Podcasts about Sievert

Sievert, Sara www.deutschlandfunk.de, Kommentare und Themen der Woche

Die Themen: Pyjamas im Büro; Scholz-Umarmer war völlig zugekokst; Carsten Linnemann verzichtet auf Ministerposten; Spahn als Gesundheitsminister gegen AfD-Sorgen?; Saleh fordert von Merz “Sendepause”; Harvard standhaft – US-Regierung friert 2,2 Milliarden Dollar ein; Prozess gegen Meta wegen Instagram-Kauf und Schotte findet Legostein nach 20 Jahren im Ohr wieder. Host der heutigen Folge ist Markus Feldenkirchen (DER SPIEGEL). Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/ApokalypseundFilterkaffee

Kort smakprov, för att höra detta avsnitt bli prenumerant för 39 kr i månaden på https://underproduktion.se/stormensutveckling Om det uppstår problem mejla support@underproduktion.se Ola om att hyllade tv-serien ”Adolescence” är för Sievert Öholm och att det är bättre att se komikern Conner O'Malley om man vill förstå samtiden. Liv om klagandets njutning. Bok som refereras:Aaron Schuster - The Trouble with Pleasure: Deleuze and Psychoanalysis

Laura Sievert Hesseltine is the Executive Director of Arts Quincy, the oldest arts council in the U.S., where she champions community engagement and cultural transformation. With a background in corporate marketing and a passion for creativity, Laura shares her journey from leading large-scale retail marketing campaigns to revitalizing the arts sector in rural Illinois. She … Read More Read More

