for actors and talent-seekers for 60 years. In the Envelope, Backstage’s podcast, features intimate, in-depth conversations with today’s most noteworthy film, television, and theater actors and creators. This is your guide to every aspect of acting, from voiceover and commercial work to casting directors, agents, and more. Full of both know-how and inspiration, In the Envelope airs weekly to cover everything from practical advice on navigating the industry, to how your favorite projects are made, to personal stories of success and failure alike. Join host Jack Smart, Awards Editor at Backstage, for this guide on how to live the creative life from those who are doing it every day: https://bit.ly/2OMryWQ Follow Backstage and In the Envelope on social media: - https://www.facebook.com/backstage - https://www.twitter.com/backstage - https://www.twitter.com/intheenvelope - https://www.instagram.com/backstagecast Looking to get cast? Subscribe here: www.backstage.com/subscribe Browse Backstage casting listings: https://bit.ly/3mth68e Check out our community-driven virtual programming, The Slate: https://bit.ly/2WDNXf0 Backstage stands in solidarity with the Black Lives Matter movement: https://bit.ly/3cuMBt5 Special thanks to... - Host: Jack Smart - Producer: Jamie Muffett - Social media: Katie Minard, Alysa Cirelli - Design: Mark Stinson, Caitlin Watkins - Additional support: Christine McKenna-Tirella, Kasey Howe, Samantha Sherlock, Benjamin Lindsay, Oriella St. Louis

Join me this week in the first Sweat It Story, I will be sprinkling these in sporadically to give real women the chance to tell their story on their health and fitness journey. For your own Sweat It story to begin why not sign up for the FREE Sweat It Kickstarter Challenge! They are every six weeks and the next one starts Monday, Feb 8th! https://carysandersson.com/sweat-it-kickstarter/2  

Chinggay and Patty experience some hard North Pole no’s this week… But things take a turn for the better when one of their favorite actors-turned-producers gives the Hallmark Channel a progressive, diverse, much-needed glow up. (Hey Robert Buckley, you’re awesome.)Hallmark Channel:A Nashville Christmas Carol (Jessy Schram and Wes Brown)The Christmas House (Robert Buckley, Ana Ayora, Treat Williams, Sharon Lawrence, and Jonathan Bennett)Hallmark Movies & Mysteries:The Angel Tree (Jill Wagner and Lucas Bryant)Thanks to Pietro Lazatin for our music and Paola Lazatin for our cover artFollow us on Twitter: @makeithallmark and on Instagram: @butmakeithallmark

This week I'm with the very entertaining Emmy nominated actress and North Carolina native Sharon Lawrence (NYPD Blue/Sylvia Sipowitz; Grey's Anatomy; Desperate Housewives) as we talk about her growing up in Raleigh with her parents (her dad, Tom Lawrence, was a television reporter for then CBS affiliate WRAL TV5) to her years working in New York on Broadway, to her successful career in Hollywood; plus all about her new movie 'A Christmas House' premiering this month on Hallmark Channel USA! The versatile actress and advocate discusses how more women than ever are making the decisions in Hollywood, and shares her many stories on the craft of acting, writing and directing. Don't miss it!

We are back with episode two to talk real and practical ways to help your anxiety in 2020. Last week we discussed what anxiety is and why it is one the rise. This week we are giving you the tools and solutions to manage it. Mental Health America has reported an almost 400% increase in people reaching out to use their screening tools for anxiety and depression (https://screening.mhanational.org/); and the anxiety that has been created seems to be intensifying and augmenting. So what can we do? Join Lucia Nazzaro and her guest Sharon Lawrence, LCSW and therapist for therapists, professionals and couples, as we continue this series on Anxiety in 2020: How to Rise & Comeback to A Mind and Life You Love, even in the face of all of this adversity! For more about Sharon find her on Facebook, Instagram, Twitter and Pinterest @MySelahWellness and visit his website https://myselahwellness.com/ ---------------------------------------- WellSeekers with Lucia is a podcast exploring how to find your own story of well from the mind down focusing on holistic mental and emotional health, relationships, and wellness topics. Lucia Nazzaro, MA, MSW, LCSW, is an Emmy nominated multi-media storyteller, professor and expert. She works to create ways to help individuals & society find their story of well with a special focus on how we can rise and comeback from life transitions (both considered positive and negative), relationship issues, and issues that surround the human condition and ways to thrive in the face of adversity and challenge.

This year has been challenging on almost every level. Mental Health America has reported an almost 400% increase in people reaching out to use their screening tools for anxiety and depression (https://screening.mhanational.org/); and the anxiety that has been created seems to be intensifying and augmenting. So what can we do? Join Lucia and her guest Sharon Lawrence, LCSW and therapist for therapists, professionals and couples, as we start on our series on Anxiety in 2020: How to rise & comeback to a mind and life you love, even in the face of all of this adversity! We can't wait to start this conversation! For more about Sharon find her on Facebook, Instagram, Twitter and Pinterest @MySelahWellness and visit his website https://myselahwellness.com/ Find Us on Social @WellSeekersFollow Lucia on Instagram @LuciaNazz WellSeekers is great for mental health, holistic well being, stress, anxiety, self care, relationships, healing, growing, connecting, love, and life.