Hana shines and Aya rises.Book 3 in 18 parts, By FinalStand. Listen to the ► Podcast at Explicit Novels.“It is selfish to believe that your family will always love you. At some point you will be asked to earn it.”My equilibrium decided to cut me some slack and not invoke the reflexive vomiting. "It is only me, Hana, Imogen, Deidre, Mom, Buffy, hi Juanita," I hadn't spotted my designated bodyguard standing behind Chaz."Don't talk to me right now," she seethed. "I'm furious with you." Yep, she was the Caribbean Buffy."Perhaps she's pissed about the five extra Illuminati bodyguards added to the regular two around Hana plus the two circling Ghost Tigers having not a fucking clue what those other armed parties are doing in Hana's company," Pamela joked. She could. Everyone else was giving me crap about my social gaff."Hey now. This meeting is important. Imogen and I are going to have a child," I enlightened them. The door chimed open and we piled in with two Amazons whose 'fresh' look indicated a use of the showers within the past ten minutes."You consistently maintain particularly low standards," Chaz dryly remarked."I sent her here for a check-up and that gave Buffy a chance to meet Mom, Deidre and Imogen, plus two unarmed bodyguards," I kept bailing out the Titanic."Chaz, I am happy we aren't going to miss this one (lunch)," Pamela smiled at her two grandsons."Cáel, are you going to tell your fiancée you've impregnated your aunt?" Chaz was back to being mildly sympathetic to my 'totally fucked-up' life."Yes. I figured Buffy shooting death rays at me from her eyes will garner me enough confusion to get the words out of my mouth without her throwing her drink in my face, slapping me, then storming out," I envisioned.I got no more shit until I reached the garage for my vehicle. There an armed FBI Special Agent Virginia Maddox (did you know when a Federal Agent adds 'Special' to their title it means they have a gun?) stood next to my chariot. She'd drawn the short straw, meaning she had been given the chore of driving today.I found myself wondering when Yasmin would finally finish her orientation. Her training involved some serious mental challenges including a crash course from the FBI at Quantico concerning modern judicial theory & practice as well as whatever pre-Iron Age jurisprudence the Host practiced.Javiera promised me (and Katrina) that she would not-so-subtly remind those scholastically-groomed legal minds that a (couldn't use the word 'Amazon') legal code they followed had existed, with minor tweaking, as a successful social instrument for over 3,000 years. If they truly behaved in a respectful manner, the owners of the code might even show those people the Codex on the original horse-skin, written in Hittite cuneiform.Anyway, everyone assumed I had a good reason for heading to my apartment (aka need to retrieve a sleepy Odette.) Had I repeated 'the Bitch stole my fortune cookies', they might have simply taken me to an Asian-inclined grocery store. As we hit the second story landing, Chaz in the lead, we heard a passel of folks come down toward us from the fourth level.I didn't think there were that many people on the entire floor. Chaz and Pamela each went for their holstered pistol, while keeping them hidden in their jackets. Wiesława, who went for her PDW, backed up so she could fire through the stairs from beneath.Juanita, bless her heart, and Virginia had remained in the S U V because sending in more people would have left us piled into one another. If a firefight did break out, Juanita could bring in some serious hardware to back us up while Virginia called the appropriate authorities before rushing in herself.Around the corner on the third floor landing came a number of women, early/mid-twenties, physically fit, foreign clothes and downcast expressions. A few looked like they were about to cry. They were all in shirts and jeans, with no obvious weapons. Not looking lethal didn't ratchet down Chaz's vigilance. Me? I was instantly reminded how much sex I had been missing."Prince Cáel! You are alive!" spilled out of the first one, a fiery red-head with a billowing, thick mane, porcelain skin and adorable freckles. Her Irish brogue was enchanting. I had to wonder if she cried out in Gaelic during orgasm. Wasn't I about to meet my future bride plus numerous other love interests?She was fit, curvy and wearing an aqua shirt which exposed her midriff with a belly ring bearing a pearl drop, the requisite tattered skin-tight jeans and soft leather calf-boots."Why wouldn't I be alive?" I grinned, like a pirate discovering an all-girls school oceanographic classroom in need of plundering."How do total strangers know how unlikely it is that you would still be alive?" was Chaz's spin on things."We talked with your roommate. He said you had moved to Svalbard where you suffered an excruciating painful, yet richly deserved, death in a lemming stampede," she pouted, "and then the UN had your ashes exiled to Pluto because the Sun was too good for you."9, 10, 11 --12 of them looking, 3 with pale blonde hair that eerily reminded me of my fiancée, another red-head, two russet and five with deep, dark brown, or black hair. They were all fit, fit, fit! With an air of 'I graduated college only to discover: 1) no one was hiring Saline Soil Scientists, or 2) I no longer want to do any of the things I wanted to do when I picked this major. I was familiar with both types.Timothy would have been at work and Odette would have invited the troupe in to regale them with all sorts of tales, which would have included a tour of my bedroom. They clearly had missed Odette so, now I recalled; that particular excuse was one of the ten I had given the guy in 4B should anyone suspicious come calling.I imagine twelve hot, English-as-a-Second-Language girls might be considered, a bit odd. See, his was my address of record. I lied about my actual apartment, so random people who came looking for me went to him instead. This arrangement had been made prior to my understanding of the nature of my employment at Havenstone.I'd neglected, telling him to move out and go far, far away? Poor guy. I'd find a way to make it up to him later."Actually it was a southern vole immigration incident that was set off by the Bulgarian consulate offering repatriation for the first 10,000 applicants," I frowned, clearly traumatized by memory of the incident."These poor southern vole, native to the vacationer-friendly Black Sea resorts, were accidently introduced to the coldest inhabited place in the Northern hemisphere and they've been trying to get home ever since, that would be the equivalent of a century and a half in 'vole-years.""Despite the UN trying to quarantine any news of this Cricetidae catastrophe, I decided to evacuate the six most critically injured vole using a Bortolanza Pluto ultralight, which he must have confused with the UN sending my ashes to Pluto," I explained.Mind you, the 'southern' voles are native to, among other places, Norway, the owner of Svalbard. They were also native to the Bulgarian Black Sea coast so, The Pluto ultra-light, once built in Italy, is now called the 'Puma' and made in Canada, has a maximum range of 675 km, which would leave me crash landing into the Barents Sea, 260 km north of the northernmost airport in Norway, rendering me and my voles so much frozen food."You are an animal rights activist too?" several of the girls gasped. Yes. Yes I was. I was an animal and I was all for me having rights."Please, don't tell anyone about this," I grew serious. "I don't want my philanthropic efforts to be publicized. What I do, I do for the Earth's endangered ecosystems because it is what everyone should do, not because we suddenly feel bad about neglecting it.""E haere koe ki te whai kia nui ai," Pamela snorted. I'd ask her why she knew Maori later, right after I figured why Grandpa knew it."Ko toku mahere whānui," I replied. The girls looked confused."I'm also trying to revitalize endangered languages and revive dead ones. It is more of a hobby than life pursuit," I informed them."You really are a modern-day noble warrior-poet," the red-head leader sighed."Nah. I'm just a guy," I shrugged. "Besides, Ba ch ir fear a bheith ar eolas ag a gn omhais, n  a oidhreacht." (A man should be known by his deeds, not his heritage)."Sa ch s go bhfuil misneach, t  s il agam," she replied using my 'family' motto."Jos on jalot on toivoa,", "Ahol van b tors ga, van rem ny," and "cesaret olduğu yerde umut vardır," all followed. 'Where there is Valor, there is Hope' in Finnish, Hungarian and Turkish. I got the sneaking feeling this wasn't a college field trip gone awry. These chicks were coming at me with a purpose that included more than sexual gratification and a kiss good-bye. Ugh."Thank you," I genuflected, paying honor to their reciting of my personal vow. "Anyway, you appear to be looking for me, but I am afraid I don't know any of you. Taking into account that I have a late lunch date with my fiancée in a half-hour and will be taking notes at a feminist convention at 8, what can I do for you?" I was establishing my escape plan."We have come here to join you," an assertive, dusky-skinned one smiled. I had to think about this. I was a bit tired. Taking all twelve of these girls on in one orgy was currently beyond me. I'd do eight tonight and the last four before breakfast tomorrow. Ah, happy thoughts of the Lacrosse Finals."What exactly do you plan to do with Mr. Nyilas?" Chaz interrupted."We are the (Irish) 'Na conairte soith an   S aghdha ar', (Hungarian) 'A szuka kuty kat Herceg Nyilas', (Turkish) 'Prens ok u Kaltak K pekleri' and (Finnish) 'Narttu koirista prinssi jousimies'," they chorused.Pamela snickered. All of those fancy sounding names were variations on 'the Bitch Hounds of Prince Archer/Nyilas (with the Irish going for O'Shea)."You want to be my bodyguards?" I gawked. Lacking lions, the Irish choice of the 'fur-balls of death' were hounds. Being women technically made them 'bitches'. I had to move fast. Any second now Wiesława was going to figure out these over-anxious non-Amazons were trying to replace her."You do realize I've left piles of dead bodies in my wake, right?" I nearly choked. Pamela slapped me on my back."Of course," they sounded so chipper. Fuck you Internet and 'First Person Shooter' games. This wasn't a fucking game! Trained combatants who joined my retinue met grisly ends and this was their freaking profession!"Can I think about it? I mean, do any of you have any combat experience at all? Attacked someone in anger? Send off a blistering instant message?""Some of us have (combat experience I was assuming). We won't let you down.""You do realize Ms. Dubois is going to kill them, don't you Sir?" Chaz sent me a chilling look."Ms. Dubois?", "who is that?" and "kill us?" floated around."Ms. Dubois is my blood-hungry ferret who wears a 'naughty berserker' human suit to trick the masses.""Three of us have military training," one of the Finns spoke up.By that they meant they had volunteered for military service in their native countries, then left after their first term because they found military life to be boring. On the 'plus' side, all but one had martial arts experience and six of the twelve had been a member of a Gun Club of some kind. Yep, Buffy was going to kill them, all twelve at once by herself."I'll make you a deal," I offered. Chaz was giving me his 'I'm a stone yet clearly unhappy with you' face. "At 7:15 tonight, you will show up at Havenstone. I will sign you in, we'll go upstairs to one of the gyms and then warm up for fifteen minutes. When you are ready, or 7:30 rolls around, we are going to the sparing mats. If I lose, you can stay. If you lose, you will write this off as one of a legion of ideas that look good in print yet are foolish in practice. Do you accept?""How many of us do you have to beat for us to join with you and your Crusade?" the lead Irishwoman asked."All of you. I will fight you all at once. The mat space is quite extensive.""You mean all twelve of us against you at the same time?" one of the Turks blinked in disbelief."Yes. I am not disrespecting you, any of you. You've shown initiative, courage and a spirit of adventure. I found all three to be both admirable and worthy of reward (i.e. I will gladly have sex with you). What I am also telling you is of the three people with me, the only one I can most likely defeat in single combat is her," I motioned to Wiesława, "and I'm only saying that because she is 19 and relatively new to the art of killing."Their eyes flickered to Pamela. Chaz was scary without even trying. Pamela could be threatening, or appear harmless, as she wished."Chaz is a professional military man from a long line of diligent warriors and in a branch of service that requires close contact with hostile individuals, teams, tribes, clans and nations.""The woman behind me is much, much worse. I've met precisely three people who could possibly kill her and I killed one of them. Would you agree, Chaz?""Absolutely," he concurred."We know who you two are," a Finn spoke up. She had a dazzling smile and cleavage that had to obscure her toes when she stood."You do?" Pamela played nice. For once, it was technology biting her in the ass, not me. Yay?"You are Rhingyll lliw Siarl Yfory," the Irish lass looked at Chaz. That was Welsh, and meant Color Sergeant Charles Tomorrow, I imagined his superiors in the British military weren't going to be happy with any of us, him being a 'secret military operator', emphasis on the 'secret'."And you are Sverkhsekretnykh Shpiona Vsemed Svaya," the Turkish girl pointed at Pamela. Pamela snorted. In Russian that meant 'Super-secret Spy Pamela Pile'. Since Pamela in Russia was pronounced 'Pamela' they had gone back to the origin of the name of Pamela, a fictitious 17th English novelist creation using mangled Hellenic, which translated as 'all-honey'.'All-honey' in Russian was Vsemed. Pamela snickered. Oh yeah, those twelve had combed through millions of articles and pictures to figure out who Chaz was and who Pamela claimed to be. Actually, one of my Hungarian admires back when we were all in Eastern Europe had suggested Pamela was a remorseful ex-SMERSH agent turned Princely-sidekick. Pamela jabbed me, the unspoken 'sidekick' thing.(For those who don't know, in Russian SMERSH loosely means 'Death to Spies', it really existed from 1943 to 1946 and was resurrected by Ian Fleming as a foil for James Bond.)"Chaz, since Cáel is, without a doubt, already having a stupendously wretched day, we must insist he inform Addison of all three of these developments, in person. I want to see the look on her face," Pamela plotted with the man who had thrown himself between me and an explosive vest, probably out of some psychic impulse that I would suffer far, far worse later, like in today, within less than 24 hours of said act."Why am I here again today?" I lowered my head and groaned."Are you okay?" a dozen innocent voices cried out."We are here to pick up Odette," Wiesława reminded me."Oh yeah, fortune cookies," I mumbled."Is 'Fortune Cookie' a nickname for one of your other operatives? Many of them are real enigmas. We can't find out anything about her," one of the Hungarians said. Yeah, because SD doesn't have a Facebook page, or Twitter account. Odette, she was protected by a completely unremarkable lifestyle, but I had a feeling that was fading fast."Excuse us," I asserted myself. "I need to get something on the third floor. Chaz began pushing forward while Pamela had my back."What are you doing?" to me and "Hey, is that a gun?" to Chaz, then Wiesława. Pamela was too sneaky to get caught."I'm here to pick up Agent Fortune Cookie then head out to a meeting with some really shady characters and my fiancée," I informed them."Agent Fortune Cookie," Chaz mused. "She's going to love that,""And then," Pamela continued."She is going to want a gun," I groaned.Oh goddess! No! Chaz had joined Pamela and my 'group think'."No, I have not," Chaz corrected me, about my mental ruminations."I've been coaching him," Pamela faux-consoled me. As my new prospective bodyguards parted for my current bodyguards,"Do you have psychic powers?" "Where is your android?" and "Is it true you can have sex up to ten times a day?""Yes, but we can't talk about it," then, "Which one? We have six models," and finishing up with, "Yes, I can have sex up to ten times a day with each session lasting at least an hour, though I do need breaks for food, drink, quiet romantic conversations and showers, cause shower-sex is so damn fun."While they mulled that over, I unlocked my door in time to see a nicely-dressed (as if she was about to go out on an expensive lunch date) Odette spring off the sofa. Looking at the crowd behind me, she blessed me with an incredibly happy smile."Oh cool! Do we really have enough time for an orgy?"I wanted to cry.(A Family FUNction, minus the 'fun' part)My fiancée giving me a congenial and contented look. Good.My fuck-buddy/friend Libra giving me a salacious 'you and me are going to hook up soon' smile while dressed in a red, 'business suite/slinky number' combo with a plunging neckline. I put her invite on my mental day-planner. Fellas, if you can't keep it in your mind, forget about it. Print equals pain, believe me.Brooke had joined the lunch group, sharing a smile and wink with Libra with the secret agreement for a three-way. Sweet! I could do this, hmm, lunch break Friday, yum-yum-yum. She was wearing a beige business suit with slacks, minus the shirt. Only her cunningly cut jacket kept her goodies from exposure.Hana was a saint for putting up with those two, and me.Buffy was studying me with the clear desire to put me in a dog cage for the rest of the week. Technically she had to produce my body for work Monday. As for the hot, sweaty, intense Brooke-Libra-Cáel m nage   trois, Buffy was reading the undercurrents and setting up a breakwater. At least her attire suggested well-paid, successful international assassin. I wondered if I had paid for her clothing as well. I'd given Chaz's wardrobe a serious upgrade courtesy of Pamela faking my signature.The gathering was rounded out by Mom, Imogen and Deirdre. Thank God they all had different hair styles and forms of dress. Mom was in 'casual-durable' attire, Imogen was going with the military-chic and Deirdre's get up was in the same style as Hana.I was pleasantly pleased that Hana had reserved two adjacent tables for what she assumed would be my support network, Pamela, Odette, Chaz, Wiesława and Juanita, plus Imogen's five and her (Hana's) two Illuminati minders. That made me squeezing my twelve newest over-eager admirers into the mix doable, if not comfortable. Better yet, none of the new girls was dressed for a restaurant this exclusive.Hana was quietly amused. Buffy was volcanic. Thankfully she was being a volcano on the mid-Atlantic ocean ridge ~ submerged."Chaz, Pamela, explain," Buffy seethed."I don't work for you," Pamela playfully bantered back, "Sweet-Cheeks.""They are part of a clandestine operation to provide cooperation and assistance from the European Union," I offered up in such a sincere manner. I almost had them. Buffy looked to Chaz who opted to channeled his 'inner- Cáel'."I can neither confirm nor deny their status as operators from four European nations," he nodded.Buffy forked a helpless appetizer shrimp then catapulted at one of my Finns, I thought it was Oili. It bounced off her bosom. She couldn't even claim to not have seen it coming."What?" Oili gasped."Operatives?" Buffy sizzled at me."Prince Cáel," Flannery asked, "why did that strange woman throw a, shrimp at Oili?""It was a hand-eye coordination test," Odette informed her. "Had Oili been a real spy, you would have snatched up a nearby napkin, deflect the item with the napkin and all while drawing down on her. It is what they do all the time. It is pretty neat to watch.""Why use a napkin?" Oili asked Odette while eyeing Buffy in case another decapod was coming her way."You use a napkin because the shrimp might have a contact poison on it," Odette rolled her eyes. "Buffy used a fork to flip it at you. She didn't use her hands, so the possibility existed." Pamela gave Odette an 'atta girl' high five."Prince Cáel?" Brooke giggled. "What have you been up to?""Okay. I got this. Ladies, may I introduce Annikki, Belgin, Berit, Flannery, Gizi, Ilkay, Kato, Neve, Nuray, Oili, Pirkko and Zsuzsi. These fine women have decided to put their productive lives on hold so they can be my bodyguards," I made the introductions."They have volunteered to be, basically the 'Hounds of Prince O'Shea/Nyilas/Archer'. My Hounds, please let me introduce Hana, my fiancée, Brooke, my close friend, Libra, a sweet & sincere childhood acquaintance, my Mother, Sibeal, my O'Shea aunts, Deidre & Imogen and Kalmarasērmi Buffy."Despite the absurdity of the situation and my clear irresponsibility, Buffy let a smile crease her frown. 