Today's special guest is Sharon Lawrence, a Licensed Clinical Social Worker and the owner of Selah Wellness & Therapeutic Services in Largo, Maryland. Topics Covered: The meaning and psychological significance behind the name Selah The kinds of challenges therapists themselves face when seeking therapy Sharon's take on the difference between therapy and coaching Why Sharon is known as the SelfCarePreneur

In this episode, Sharon Lawrence, owner of Selah Wellness & Therapeutic Services, LLC and I discuss the importance of overall self care for business owners. This includes, emotional wellness, Therapeutic Therapy, recognizing when your season is up, shifting positions and how to balance boldly.

Sharon Lawrence is on the show this week. She's what I'd call the Therapist for Therapists. She's a best-selling author and a media personality. Sharon is sharing some tips about managing or baggage.7 Things to Keep in Mind When Managing Baggage:1. Know What's in Your Bag2. Clean Out Your Bag Periodically3. Keep Your Bag Organized4. Don't Carry Anyone Else's Bag5. Keep Your Bags to a Minimum6. Know When to Throw Some Bags Away7. Don't Go Back to Being the Bag Person.Listen and enjoy!Sharon LawrenceEmail: sharonlawrence@myselahwellness.comInstagram: @myselahwellnessLatest Book: Balance Boldly!Matters of the Heart PodcastEmail: heart@meticulouslymelissa.com Instagram: @mattersoftheheartpodcast Facebook: Matters of the Heart PodcastWant to have your Heart to Heart letter featured on the podcast, click here. Want to be a guest on the podcast, click here.

You will learn about...(02:22)  How Vicky fell in love with film(06:44) Making the transition from film distribution to  writing and directing(11:57) Developing the idea for The Lost Husband movie(14:31) The casting process(19:23) A day in the life on set(23:43) Keys to success as a film producer(29:07) Leadership advice(32:59) Strategies for handling criticism in the film industry(37:19) What can be done to increase opportunities for women in the film industry(43:24) Vicky's most memorable accomplishment(50:03) What is in Vicky's future pipeline for movies(51:23) Vicky's best piece of adviceFor The Lost Husband official trailer click HERETo watch the Lost Husband on Netflix click HERETo watch the Lost Husband on iTunes click HERETo watch the Lost Husband on Prime Video click HERESeveral other streaming options are available HERE Connect with Vicky HEREFor show notes click HEREConnect with Madeline & Becca HEREFollow us HEREIf you enjoyed this episode it would mean the world to us if you could leave a review for The Madeline and Becca Podcast on iTunes HEREIf you are interested in being a guest on our show or have topics you would like us to highlight, please email us: info@madelineandbecca.comOn The Madeline & Becca Podcast, we chat with leading women from a variety of industries about their career journeys and how they developed professional self-confidence. Produced by Madeline and Becca 

Take a listen the prerecorded discussion surrounding "Mental Wellbeing" during such a time as this. Advice from the mental health professionals. How are we really doing? What can we do better? Best Practices and more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/therelationshipzone/support

Take a listen the prerecorded discussion surrounding "Mental Wellbeing" during such a time as this. Advice from the mental health professionals. How are we really doing? What can we do better? Best Practices and more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/therelationshipzone/support