'Kalmarasērmi' was my term for her in the Amazon language = my Mountaintop."I will volunteer my facilities to train them," Aunt Imogen offered me drolly. She was the primary trainer for all O'Shea guardians/Special Forces."Train us?" a half dozen voices murmured."Yes Child. I am Imogen O'Shea, Cáel is the greatest treasure in my life and I have serious doubts any of you can be anything more than distracting bullet-catchers for my favorite (and only) nephew. It annoys me to think you are yet another walking advertisement showing him to be both big-hearted and soft-headed.""I will offer prayers upon the mounds of my ancestors (lie, her only 'ancestor' refused to stay buried) for Cáel's safety. You should invoke whatever supernatural entity you place faith in to keep Cáel safe as well, because if he gets so much as a scratch defending any one of you, I will exercise my nearly endless knowledge of human pain to make you pay.""Is she Ms. Dubois?" Flannery asked Odette."That would be me," Buffy showered fury their way."Do you really want to kill us?" Neve tried to stare Buffy down."Until ten seconds ago, Yes. Now I want to hand you over to these two," she motioned to Deidre and Imogen with her fork."Prince Cáel, why are they all so hostile?" Flannery requested understanding from me. "We have come here to help you. We have skills. All we are asking if for a chance to prove ourselves to you.""To Us," Buffy snapped. "Cáel's vote doesn't count.""Chill, Buffy," I snapped back. "I'm dealing with this, and your lack of trust is pissing me off.""Buffy," Hana intervened. She placed a hand on Buffy's thigh out of sight, yet not outside of my notice. "When was the last time Cáel failed to take your advice on something life-critical? These young ladies appear to be honest and diligent. If not, Pamela and the Color Sergeant wouldn't have let them come here, or near Odette."If I dated dumber women I would have less explaining (lying) to do, but I'd miss the challenge both inside and outside the bedroom. Hana's deft touch and gentle words calmed Buffy more than anything (outside of a righteous cocking) I could have accomplished. I was suddenly seized with the realization there was a goodly number of Katrina's positive attributes in Hana. How had I missed it?"Marrying you is going to be Hana's first step toward mortal beatification," Brooke teased me. Normally only dead people were made saints."A Servant of, probably not Jehovah. I think everyone at the table can agree she has interacted with supernatural forces," Sibeal hid her joking well."Martyring her hopes of monogamy?" Deidre's fey gaze flickered over the women of note (the women at the main table)."Her Heroic Virtue is Prudence?" Buffy added. Buffy had been Catholic?"Ladies, I'm Lutheran. We don't normally venerate saints. Joking aside, I was given a reason to believe this lunch date was important on a social level between myself and my fianc . Food would be nice too."Brooke and Libra's presence regulated Pamela and Chaz to an adjacent table. A waiter slipped in, took my order, I decided to forgo an appetizer because I was late, then the conversation began."Hana, this is my Mother, Sibeal Nyilas. Imogen and Deidre are my family from Ireland," I made the introductions, most definitely unnecessarily. I was buying time to get a better read on the women around me."I know," Hana showered me with mature compassion."Get to it, damn you," Buffy huffed."Wow, I'm thinking of the best way to tell you this," I barely could meet Hana's eyes."I am pregnant with your fianc 's child," Imogen cut to the chase. What she said was delivered on purpose. Imogen wasn't as socially maladjusted as Rachel. The fewer women in my life, the easier the O'Shea would have roping me in. Imogen's words were meant to hurt Hana and drive a wedge between us."You too?" Hana's sad eyes studied Imogen. She hid her anger-disappointment-disgust well. In this crowd her efforts to obfuscate her feeling only worked on Libra and Brooke. Those two ladies were less astute at concealing their surprise."She's your aunt, right?" Libra's look settled on me instead of a blatant Imogen, or a pained Hana."No," Mom answered for me. "My sisters and I were born sterile. It is impossible that our paternal heritage has been passed along. Whatever Imogen's maternal contribution was, it is not from our DNA. My sister does have a child inside her, Havenstone verified it and will have the precise genetic make-up within 24 hours," she persisted (lying)."If Cáel has a failing, it is that he was seduced by my sisters who played upon his very confusing Mother-Son relationship. I faked my death when he was seven. I 'died' in a quite painful manner and he had to watch helplessly as he witnessed me wasting away. I did such a horrible thing to a young boy because the people who were hunting me down, the two O'Shea before you and the nine who aren't here, would have used numerous means of torture to verify my death."(Until they realized 'what' I was. Then my imprisonment would have begun)"My wonderful husband would have died without giving them the truth. It was too much to ask of our son. For fifteen years he believed me dead. He learned the truth at his Father's funeral. I believe every woman at this table knows my son doesn't handle emotional pain well.""Imogen's statement was a thinly-veiled stab at Hana's heart and a kick to my son's sense of responsibility to both Hana and his unborn child. How could this not hurt Hana? How could Cáel possibly respond, torn between the woman who has already sacrificed so much of her happiness for a man barely aware of his own maturity, and the woman bringing his child into the world?""Good one, Imogen. Those two are better than you, or I. By all means, make a mockery of my son, your nephew, who has pledged to fight for your life when he should clearly walk away and let the rest of you die. He asks nothing of you yet you feel no remorse at sullying his happiness.""There are ten good reasons for you getting up and walking out of here intact right now. There are six better reasons for making you pay for your cruelty," she threatened."Ten?" Brooke whispered."The sisters' five bodyguards, the two body guards they gifted me with, Deidre, Imogen and Cáel. You don't think he would let the woman bearing his child take a beating, do you Brooke?" Hana enlightened her."No.""The Six?" Libra scanned the room."My other two bodyguards won't act unless I am directly threatened. They won't be out to hurt anyone. If anyone tries to hurt me, they will jump straight to the making them dead option. The 'Six' are Buffy, Pamela, Chaz, Juanita, Special Agent Maddox and Sibeal.""We'd help," Libra insisted. Brooke was onboard with that proclamation."No," came forth from Hana, Mom and me."Brooke and Libra; you two, Odette, the other twelve and the wait staff will only confuse the issue. My sisters and their soldiers will use you and the rest to distract Cáel. Except for Ms. Maddox, the rest won't give a fuck so your best bet is to hit the deck and let the professionals deal with things," Mom clarified."Brooke, Libra, this is a wacko chicks with guns moment," I put things in perspective."Hana?" Libra put a hand on Hana's shoulder."Don't mind me," she patted Libra's hand. "I'm diving for cover and not getting up until you, Brooke, Cáel, or Buffy tell me to get up. Sorry Sibeal, but I don't know you that well yet.""I understand," Mom agreed.To punctuate the awkwardness of the moment, Aisha (the Arabic swimsuit model) and three other SD ladies waltzed into the place and took a table. When the maytre dee tried to impede them, Aisha threatened to exterminate his entire extended family with a look alone. Been there, done that, and the maytre dee was nowhere close to being in my league.I had to think that through. Had Buffy called them, the SD would have been here before I arrived. Pamela was a possibility, except the SD still hated her over Constanza's maiming. If she told them my life 'was' in danger, they would still show up. My life wasn't in danger and Pamela wouldn't yank their chain.It had to be Juanita. The head of my bodyguard telling Elsa that I was in an exposed position with 9 armed Illuminati would have elicited this level of response. Pamela prodded Odette. Odette had a 'what do you want me to do' non-verbal exchange with Pamela then got up and went over to Aisha.Odette even remembered to navigate the room in such a manner Aisha and her team could keep an uninterrupted view of the threat. Pamela and Chaz's lessons were paying off. They weren't training her in the lethal arts. They were showing her how to not be an obstacle, which was better, given our current circumstances."Hana, don't hate Imogen. The only parent she's ever known was Granddad," I returned my attention to the crisis at hand."Oh, I'm sorry," Hana sent sympathetic waves Imogen's way. If there was a hint of 'you bitch' hidden within those words, none of us would admit it."Yes, yes," Imogen smiled back. "Father was a real troll.""That's not true," Hana responded. "I've met him and he has always been very nice to me. It was easy for me to look past the nations of dead he's murdered, his propensity to rape his daughters and his plans to destroy my Cáel.""I don't hold you to blame for not protecting Cáel more than you have. He's a handful and reminds you of your Father, the mass-murdering rapist. And Imogen, don't try to hurt Cáel using me again, you Bitch. I'm not a part of your circus. That doesn't render me powerless. I love more than I hate. I count a person great by the lives they save, not those they take. Where there is Valor, there is Hope and my fianc  has both in spades. Do we understand one another?""Proving you are smarter than Ms. Sievert is not something which equates to being a threat," Deidre countered."Cáel, why aren't you saying something?" Brooke whispered to me."Because he knows better," Mom grinned. "This is a battle Hana has to win, or lose, on her own.""Cáel has plenty of women willing to go behind his back and kill people, Brooke. Now, if Hana asks for such a favor, we know it is not over some petty bullshit," rolled menacingly forth from Buffy as her feral countenance made a few of the Illuminati at the next table nervous."That won't be necessary," I broke up the tension. "We are as dysfunctional a family as they come, but we are family and we will all treat one another as such by the standards of the only one who matters. Clear?""You?" Deidre soothed me."No. Ferko Nyilas', my Father and the best man I've ever known. He taught me to never make excuses for your own behavior. Surrendering our control over our lives is a cop-out. If you want to continue acting like the creepy-ass bitch daughters of Cáel O'Shea, so be it. That is your choice to make. I care for you.""I care enough for you to fight Granddad over your futures. I hope all of you know I mean what I say. Whatever you decide to do, no matter how you act, I will always love you. I've made my choices and I am going to hold you responsible for yours. Let's eat lunch. It has been a rough fucking day and it isn't over yet."If there was ever any doubt, I destroyed those twelve hopeful bodyguards on the mats. They possessed neither the skill nor the savagery necessary in a warrior culture. We Amazons didn't recoil from pain. Our sisters' lives were on the line. That was why you practiced no-holds-barred fighting with, or without, weapons."We can learn," the lead Finn protested. The rest were getting over the physical and spiritual pain of being so easily beaten."My normal bodyguards go through three years of intense 24/7 training. Being a member of that elite body means you train in all forms of weapons as well as hand-to-hand combat techniques.""Once you've mastered the core physical and skill baseline requirements, and this core training never stops, no point is considered 'good enough', you begin learning at least two specialties. Those are disciplines such as close-protection, sniping, small unit tactics, infiltration, battlefield medicine, electronics, computing, communication systems, linguistics and 'training' expertise.""In my current team, the ones who fought at my side in Hungry and Romania, all have three specialties. Discounting their regimen since the age of five, each had been on the job in a professional capacity at least six years. The leader had eleven years in.""Finally, when you are at that level of excellence, you need a specific mindset. What you need to do is think why you shouldn't kill someone, not if you should. If there is any doubt, you strike. If you hesitate, someone close to you might be killed, not just me.""Look around you. If you aren't ready to kill for any of your companions, you will never cut it. Now, I'm going to have you shown out. I will have taxis take you back to your hotel. Think about it. Seriously, think about dedicating yourself to more than some stranger you've met on the internet.""You will be dedicating yourself to the other elven women in your group, to the death. That is the level of spiritual dedication it takes to be at my side. Go, take a rest, talk it over, search your souls. Call me if any of you want to continue and we can have lunch Sunday and make plans. Questions?""Do the other women around you do this, make those choices?" one of the Turkish women frowned while nursing a bruised jaw."No. They have it worse. They have thrown their old lives away, never to return. Each and every one has either murdered a human being, or attempted to, before they are even considered for the task.""Under normal circumstances, we wouldn't be having his conversation. You would never be given the chance. You are woefully unqualified in every way except spirit. Your willingness to cross the Atlantic to make your offers resonates with me, so I am both warning you this is horrible, horrible path you are taking and I am explaining precisely how slender any of your chances are of accomplishing your goals.""I, I don't know," whispered one of the Hungarian lasses."At the Seven Skulls, I led three such women into combat (Rachel, Charlotte and Saku) against a group of warriors who were fighting free of 500 elite Romanian Mountain Troops. Of the Romanians, nearly 200 were either dead, or wounded. The FBI Special Agent we took with us was badly wounded."One of the three was killed, a head shot, and the remainder left her body where she had fallen because the enemy were still out there and they had to protect me. The world will not bend to your sensitivities. Life around me is exceedingly dangerous and unforgiving," I finished.No immediate consensus united them. Fear and disbelief were the major vibes I was picking up. None of them were angry, insulted, or overly terrified."Time for you to go," Buffy concluded our meeting. "Tigger Maeve and Dora Farānak, would you please see Cáel's guests to the lobby." A new pleasure of Buffy's was using the House names of the Full-bloods she interacted with.I have taken a few mystic liberties:Maeve was a Celtic War Goddess ~ the Enslaver of Men.Farānak was a Scythian Goddess also known as the Lynx Goddess and the Silent Huntress.As for the other new hires:Daphne was, as explained earlier, of House Cotyttia (Thracian Goddess of Sex, War and Slaughter)Fabiola was of House Minerva (Roman Goddess of War & Strategy)Violet Maza was in House Oshun, the Yoruba Goddess of Love, Sexuality, Beauty and Diplomacy; Lady of the Orisha ~ life spirits.Paula Wadena was of House Cybele (Phrygian Earth Mother, Guardian of the Lion Throne)}They were dismissed and smart enough to know that was the best possible answer to their current predicament, learning your romantic adventure was actually a gory supernatural battle for survival. A growing number of Isharans had been gathering while I dealt with the wannabes. A few were amused, perhaps even understanding, of my actions.Soon enough, using her position as Record Keeper of House Ishara, Helena cajoled the other Amazons into giving us peace and quiet. Not all left. Watching a jury-rigged House Ishara work through its business in a semi-public setting was an event both unlooked for and possibly enlightening.For this gathering, we had 122 of the 159 members. The missing members were not close enough, or were providing a critical function that wouldn't allow them to be in New York on this night."Sisters, a moment of personal prayer for each of us to seek guidance from our Ancestors as we seek to continue their legacy," I intoned softly, calling the meeting to order.I had barely opened my eyes, failing to get any inspiration from Yakko, when the struggle began."Why are we including them in a House Ishara meeting?" Madori pointed out the three 'new hires' who were sticking around."Memasant (Amazon for to speak true)," I answered her. Since Daphne, Paula and Violet had clearly been sitting among us before the meeting began, I gave Buffy a disappointing frown. "Ishara respects these three for teaching the rest of you the Amazon language so that we can teach it to others, thus all of you becoming able to engage all our sisters in our native tongue.""I doubt any other House would extend this honor to others. Thankfully, we are not like any other House. We know better. We have all been outsiders. We aren't a 'normal' House and I am working toward us never being one. We have to be kind and just when necessary, and forgive when it is what the Host needs.""We will do this because we Isharans alone will decide on the prestige of our sisters. If the other Houses make an issue of it, who cares? None of them have made the sacrifices necessary to be Isharans. I know that you have not all gathered here tonight to hear me pontificate. Who wants to be first?""Will you accept a challenge?" Madori stood up. We had spread out in a ring, two Amazons deep, along the edges of the mats. I had never sat down."Put forth your complaint," I responded."You emphasize duties other than that of a House Head. You don't take the time to show up at initiation ceremonies. In essence, you ignore your sisters to advance your own prestige.""Yes, I am not showing up at the initiation ceremonies.""Yes, I prioritize other activities over running the day-to-day operations of our House.""Yes, you are utterly ignoring the two Amazons sitting at either side of me. I chose Buffy Ishara and Helena Ishara to lead this House because I knew I would have others issues coming up in my life concerning the Host.""Buffy, are you challenging me?""No, Wakko Ishara," she responded angrily. She wasn't angry with me. She had chosen the majority of the assembly and they were turning on me, thus her."Helena, are you challenging me?""No Wakko Ishara. I am intimately familiar with your work and the dangers you constantly confront for the greater Host," she answered in an equally hostile tone."Now that the issue of relevance has been dealt with, I will accept any challenge from any of you selfish, bigoted, power-hungry cunts who wish to put your own self-interest above that of our House. By all means, stumble over one another for the top spot," I mocked them. I'd played nice. No more.It was telling that my classification of any challenger was completely ignored. Madori and five supporters stood. In theory, challenges were the rare 1-on-1 Amazon experience. Another Amazon, Arianne, stood with another supporter."Cool beans," I nodded.I backed up, stepped off the mats and picked up the four axes I had pre-prepared. Back on the mat I went past my handful of supporters, brandished two weapons and advanced a quarter way onto the sparring area. The mass of my opponents muttered in confusion and resentment."Ishara, we have not trained in archaic weapons. Most of our facilities never had then," Madori protested."Amazons don't play fair," I glared. Several migrated to the walls to pick out whatever looked the least daunting. Buffy, Helena, Marsha, Daphne Cotyttia, Violet Oshun and Paula Cybele did likewise."Is this how you want to answer a challenge for leadership?" Madori glowered. "Cheating, utilizing a clear advantage in a farce of equality and justice?""No. Please step back and call every member of JIKIT," my eyes narrowed. "How about this, call the Amazon's contact with the Earth & Sky? Can't do that either? How about convince the 9 Clans to help us pursue a House obligation?""You duties as Chief Diplomat are not that of Isharan House Head and actually make you less of a House Head," she countered. She had chosen a short spear, using it two-handed. And that made Katrina what precisely?"I should fucking kill you," Buffy snarled."Madori Ishara, Dot-Ishara is not the Goddess of Scrabble. She is not the Goddess of," and Madori tried to catch me flat-footed with a spear-thrust. I was appalled at how easy I dealt with her. My right axe diverted her spear enough so when I twisted my stance, she missed. I placed the head of my left axe on her shoulder, blade against her throat."Madori, you lose. Sit back down and contemplate that you were beaten by a 22 year old man," I seethed. There was no 'you didn't give me a chance' bullshit. She had struggled for advancement in the Amazon way. Such people weren't crybabies. "Next."Arianne approached me with a shield and short sword. My read on the situation was she was going to use acrobatics to compensate for my superior reach. I readied myself."I don't suppose you would accept a suggestion we fight unarmed?" she put out there. I took two steps toward her then dropped my axes."I trust you," I looked down at her. I could see the 'oh, fuck me' written all over her face. The unfairness had been tossed in her lap. She put the point of her leaf-shaped blade under the left side of my ribcage, close to my kidney."Yield.""Never.""Yield, or I will kill you."I took a quarter-inch penetration when I clamped down on her right wrist and slammed my elbow into her face. A quick exchange of footwork ended up with both of us on the mat, Arianne on her back, sword pinned to the mat and her shield trapped between us. Head-butt followed head-butt until she was unresponsive.I stood up, blood oozing down my side."Water!" I barked. A bottled water was rolled my way. Three more Amazons were sizing me up. This challenge phase was far from over. I splashed water down on Arianne's face until she sputtered into wakefulness."Pathetic," I sneered at her. "This House is worth any and all of our lives. If you were the best candidate to lead this house and I refused to yield, then why did you spare me? Not only could you not kill me when you clearly could, you failed to do so even when it became an unequal contest of arms."Arianne was shamed and furious. I was treating her like a presumptuous, outsider woman."I'm feeling particularly generous in victory, Arianne, don't you dare stand up," I growled when she tried. "I will not kill you for your disrespect. I will not exile you from our House because doing so would show both of us failing to grasp one of the key principles of our People, learn. Learn and keep learning. A loss is nothing more than a temporary setback. Learn, don't repeat the same mistake twice and never stop striving for success until you take yourself to the cliffs."One of the two newes

Frenzel, Korbinian www.deutschlandfunkkultur.de, Studio 9 - Der Tag mit ...

Sara Sievert hat mit „Der Unvermeidbare“ das aktuell interessanteste Buch über Friedrich Merz geschrieben. Die Autorin und Journalistin („t-online“) beschäftigt sich seit Jahren mit der CDU/CSU, zuletzt eben besonders mit dem Bundeskanzler in spe. Und wundert sich, dass der Parteivorsitzende so amateurhaft ins Kanzleramt stolpert: „Friedrich Merz will schon die Demokratie stärken und die großen Probleme lösen, er weiß nur nicht wie“, sagt Sievert in dieser Folge des „Scholz-Update“. Einer seiner größten Fehler sei gewesen, dass „er sich vor der Wahl keine Gedanken gemacht hat, wie es nach der Wahl weitergeht.“ Merz habe offensichtlich große Probleme, „die Dinge vom Ende her zu denken“. In der neuesten Episode unseres Politikpodcasts sprechen wir mit Sara Sievert über ihr aufsehenerregendes Buch „Der Unvermeidbare“, das sich intensiv mit Friedrich Merz und seiner Rolle in der CDU/CSU auseinandersetzt. Sievert, erfahrene Journalistin bei „t-online“, analysiert Merz' ungeschickten Weg ins Kanzleramt und kritisiert seine mangelnde Weitsicht. Warum fordert er Neuwahlen, obwohl seine eigene Zustimmung bei nur 35 Prozent liegt? Schaltet ein, um mehr über die Herausforderungen und Fehler von Merz zu erfahren und was das für die Zukunft der deutschen Politik bedeutet!