Robin Gerber, a well-known author, attorney and president of the Committee for Replacing Oil & Gas, talks about how her group received a $50,000 grant (the first yet) from the Ojai Valley Defense Fund to represent Ojai's interests as Ventura County moves forward with its General Plan. Robin says that fracking, the imminent threat that caused CFROG to form, isn't on the horizon yet, but the situation bears watching. We talk about Upton Sinclair's book, "Oil," from which the Paul Thomas Anderson film "There Will Be Blood," is based and which was set in southern California including Santa Paula. Gerber told us that the rest of the county is working to overturn Ojai's Five-Pound Rule for emissions in favor of their 25-pound rule. She is arguing the other way around, that our stricter standard should be adapted for the rest of county. We talk about the historic opportunity for the country to shift toward sustainable energy during this pandemic as we go through a society-wide "Hard Reset." And how cultures can have big shifts — such as that which happened with gay marriage and marijuana legalization — in a very short period of time. Gerber wrote a book about Ruth Handler, the inventor and president of Mattel Corp, who invented the Barbie Doll more than 60 years ago, after seeing sex fetish dolls in Europe based on a cartoon character. Handler was a pioneer in "demand marketing," going over parents' heads to appeal directly to children through ads on "The Mickey Mouse Club." Gerber talked about her fascination with Eleanor Roosevelt, which has led her to write two books and a series of lessons in leadership. She had been writing for newspapers and magazines (including a legal affairs column for Readers Digest) and had "helped found the Leadership Academy for woman and underrepresented people." Gerber talked about Allenwood boarding school for girls headmistress Madame Souvestre, who had a profound influence on Eleanor's development, teaching her confidence and the skills necessary to make the world a better place. Gerber said that it only takes one person to make a difference in someone's life. Eleanor's tragic upbringing, no love from her mother, orphaned at age 10, never feeling like she was loved, "The Princess Diaries," starring Anne Hathaway and Julie Andrews, was what gave Robin the idea to write about Eleanor, because Anne's character has in her room a pillow cross-stitched with Eleanor's famous quote: "No one has the power to make you feel inferior without your consent." Robin has also written a counter-factual history called "Eleanor V. Ike," a "what if" chronicle of Eleanor's bid to become president in 1952 after Adlai Stevenson dies of a heart attack. She is now working on an Eleanor-inspired set of courses, "Leadership for Turbulent Times." We also talked about Robin's one-woman play about Kitty Graham, "The Shot," which was accepted into the prestigious Ojai Playwrights Conference, a two-week intensive workshop experience. Sharon Lawrence was set to star in a performance of the play in Los Angeles in early March, but the pandemic arrived. We talk about the amazing Kim Maxwell, who leads the youth portion of the conference, "teaching them to be unafraid." We don't talk about Megan Thee Stallion's latest romantic misadventure or Russian slap fighting.

Take a listen the prerecorded discussion surrounding "Mental Wellbeing" during such a time as this. Advice from the mental health professionals. How are we really doing? What can we do better? Best Practices and more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/therelationshipzone/support

Please join us Right Now, April 27, 2020 at 11:00AM PST as Location Manager Kokayi Ampah and Actress Sharon Lawrence joins host Ron Brewington on "The Actor's Choice."

During the Coronavirus, we are switching our focus to streaming entertainment. This includes Netflix, Hulu, Amazon Prime, Disney+, AppleTV, HBO and Showtime. It's all about keeping you and yours safe. In this episode of He Said, She Said Movie Reviews, your hosts, April and Tim take a look at the movie The Lost Husband. A decent movie with a stupid title. Streaming Service: On Demand Director: Vicky Wight Writer: Vicky Wight & Katherine Center Staring: Leslie Bibb, Josh Duhamel, Kevin Alejandro, Sharon Lawrence, Herizen F. Guardiola, Georgia King, Carly Pope, Nora Dunn & Isiah Whitlock Jr. Runtime: 109 minutes Rated PG-13: for some suggestive references Let us help you make the right movie decision. If you have not already done so, go out to http://hesaidshesaidmovies.com/subscribe/  and subscribe to our podcast (it's totally free to do) so you'll never miss an episode. After the Coronavirus is over, and if you are in Atlanta and want to see movie, please go visit our home theater The Springs Cinema and Taphouse http://springscinema.com/  Also, if you would like us to review a movie on one of the streaming services listed above, drop us an email at tim@hesaidshesaidmovies.com  and we will watch your movie and give it a review. Follow us on Social Media Twitter - @HeSaidSheSaidMo - https://twitter.com/HeSaidSheSaidMo  Instagram - HeSaidSheSaidMovies - https://www.instagram.com/hesaidshesaidmovies  Facebook - @HeSaidSheSaidReview - http://fb.me/HeSaidSheSaidReview  YouTube - https://www.youtube.com/channel/UCwRoqqJj_HbEpYllzQCtaKg/featured 

We're kicking off our next six week series, which is all about stress, depression and anxiety. And today's show is dedicated to caregivers. Caregivers are often faced with greater demands on their bodies, minds and emotions that they tend to neglect their own health and wellbeing. This can then lead to fatigue, hopelessness and physical, emotional and mental exhaustion. This is frequently known as caregiver burnout.Are you a caregiver? A caregiver is not only reserved for professionals like therapist, doctors, nurses, teachers, and police officers. They are also moms and dads, those caring for elders, parents, someone with a eating disorder, a substance abuse disorder, an addiction, or a chronic illness like cancer or an autoimmune disorder.So what causes caregiver burnout? How can you spot the symptoms of caregiver burnout? What can you do to take better care of yourself and other caregivers alike? So many question. And we have answers! Join us on today's show as Lucia welcomes guest Sharon Lawrence, Therapist for Therapists and Professionals, LCSW and Certified Life Coach, for a real and hopeful conversation on caregiver burnout. With real talk, tools and experts, WellSeekers with Lucia is here help you find ways to love yourself & others more well!For more about Sharon Lawrence, visit her website myselahwellness.com Find Us on Social @WellSeekersFollow Lucia on Instagram @LuciaNazz WellSeekers is great for mental health, holistic well being, stress, anxiety, self care, relationships, healing, growing, connecting, love, and life.

Natalie Moretti (Musician/Actor) joins Patrick Serrano to discuss Hallmark Channel's Merry & Bright. (Starring: Jodie Sweetin & Andrew Walker.) They also discuss the REAL Candy Cane capital of the world, Jodie & Andrew's amazing chemistry, and four-time Emmy nominee Sharon Lawrence acting with a dog. Read Patrick's reviews on our website: https://lifetimeuncorked.com/Check out other Universehead Podcasts: https://www.universehead.com/Rate and Review us! (With emojis, please!)Follow the Podcast @LifetimeUncorkedFollow the Host @PatrickMiguelFollow the Producer @DrewButWithPantsTheme Music provided by @jwheeler_music of the band @ModernDaybreakBandCandace Cameron Bure Theme provided by: @BradKempMusic --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lifetime-uncorked/message

Kent Skov’s L.A. Connection Comedy Theatre (LAC) continues its popular celebration of the incoming new year, which has been sold out every year for the past 27 years, with two shows featuring an all-star troupe of improv players. The schedule for December 31 was announced today by founder Kent Skov. This will be the club’s first New Year’s Eve in the new Burbank location. “This year’s celebration will have an 8:00 p.m. show for the amazing price of $25.00 and a 10:00 p.m. show for the ridiculous price of $35.00! “said Skov. He also noted that a limited number of combo tickets that provide entry to both shows are available for the bargain price of $50.00. The late show will include party favors in the ticket price. There will be a full bar on site. The theatre is also handicapped accessible. There is free parking across the street at Bank of America. Both shows run longer than LAC’s usual shows, and each is different with different casts composed of the celebrated club’s best players. They will include a mixture of award-winning movie-dubbing clips from LAC’s library of old movie classics, improv, and classic sketches. Skov also promises some surprising fun throughout the evening. The late show will include celebrity impressions, a take-off on the Dating Game, as well as topical and relationship humor. The shows are fast, furious and funny, in the style of “Whose Line it is Anyway.” In addition to the non-stop comedy, there will be several giveaways to guests. Fans of “The Walking Dead” will be happy to hear that a DVD of LAC’s critically acclaimed “The Night of the Living Dead—Dubbed,” which was created during the show’s limited run in spring 2006, will be one of the coveted prizes. And per their annual tradition, one lucky guest will win a ONE-YEAR PASS to the LAC’s comedy performances. L.A Connection Comedy Theatre will celebrate its 40th year in 2017, and plans are currently underway for a Gala Event to be held in February. Some of LAC’s alumni include: Will Ferrell, Chris Kattan, Matthew Perry, Jon Lovitz, Shannon Elizabeth, Hank Azaria, Sharon Lawrence and Josh Groban. The legendary Spolin Players, now in their 53rd year, are making LAC their home.

Entrepreneurs, as we form business relationships, we need to ensure that they are healthy for everyone involved. Would you be able to recognize partnership red flags? Sharon teaches us how to identify those and how to sustain healthy connections. Sharon J. Lawrence is the owner/primary clinician of Selah Wellness & Therapeutic Services, LLC. She has over 15 years of experience working as a Therapist, Clinical Director, Foster Care Supervisor, Behavioral Health Bureau Chief, Certified Anger Management Specialist, Certified Life Coach, Certified Prepare-Enrich Trainer and Speaker. She specializes in providing therapy for Therapists, Professionals, and Couples. She is passionate about empowering others to maximize their quality of life. Her mission is to provide individuals and couples with the tools to be successful. Special Guest: Sharon J. Lawrence Website:          https://myselahwellness.com/ Instagram:       https://www.instagram.com/myselahwellness/ Facebook:        https://www.facebook.com/myselahwellness/ Twitter:            https://twitter.com/MySelahWellness YouTube:        https://www.youtube.com/channel/UCXP2Eb07ZjQXgfx1ok8GA7A         Books:             https://www.amazon.com/author/sharonjlawrence   Where to find us: Digital Academy  https://mindingmyblackbusiness.com/digital-academy/ Facebook:           https://www.facebook.com/drjanaetaylor/                             https://www.facebook.com/groups/474095289596388/ Instagram:          https://www.instagram.com/drjanaetaylor/     Twitter:               https://twitter.com/Mindingmyblkbiz  Email:                 info@mindingmyblackbusiness.com Website:              www.mindingmyblackbusiness.com Merchandise:       https://bit.ly/2ICq1VQ    Don’t forget to Like, Subscribe, and Comment!