There are many people looking to buy homestead property... but what should you know before jumping in with both feet? Listen to this podcast interview with Annette Sievert, who wrote the book How to Buy a Homestead Property: A Handbook for Your Homesteading Journey. This episode is filled with tips and information to know before you start looking. For more information, visit the blog post here: https://homesteadingfamily.com/how-to-buy-a-homestead-property/Grab Annette's book, How to Buy a Homestead Property here: https://homesteadingfamily.com/homestead-property-bookThanks to Lehmans for sponsoring this podcast! Be sure to check them out (and the wealth of information on their blog) at https://lehmans.com Time Stamps:0:00 - Introduction0:58 - Lehmans2:47 - Main Topic~~~~~~~~~~~~~~MORE ABOUT US!WELCOME! We're so glad you're here! We are Josh and Carolyn Thomas. Together with our nine children, we are The Homesteading Family where we're living a self-sustainable life in beautiful North Idaho. Let us welcome you and show you a bit about us here: http://bit.ly/HFWelcomeVideoGrow, Preserve & Thrive with us!Visit us on our blog: https://www.homesteadingfamily.comFacebook at https://www.facebook.com/homesteadingfamilyInstagram: https://instagram.com/homesteadingfamilyRumble: https://rumble.com/HomesteadingFamilyA few highlights you don't want to miss are our FREEBIES!!Healthy Healing at Home: Learn how to confidently use herbal medicine in your home with this FREE 4 video workshop: https://homesteadingfamily.com/HHHytYour Best Loaf: A Free 4 video workshop teaching you how to make great bread at home, every time, regardless of the recipe you are using: https://homesteadingfamily.com/free-bread-workshopIf you have a gluten sensitivity, this is for you! When one of my kids got serious food restrictions I made it my mission to bake gluten free bread, muffins, cinnamon rolls and more that tasted just as good (if not better than) my original recipes. I put it all into my book, the Art of Gluten Free Homemade Bread, and we have a few physical copies left right now! Grab yours today.

Bayerisch direkt und unterhaltend diskutieren Gastgeber Hans Werner Kilz und seine beiden Stammgäste Ursula Münch und Klaus Bogenberger und mit Sara Sievert und Harald Schmidt die Themen der Woche.

T-Mobile CEO/President Mike Sievert speaks on the company's quarterly earnings results, 2025 growth outlook, state of the company's wireless business, 5G network growth, Starlink partnership, and more. He spoke with Bloomberg's Paul Sweeney and John Tucker. See omnystudio.com/listener for privacy information.

Dittmer, Nicole www.deutschlandfunkkultur.de, Studio 9 - Der Tag mit ...

Stövesand, Catrin www.deutschlandfunk.de, Andruck - Das Magazin für Politische Literatur

In this episode of Coach's Corner, the host dives into an enlightening conversation with Sharon Sievert, author of "The Superpower of Balanced Leadership in Unbalanced Times" and CEO of Core Coaching and Consulting. Sharon shares her journey from her roots in the Boston area to growing up in the Midwest, highlighting her diverse background and global perspective as a consultant. The discussion centers around the importance of balanced leadership, especially in challenging times, and introduces her groundbreaking book, part of a five-book series focused on empowering leaders to navigate good and bad situations fearlessly. Tune in for insights on leadership and personal development from a seasoned expert.Find out more herehttps://corecoachingconsulting.com/Support the showPlease subscribe give us a review and share the show. Email show ideas or apply to be a guest at: info@coachclarence.com. We love your feedback.YouTube: Coach Clarence TVInstagram: www.instagram.com/clarencemfergusonInstagram: www.instagram.com/coachclarence1Facebook:https://www.facebook.com/groups/fitover40withcoachclarenceLinkedin:https://www.linkedin.com/in/clarencef/Pinterest: https://www.pinterest.com/CoachClarence/Twitter: https://twitter.com/fitnusbiznus

In this episode of Coach's Corner, Coach Clarence dives into an enlightening conversation with Sharon Sievert, author of "The Superpower of Balanced Leadership in Unbalanced Times" and CEO of Core Coaching and Consulting. Sharon shares her journey from her roots in the Boston area to growing up in the Midwest, highlighting her diverse background and global perspective as a consultant. The discussion centers around the importance of balanced leadership, especially in challenging times, and introduces her groundbreaking book, which is part of a five-book series focused on empowering leaders to navigate both good and bad situations fearlessly. Tune in for insights on leadership and personal development from a seasoned expert.Support the showPlease subscribe give a review and share the show. Email show ideas or apply to be a guest at: info@coachclarence.com. We love your feedback.YouTube: Coach Clarence TVInstagram: www.instagram.com/clarencemfergusonFacebook:https://www.facebook.com/groups/fitover40withcoachclarenceLinkedin:https://www.linkedin.com/in/clarencef/Pinterest: https://www.pinterest.com/CoachClarence/Twitter: https://twitter.com/fitnusbiznus

Bobby finally gets into the Smite 2 beta, Nic revisits For the King II, Emilio checks out Karate Survivor, a different take on the survivors-like genre, and Amanda plays a Zero Sievert, a top-down extraction shooter.TOPICSSMITE 2, For the King II, Karate Survivor, Zero Sievert, UFO 50, Atomfall, The Bazaar, FruitbusFor more content, check out dlgaming.net!

In der 100. Folge des John Sinclair-Podcasts sprechen wir mit Thorsten Sievert von Smile! Producing darüber, wie Live-Hörspiele produziert werden und was sie so besonders macht. Wir klären außerdem die Frage, ob mit "Villa Wahnsinn" die Geschichte der Sinclair-Live-Hörspiele auserzählt ist oder gerade einmal den Anfang markiert. Hosted on Acast. See acast.com/privacy for more information.

When T-Mobile burst on the scene in 2002, the wireless market was already saturated with big players like Verizon, Sprint, and AT&T. To make inroads, the company became “The Uncarrier,” famous for customer-centric contracts with better pricing and more user-friendly terms and features. Twenty-two years later, T-Mobile today is one of the biggest telecom companies in the world. On this week's episode of Leadership Next, Diane speaks to CEO Mike Sievert, who took over for John Legere in 2020. Sievert, a longtime technology executive, has interests that go way beyond wireless. He's also a pilot. Topics covered include innovation in the wireless space, how AI will change telecom, and what happens when a company goes from startup to incumbent. Leadership Next is powered by Deloitte.

R.Sievert: "Gut so!"

This week, one of the funniest comedians walking planet Earth, Pat Sievert returns again to the show! Pat is a Lansing comedian and a booker of the infamous Mac's Comedy Night. Pat opens up for Gary Gulman when Gary is in Michigan. Pat somewhat recently made his headlining debut at the Ann Arbor Comedy Showcase as well. Instagram : @carljohnsonisfunnyPat SievertInstagram : @patsievertMusicJesse PassageInstagram : @thebignapArtRachel HarperInstagram : @rachelrockstar

T-Mobile US CEO Michael Sievert discusses subscriber gains. He speaks with Ed Ludlow on Bloomberg Television.See omnystudio.com/listener for privacy information.

R.Sievert: ist es unfair alle gleich zu behandeln?