Hosts John M. Craig and Colin Flynn. John is on the set of a new TV show. Colin is trying to adjust the furnace. Also: Lent, Catholic, New York, NYC, NYPD Blue, Sipowicz, New York Undercover, Dick Wolf, Dennis Franz, Steven Bochco, Jimmy Smits, Staten Island, Mark-Paul Gosselaar, Ash Wednesday, Bamonte’s, Green Point, Ricky Schroeder, David Caruso, Sharon Lawrence, Italians, Hulu, Three Identical Strangers, Brooklyn, Jewish, adoption, Italian horn charm, Kiss of Death, ginger, redhead, Bill Burr, Phil Murphy, cannabis, Pop Sugar, Post Malone, 40 year old dancer, hip-hop dance class, Ellen, Twitter, Twitterverse, Mike Allencourt, Jacksonville, Florida, Wil Smith, Perri Konecky, Cedric, barber shop, Dr. Phil, Joe Rogan, Jussie Smollett, Marc Maron, Dr. Drew, Celebrity Rehab, Adam Corolla, Love Line, Jay McGraw, Stage 9 Productions, The Doctors, Renovate My Family, Hugh Hefner, Erica Dahm, Nicole Dahm, Jacqueline Dahm, Dahm Triplets, DNA Test, cardiologist, Luke Perry, sleep, stroke, 90210, Reddit, Facebook, University of Iowa, WDIV, Graham Digital Media, Detroit, White Boy Rick, Matthew McConaughey, Rick Wershe Jr, crack cocaine, Max Richter, Spotify, True Romance, Quentin Tarantino, Gary Oldman, Queens, method actor, Bummer, Boy Scouts, fainting, beer, martinis, Amoretto, Limoncello, Guns, Pistol, Gun control, Finland, Finnish, vendace, herring, Lasse Viren

You know Emmy-nominated Sharon Lawrence from...oh, let's say "NYPD Blue", "Shameless", "Grey's Anatomy", a thousand other movies and tv shows, and maybe the recent original Lifetime movie "Poinsettias for Christmas." She was recently honored by the Cancer Support Community of Los Angeles with a Gilda Award for her support of breast cancer awareness and research. She's lovely, funny, delightful, and can really belt out a Pat Benatar tune. You can keep up with Sharon on Twitter @sharonlawrence, on Instagram and learn more about the local cancer support community at csclagala.org Watch the Lifetime movie "Poinsettias for Christmas" on demand now at MyLifetime. -Larry Morgan

You know Emmy-nominated Sharon Lawrence from...oh, let's say "NYPD Blue", "Shameless", "Grey's Anatomy", a thousand other movies and tv shows, and maybe the recent original Lifetime movie "Poinsettias for Christmas." She was recently honored by the Cancer Support Community of Los Angeles with a Gilda Award for her support of breast cancer awareness and research. She's lovely, funny, delightful, and can really belt out a Pat Benatar tune. You can keep up with Sharon on Twitter @sharonlawrence, on Instagram and learn more about the local cancer support community at csclagala.org Watch the Lifetime movie "Poinsettias for Christmas" on demand now at MyLifetime. -Larry Morgan

Did you know cognitive behavioral therapy also known as talk therapy is not the only model of therapy? On this episode, we speak with Sharon Lawrence who tells us all about EMDR and how it can be helpful for trauma. She also discusses self care for therapists and professionals, relationships and having a healthy marriage. Sharon Lawrence is s a Licensed Clinical Social Worker (LCSW-C/ LCSW) (MD/VA), Certified Anger Management Specialists-II (CAMS-II), Certified Prepare-Enrich Facilitator and Trainer, Certified Life Coach, Board Certified-TeleMental Health Provider (BC-TMH), an Approved Clinical Supervisor in Social Work (MD) and credentialed as an Employee Assistance Specialist-Clinician. She also holds a Certificate in Christian Ministries from the Evangel Bible College. She has over 15 years experience working with children, adults, couples and families within the following settings: mental health, substance abuse, foster care, family court, and developmental disabilities. She is the owner of Selah Wellness & Therapeutic Services, LLC, where she is a Therapist for Therapists, Professionals and Couples. Her passion is to improve the lives of clinicians and professionals who manage the day to day responsibility of caring for others. References/Resources:For EMDR: Go to www.psychologytoday.com and select EMDRTheraTapper Used for EMDR: http://www.dnmsinstitute.com/theratapper/Sharon’s Book, 7 Simple Ways to Shape Your Marriage: Strategies to Feeling Loved and Connected https://myselahwellness.com/shop/7simpleways Selah Wellness & Therapeutic Services: https://myselahwellness.com/ Connect with Sharon on social media @myselahwellnessWhere to find Kea on social media and join the mental health conversation? Twitter: www.twitter.com/firefliespod Instagram: www.instagram.com/firefliespod “Like Us” on Facebook: https://www.facebook.com/firefliespod Join the Fireflies Unite: Healthy Minds Facebook Group https://www.facebook.com/groups/1714131805325103/ Send suggested topics to kea@firefliesunite.com