Pat Sievert returns to the show to discuss the most recent entry in the Apes franchise. Follow Pat on Instagram: @PatSievert Follow Johnny on Instagram and Tik Tok: @JohnnyMocnyComedy Follow Johnny on Letterboxd: @JohnnyMocny --- Support this podcast: https://podcasters.spotify.com/pod/show/we-are-movies/support

Chris and Courtney host Claire Gold, a Ph.D. candidate in the Department of Anthropology at The University of Massachusetts, Amherst, where she studies the life histories and diet of the women and children from a Medieval Italian population. Claire received her MA in Biological Anthropology from the State University of New York, Binghamton, where she focused on the reproductive correlates of reproductive cancers. Since then, she has raised three children with her husband. In 2019, Claire decided to pursue her PhD at 45 to continue contributing to relevant research on women's and children's health. She is interested in early life events in modern humans and archaeological populations. Claire is a member of the Society for American Archaeology, the American Association of Biological Anthropologists, the Human Biology Association, the American Investigative Society of Cold Cases, and the International Society for Evolution, Medicine, and Public Health. ------------------------------ Find the works discussed in this episode: Gold, C. L., & Bertone‐Johnson, E. (2024). Self‐reported history of breastfeeding in relation to recalled age at menarche in the United States. American Journal of Human Biology, e24067. Gold, C. L., Kitrinos, C. E., Sievert, L. L., & Kamilar, J. M. (2023). Mean age at menarche and climate variables on a global scale. American Journal of Human Biology, 35(12), e23961. ------------------------------ Contact Claire: cgold@umass.edu ------------------------------ Contact the Sausage of Science Podcast and Human Biology Association: Facebook: facebook.com/groups/humanbiologyassociation/, Website: humbio.org, Twitter: @HumBioAssoc Chris Lynn, Co-Host Website: cdlynn.people.ua.edu/, E-mail: cdlynn@ua.edu, Twitter:@Chris_Ly Courtney Manthey-Peirce, Guest-Co-Host, Website: courtneymanthey-pierce.godaddysites.com/ E-mail: cpierce4@uccs.edu, Twitter: @HolyLaetoli Cristina Gildee, HBA Junior Fellow, SoS producer Website: cristinagildee.org, E-mail: cgildee@uw.edu, Twitter:@CristinaGildee

Drei Fußballverrückte im Reifen-Podcast - wie kann das sein? Die Fußball-Europameisterschaft im Sommer 2024 macht's möglich! Gäste in dieser Folge sind Sandro Wagner, Co-Trainer der deutschen Nationalmannschaft, und Philip Sievert, bei Continental Reifen zuständig für Sportmarketing und Sponsoring. Sie verraten in dieser Bonusfolge dem ebenfalls fußballverrückten Host Oliver Forster, wie das Turnier zum Turbo-Boost für ein ganzes Land werden kann. Und das ist erst der Anfang: Die komplette Folge zur Partnerschaft zwischen Continental und dem DFB mit Sandro und Philip findet ihr demnächst überall, wo es Podcasts gibt.

While not everyone is necessarily good about regular physical activity, no one questions that it's good for you. Cardiovascular health, weight management, cognitive function, mood, better sleep and even reducing the risk of many kinds of cancer are all established benefits to moving as opposed to sitting on your butt all day. But, when it comes to the impact of exercise when it comes to reducing hot flashes, the jury is still out.  Dr. Maria Sophocles is the Medical Director of Women's Healthcare of Princeton. She is a certified menopause practitioner and has a particular interest in non-hormonal approaches to help with menopause symptoms.  In this episode, we discussed a study that was recently published in the Journal Menopause titled “The influence of habitual physical activity and sedentary behavior on objective and subjective hot flashes at midlife”  Link to article: Witkowski, Sarah PhD1; White, Quinn BA1; Shreyer, Sofiya MA2; Brown, Daniel E. PhD3; Sievert, Lynnette Leidy PhD2. The influence of habitual physical activity and sedentary behavior on objective and subjective hot flashes at midlife. Menopause Chat about South by Southwest Panel Dr. Sophocles Ted Talk What research shows as far as exercise and hot flashes The Menopause Society's statement on exercise and yoga  How hot flashes are measured in studies Perceived hot flashes versus actual hot flashes Findings of this study  Dr. Sophocles research with EmberWave™                                                   Maria Sophocles MD                                                  mariasophoclesmd.com                                                    @mariasophoclesmd                                  Ted Talk- https://go.ted.com/rpUSM For more information on this topic:  Episode 2:Think Your Hot Flashes Can't Kill You? Think Again! Episode 53 Not All Hot Flashes  Mean Menopause  Episode 82 Journal Club with Mary Jane Minkin Episode 87 Will THAT Really Help Your Hot Flashes? Lifestyle and other Interventions Episode 95 Non-hormonal options to treat VMS- Herbs Spices &Wishful Thinking  Laurie Mintz Sheryl Kingsberg Amanda Thebe Hot Flash Hell: A Gynecologist's Guide to Turning Down the Heat Dr. Streicher's Inside Information podcast is not intended to replace medical advice and should be used to supplement, not replace, care by your personal health care clinician. Dr. Streicher disclaims liability for any medical outcomes that may occur because of applying methods suggested or discussed in this podcast. Lauren Streicher, MD is a clinical professor of obstetrics and gynecology at Northwestern University's Feinberg School of Medicine, and the founding medical director of the Northwestern Medicine Center for Sexual Medicine and Menopause. She is a certified menopause practitioner of the North American Menopause Society.  Sign up to receive DR. STREICHER'S FREE NEWSLETTER Dr. Streicher is the medical correspondent for Chicago's top-rated news program, the WGN Morning News, and has been seen on The Today Show, Good Morning America, The Oprah Winfrey Show, CNN, NPR, Dr. Radio, Nightline, Fox and Friends, The Steve Harvey Show, CBS This Morning, ABC News Now, NBCNightlyNews,20/20, and World News Tonight. She is an expert source for many magazines and serves on the medical advisory board of The Kinsey Institute, Self Magazine, and Prevention Magazine. She writes a regular column for The Ethel by AARP and Prevention Magazine.  Subscribe and Follow Dr. Streicher on  DrStreicher.com Instagram @DrStreich Facebook  @DrStreicher YouTube  DrStreicherTV Books by Lauren Streicher, MD  Slip Sliding Away: Turning Back the Clock on Your Vagina-A gynecologist's guide to eliminating post-menopause dryness and pain Hot Flash Hell: A Gynecologist's Guide to Turning Down the Heat Sex Rx- Hormones, Health, and Your Best Sex Ever The Essential Guide to Hysterectomy

Join us for an engaging conversation with Deana Sievert, Chief Nursing Officer at UH/Ross Heart Hospital, The Ohio State Health System, as we explore nursing leadership and healthcare challenges. Deana shares her background, insights into the biggest issues in healthcare for 2024, excitement, concerns, and essential qualities for effective healthcare leadership in the coming years. Tune in for valuable perspectives on navigating the dynamic landscape of nursing and healthcare.

Join us for an engaging conversation with Deana Sievert, Chief Nursing Officer at UH/Ross Heart Hospital, The Ohio State Health System, as we explore nursing leadership and healthcare challenges. Deana shares her background, insights into the biggest issues in healthcare for 2024, excitement, concerns, and essential qualities for effective healthcare leadership in the coming years. Tune in for valuable perspectives on navigating the dynamic landscape of nursing and healthcare.

Chris interviews Luca Carbonera of CABO Studio about the design and development of Zero Sievert, a survival adventure game. http://media.blubrry.com/caneandrinse/caneandrinse.com/sausage/TSF_Episode491.mp3   Music is by kupfergruen and their soundcloud page can be found here:https://soundcloud.com/kupfergruen The Sausage Factory 491 was edited by Chris O'Regan The Sausage Factory is an interview-based podcast that lifts the lid on the makers of videogames. It examines the way in which games are made by asking the very people who create them, though the questions asked aren't just about game design, they also cover how developers made their start and what inspires them as creators. Split into two halves, the first segment delves into what makes the developers tick by asking about how they started, what and who inspires them and what games they are currently playing, whereas the second part of the show covers the game that they are currently working on and the thought processes behind its development. So, if you really want to hear about a game's gestation in full and frank detail then you have found the right podcast.