It's NYPD Blue's Sylvia Sipowicz! Yes, the woman whose provocative scenes were a major part of this groundbreaking, iconic TV series. But wait! Sharon has also been a constant presence on television since then, in shows like: Shameless How to Get Away with Murder The Ranch Me, Myself and I Queen Sugar Rizzoli & Isles Drop Dead Diva One Tree Hill Monk Desperate Housewives Ladies Man Fired Up and now! Dynasty. Yes, Dynasty. It's a new, updated version and you can see her on the October 26 episode on the CW. You'll hear Sharon, who's also on the board of the SAG-AFTRA Foundation, reflect on: provocative TV landing her famous gigs moving from small-town to big-city life her husband, parents, in-laws and friends life, love and acting fax machines, ticker tape and "the breakdown" Enjoy!   BIG THANKS to Carson Beck for recording this episode at his stellar soundBOX Studio City. For more on soundBOX, go to soundbox.la. # EXTRAS: Behind-the-scenes photos of Sharon + me recording this episode: https://www.reallyfamouspodcast.com/now/sharon-l    Get inside scoop from me! https://www.reallyfamouspodcast.com/be-an-insider/   Donate to Really Famous podcast and get major appreciation from me: https://www.reallyfamouspodcast.com/donate   Watch Sharon Lawrence in Dynasty:  http://www.cwtv.com/shows/dynasty/view-in-app/es5   Look for Sharon in the new film Killing Eleanor (coming soon).    #   I want to interview ... YOU! (Or someone you know.) Want to give the gift of a Really Famous episode? I'll interview anyone you like -- your family member, friend, colleague, you -- and package it as a podcast episode. It won't air on Really Famous, but you'll have a major keepsake -- forever. For details, email me at reallyfamouspodcast@gmail.com. #   Thank you to Julie, Kahani, Lindsay, Yvette and those of you who'd rather get fussed over publicly (yet are important to me and the show). You're so very much appreciated -- all of you! Thanks for your encouragement and for supporting the show on Patreon. Want to be a super-appreciated patron? Go here: https://www.patreon.com/reallyfamous # Say hi on social media. Share your thoughts with me - and everyone! Twitter: @kara1to1 https://twitter.com/kara1to1 Instagram:  @reallyfamouspodcast https://www.instagram.com/reallyfamouspodcast/ Facebook:   @karamayerrobinson https://www.facebook.com/karamayerrobinson # Celebrity interview by Kara Mayer Robinson. Music - Take a Chance by Kevin MacLeod - incompetech - Creative Commons

How to balance a busy life! Everyone knows life has peaks and valleys, it can get very busy. And if your life never gets busy then you do not have a life, you are just existing. It is time for you to get up, get out and get a life! Painting classes, running clubs, every hobby has meetup. But how do you stay mentally and emotionally fit while enjoying a wonderful life? In this episode I interview licensed clinical social worker, and friend of the show Sharon Lawrence. (if you missed my interview with Sharon, it’s episode 48) and Wintana Kiros, a registered clinical nutritionist with years of experience as a clinical dietitian promoting health and fitness. They are here to help you stay fit and fabulous on the run. Unfortunately fast food is not going to help us sustain a healthy lifestyle. Watch and listen to learn a few quick tips to stay healthy while you’re on the run building a life that is your own kind of beautiful. Invest some time in caring for your temple so you can be healthy for as you are alive. Host: Anita Washington, That Anita Live Topic: How To Balance A Busy Life and Good Health Guest: Wintana Kiros, RCN and Sharon Lawrence, LCSW Guest’s Website: Wintana – https://www.ResetLifestyle.com Guest’s Website: Sharon – https://www.MySelahWellness.com

It's our Dirty Thirty, and the age is showing, gurl! We forget names, pronunciations, maybe a couple of plotlines, and Mal's love of westerns places her squarely in the golden age of her life. Nevertheless, we cover S4E1 "Chameleon" with guest star Sharon Lawrence playing a sex worker with a heart of...well, you'll just have to listen to find out. And say hi to Sweets, who is real thirsty to get in on the action! Share, subscribe, rate and review on iTunes. Follow us @yaaaasvu on Twitter and Instagram, or email us at yaaaasvu@gmail.com! Mal is @malgrocks, and Justin is @BlackManThatsMe.

Talking Off The Couch podcast focuses on mental health and mental wellness within the community of color. Tatiana Smith who is a Licensed Professional Counselor in Dallas, Texas decided that it is time to shed light and break stigmas about mental health/wellness in the communities of color. This podcast is a voice for the mental health community as well as the average person. Talking Off The Couch will make you feel Ok about not being Ok.   This week's episode I speak with my guest therapist Sharon J. Lawrence, LCSW-C, LCSW, ACSW, EAS-C, CAMS-II, DCC of Selah Wellness & Therapeutic Services, LLC about how to deal with Anger, anger management, and the importance of self. You will learn what is anger and how to cope with it.     Sharon J. Lawrence is the Owner/Primary Clinician of Selah Wellness & Therapeutic Services, LLC located in Largo, Maryland. She is a Licensed Clinical Social Worker, Certified Anger Management Specialists-II, Certified Prepare-Enrich Facilitator and Trainer, Certified Life Coach, Distance Credentialed Counselor (DCC), an Approved Clinical Supervisor in Social Work (MD) and is credentialed as an Employee Assistance Specialist-Clinician. She has over 15 years experience working with children, adults, couples and families within the following settings: mental health, substance abuse, foster care, family court, and developmental disabilities.     Ms. Lawrence is a Therapist for Therapists, Professionals and Couples. Her passion is to help improve the lives of clinicians and professionals who manage the day to day responsibility of caring for others. As part of her direct practice, she also runs a court approved Anger Management Program for Adults which focuses on teaching participants how to manage their emotions and live a more productive life.     Where you can find Sharon Lawrence:     Web: http://www.myselahwellness.com/   Facebook: @Myselahwellness Instagram: @Myselahwellness Twitter: @Myselahwellness   Podcast hashtag #talkingoffthecouch and #TOTCpodcast Email: info@talkingoffthecouch.com Facebook-Talking off the Couch Podcast Facebook Group-Talking Off The Couch Village Instagram-talkingoffthecouch Twitter- podcasttotc   If you are interested in working with Tatiana as a therapist you can find out more about her services at www.tsmithcounseling.com   If you have questions or would like to discuss sponsorship opportunities, email us at: talkingoffthecouch@gmail.com   Make sure to also visit our website at www.talkingoffthecouch.com  

Back in the day, when I would hear songs like; It’s Cheaper to Keep Her by Johnnie Taylor, and No Pain No Gain by Betty Wright, blaring from the house windows of my aunt and uncle, I knew she was mad about the grass not being cut or he was mad Hamburger Helper was for dinner again! LOL! It’s no secret marriages are a lot of hard work. So for the sake of “LOVE” I reached out to very well-known and respected marriage counselor Sharon Lawrence of My Selah Wellness for the three biggest problems facing marriages today and three solutions to make marriage last. So for all you married folk and those hoping to one day be, this is to you! Enjoy the interview! Host: Anita Washington, That Anita Live   Topic: How to Strengthen Your Marriage   Guest: Sharon Lawrence, LCSW

The writers of Star Trek: Voyager charge into season 2 by heroically tackling one of history's most famous mysteries! The Talkers of The People vs. Star Trek: Voyager charge into season 2 by examining how that mystery is handled and heroically deciding that they aren't entirely sure how they feel about it! The season 1 safety protocols have been disengaged-- can the de facto season 2 premiere hold up to the high-speed winds of judicial scrutiny? Can the dazzling charisma of mid-1990s Sharon Lawrence blind the court to this script's obvious flaws? Is “The 37s” good… or is it garbage? Like this thing? Help us continue making it by going to patreon.com/shadeaux.

País Estados Unidos Director Afonso Poyart Guion Sean Bailey, Ted Griffin Música BT Fotografía Brendan Galvin Reparto Anthony Hopkins, Abbie Cornish, Colin Farrell, Jeffrey Dean Morgan, Xander Berkeley, Janine Turner, Marley Shelton, Kenny Johnson, Jose Pablo Cantillo, Angela Kerecz, Sharon Lawrence, Autumn Dial Sinopsis Un hombre con habilidades extrasensoriales se alía con el FBI para dar caza a un asesino en serie.

MARCH 26, 2017 - BUH-DUN-DUN-DUH-NUH! From the Comedy News Headquarters on the internet, it's THE DAILY SHOW WEEKLY, hosted by Vic Shuttee and Chandler Dean. Huzzah and Kudos, 2017! You just had your first nice week. The Republican alternate to Obamacare pulled off a historical belly flop, failing to even make it to the floor. And it seems, the rumblings of Russia only grow louder. Even as a Nuclear Option looms over the Supreme Court... there is reason for hope. Back in 1999, there are also reasons to smile: Paul Michael Mercurio continues to hit it out of the park with his Second Opinions, Colbert pokes the bear of egregious liberal overspending in small town California and the Daily Show finally books its first uh... mustachioed correspondent, with newcomer William Stephenson. And ignoring the unceremonious return of the Kilborn staple Ad Nausium, there's a lot to like here. Even if Jon is about to get his ass kicked by a recently retired Billy Joel. Sharon Lawrence, Rob Estes, Angelina Jolie, David Spade, Seth Green, Sheryl Lee Ralph, Chris Robinson, and Joy Behar guest. The Daily Show Weekly is an unofficial fan podcast designed to serve as a critical companion to the original series, which can be watched in clips at CC.com. Our thoughts and criticism are intended to offer historical reflection and enhance the viewing experience for new and old fans journeying through Jon Stewart’s seminal talk show run. Our awesome album artwork is designed by Felipe Flores Comics!

Story: Eine Serie von bizarren Morden hält den FBI-Veteranen Joe Merriwether und seine ambitionierte Partnerin Katherine Cowles auf Trab. Am Ende ihrer Weisheit angekommen, bitten sie den einsiedlerischen Psychoanalytiker Dr. Clancy um Hilfe und hoffen, dessen intuitive Kräfte für sich nutzen zu können. Clancys aufrüttelnde Visionen führen zwar auf die Spur des Serienkillers, doch er muss einsehen, dass all seine übernatürlichen Begabungen kaum ausreichen, um den Mörder zu stoppen. Denn dieser hat eine tödliche Mission. DVD/Blu Ray-Release: 19.05.2016 (Concorde Video) Solace Thriller, Mystery Land: USA 2015 Laufzeit: ca. 101 min. FSK: 16 Regie: Afonso Poyart Drehbuch: Sean Bailey, Ted Griffin, Peter Morgan, James Vanderbilt, Jonathan Hirschbein Mit Anthony Hopkins, Jeffrey Dean Morgan, Abbie Cornish, Colin Farrell, Sharon Lawrence, ... https://youtu.be/OnJA_sxOM7U

Story: Eine Serie von bizarren Morden hält den FBI-Veteranen Joe Merriwether und seine ambitionierte Partnerin Katherine Cowles auf Trab. Am Ende ihrer Weisheit angekommen, bitten sie den einsiedlerischen Psychoanalytiker Dr. Clancy um Hilfe und hoffen, dessen intuitive Kräfte für sich nutzen zu können. Clancys aufrüttelnde Visionen führen zwar auf die Spur des Serienkillers, doch er muss einsehen, dass all seine übernatürlichen Begabungen kaum ausreichen, um den Mörder zu stoppen. Denn dieser hat eine tödliche Mission. DVD/Blu Ray-Release: 19.05.2016 (Concorde Video) Solace Thriller, Mystery Land: USA 2015 Laufzeit: ca. 101 min. FSK: 16 Regie: Afonso Poyart Drehbuch: Sean Bailey, Ted Griffin, Peter Morgan, James Vanderbilt, Jonathan Hirschbein Mit Anthony Hopkins, Jeffrey Dean Morgan, Abbie Cornish, Colin Farrell, Sharon Lawrence, ... https://youtu.be/OnJA_sxOM7U

Steve Cooper talks with actor Sharon Lawrence. Sharon is best known as her role as Sylvia Costas Sipowicz on NYPD Blue that garnered her three Emmy nominations for Outstanding Supporting Actress in a Drama Series. SHe got her start in acting on Broadway with a role in the revival of Cabaret and years later she returned to star in Chicago in the role of Velma Kelly. A familiar face to TV she has starred, co-starred or been a recurring character in countless series such as Cheers, Star Trek: Voyager, Fired Up, Ladies Man, Wolf Lake, Law & Order: SVU, Boston Legal, Desperate Housewives, Monk, Grey's Anatomy, Curb Your Enthusiasm, The Mentalist, One Tree Hill, Drop Dead Diva, Rizzoli & Isles and Blunt Talk. 

These red carpet interviews highlight narrative short and feature films, including: The Dead Lands, The Bridge Partner, Safelight, 7 Chinese Brothers, Reminiscent, and Eadweard.

Take some time this week to remember your original happy hour: Saturday mornings as a kid, waking up at dawn, jumping on the couch with a bowl of chocolate cereal, turning on the ‘toons, tuning out the outside world, and working your way into a sugar hangover before noon. Join us for our Very Special After School Episode where we talk about, well, Very Special After School Episodes. As an example of how important material should be done we present the new film Grace., starring Annika Marks, Sharon Lawrence, and Cindy Joy Goggins (we even sit down with all three women for a long chat about the movie and everything it means!), and as an example of how it shouldn't be done, we present every 80's Very Special sitcom episode made. Also, we're proud to introduce our new host Johnny Heck this week and you'll get your chance to win a copy of Grace. on DVD by emailing us at Saturdaymorningcereal@yahoo.com (details at the end of the show).

Kyle and Kirk sit down and talk about Kirk’s dumb dream and his move, Sharon Lawrence, Always Sunny, Car Troubles, Coachella and Warped Tour.  (Recorded 4/6/14)

Marie and Sharon Lawrence discuss her role on NYPD Blue, and other aspects of substance use and mental illness on TV shows, films, etc.

This week Maria speaks with Dr. Christine Anderson about her Dynamic Prenatal Yoga program and Sharon Lawrence talks about “Creating all natural family eating habits is easier than you think?.  Next,  Suzanne Rowan Kelleher, Editor-in-Chief, WeJustGotBack.com talks about traveling with your family and Barbara Klein, author of “Raising Gifted Kids? talks about Everything You Need to Know to Help Your Exceptional Child Thrive.