Klinisch Relevant ist Dein Wissenspartner für das Gesundheitswesen. Drei mal pro Woche, nämlich dienstags, donnerstags und samstags, versorgen wir Dich mit unserem Podcast und liefern Dir Fachwissen für Deine klinische Praxis. Weitere Infos findest Du unter https://klinisch-relevant.de

June 24, 2021 - The Amazing Entertainer and Creative, Kevin Sievert

*al minuto 4:51 dico che 1 Gy equivale a 1000 Sievert, ma ovviamente intendo millisievert. Link a BookBeat: https://www.bookbeat.com/it/promocode?code=dpen&utm_source=podcast&utm_medium=influencer&utm_campaign=IT-dpen-Action-27888&utm_content=Textlink-Offer-60d&utm_term=deal3 Codice Promo: dpenIn questo episodio di Dpen Scienza, sfidiamo le fantasie di Elon Musk sulla colonizzazione di Marte e svisceriamo le dure realtà scientifiche che la rendono impossibile. Esploreremo diverse sfide insormontabili come le radiazioni cosmiche la scarsità di risorse e l'isolamento psicologico. Attraverso l'analisi di dati scientifici e ricerche condotte da esperti, dimostreremo come l'uomo non sia ancora pronto per colonizzare altri pianeti. Rifletteremo inoltre sulle implicazioni etiche e filosofiche di una simile impresa, interrogandoci sul senso di una corsa allo spazio che potrebbe mettere a rischio la nostra stessa esistenza. Ascolta questo episodio e lascia una fantastica recensione al tuo podcas scientifico preferito :PCi potete ascoltare su: Nostro Sito: https://dpenpodcast.wixsite.com/website . Apple Podcast: https://podcasts.apple.com/it/podcast/dpen-scienza/id1517569764 . Spotify: https://open.spotify.com/show/3SEfZMJXDmUDKCHHX1lewc?si=2ViP6N-9Qxu0uh2gPRBwqw . Spreaker: https://www.spreaker.com/user/dpen . E su tutte le app principali di streaming.Seguiteci anche sui nostri social dove potrete anche commentare le puntate e comunicare con noiGruppo Telegram: https://t.me/dpenpodcast . Instagram: https://www.instagram.com/dpenpodcast/ . Twitter: https://twitter.com/DpenPodcast . Disclaimer:Le informazioni fornite su Dpen Scienza sono di natura generale e a scopo puramente divulgativo, pertanto non possono sostituire in alcun caso il consiglio di un medico (ovvero un soggetto abilitato legalmente alla professione), o, nei casi specifici, di altri operatori sanitari (odontoiatri, infermieri, psicologi, farmacisti, veterinari, fisioterapisti, etc.).Le nozioni e le eventuali informazioni riguardanti procedure terapeutiche hanno fine unicamente illustrativo .Nessuno dei singoli autori o contributori di Dpen Scienza né altre parti connesse può esser ritenuto responsabile dei risultati o le conseguenze di un qualsiasi utilizzo o tentativo di utilizzo di una qualsiasi delle informazioni pubblicate.Nulla su Dpen Scienza può essere interpretato come un tentativo di offrire un'opinione medica o in altro modo coinvolta nella pratica della medicina.

Movies, together, strong. Comedian Pat Sievert joins the podcast to discuss the trilogy of Planet of the Apes prequel films: Rise of the Planet of the Apes, Dawn of the Planet of the Apes, and War for the Planet of the Apes. Follow Pat on Instagram: @PatSievert Follow Johnny on Instagram and Tik Tok: @JohnnyMocnyComedy Follow Johnny on Letterboxd: @JohnnyMocny Johnny will be at The Drop in South Bend, IN on Dec. 1-2. Get your tickets here: https://thedropcomedyclub.com/calendar.html --- Support this podcast: https://podcasters.spotify.com/pod/show/we-are-movies/support

Today on the Dads with Daughters Podcast, we bring you father of five, past New York Life Insurance Company President and author Fred Sievert. We talk to Fred Sievert about fatherhood, living in a multi-generational home and how to support our daughters in their careers. We also talk to Fred Sievert about his brand new book, Fast Starting a Career of Consequence. Fred Sievert is the former president of New York Life Insurance Company and in his work he gained a ton of experience that allowed him to better understand career transitions. In his book, Sievert shares five biblical principles chosen to help individuals create a strong foundation for fulfillment in their careers. Then, he elaborates on 10 practical and proven strategies that individuals can implement immediately to gain visibility and early success as they enter the workforce for the first time, move to a new company or re-enter the workforce after a period of absence.  “The advice applies equally well to small or large corporations and to entrepreneurial ventures,” he said, adding, “The book was inspired by a request for advice from my daughter on how to be identified as a high potential employee and advance her career as she languished in an entry-level position at her large global company. The advice proved to be very effective as she was rapidly promoted into positions with greater levels of responsibility.” Chapters explore universal career-relevant topics such as: Demonstrating Commitment; Embracing the Company's Vision and Mission; Developing Cultural and Organizational Awareness; Understanding the Financial Underpinnings of the Business; Demonstrating Strategic Thinking Capability; Over-preparing for Every Meeting; Making Every Presentation a Command Performance; and Balancing Faith, Family and Career. If you've enjoyed today's episode of the Dads With Daughters podcast, we invite you to check out the Fatherhood Insider. The Fatherhood Insider is the essential resource for any dad that wants to be the best dad that he can be. We know that no child comes with an instruction manual, and most are figuring it out as they go along. The Fatherhood Insider is full of valuable resources and information that will up your game on fatherhood. Through our extensive course library, interactive forum, step-by-step roadmaps, and more you will engage and learn with experts but more importantly with dads like you. So check it out today!

Dr Kate Sievert is a Research Fellow at GLOBE at Deakin University with a special interest in power and politics with regard to food systems and their relationship with population and planetary health. Kate is also a co-founder of Healthy Food Systems Australia, an advocacy group dedicated to bettering food systems for all Australians and the land.Dr Sievert was responsible for leading The World Health Organisation's recent Information Brief titled Red and Processed Meat in the Context of Health and the Environment: Many Shades of Red and Green, which synthesized the current evidence on the role of red and processed meat production and consumption in health and environmental outcomes, and in different social and political contexts.In this episode, we discuss this recent publication in addition to some of Kate's other fascinating work regarding transparency within the food industry, corporate power, and political influence. We cover a lot of ground in this conversation, so you may want to listen through it twice. However, one thing that Kate makes clear is that in transitioning to a sustainable food system we need to think more deeply than economics and consider concepts that are best for humans, animals, and the planet.In this episode, we discuss:Kate's background and the path that led to her current researchKate's work at the Global Centre for Preventative Health (GLOBE)Red and processed meat production and consumption trendsShifting meat consumption patterns – influences on consumer behaviourMeat consumption and nutritional adequacy versus potential health risksZoonotic disease and antimicrobial resistance risksFood safety risks and food-borne diseases associated with animal-sourced foodsKey environmental concerns associated with red and processed meatsPracticalities of feeding the world with regenerative farming methodsPotential alternatives to red and processed meats in the dietThe consideration of sustainability in food-based dietary guidelinesThe power of the food industry, links to government, and consequent impact on policymakingMedia framing and meat consumption – who has a beef with reducing red and processed meat consumptionChanges needed to achieve sustainable food systemsTo view all the links to the websites and documents, visit the show notes on our website. Don't forget to subscribe to this podcast, leave us a review and share this episode with your friends and family.Please support our work and enable us to deliver more content by buying us a coffee.Follow us on Instagram, Facebook, and LinkedIn.

HR3 Fred Sievert: Get Noticed as a High-Potential Employee | These Kids Don't Stand a Chance 6-19-23 by John Rush

Recent college graduates preparing to enter the workforce as well as anyone returning to work following military service, child-rearing or a pandemic-related furlough will find an abundance of wisdom in Fast-Starting a Career of Consequence: Practical Christ-Centered Advice for Entering or Re-entering the Workforce, the new book from former president of New York Life Insurance Company Fred Sievert. Get YOUR copy HERE: https://amzn.to/42xmv2x “I believe you have achieved a ‘career of consequence' if you have identified your calling and your passion, you have identified your spiritual gifts, and you're using those in the workplace,” Sievert said during a recent interview. In the book, Sievert shares five biblical principles chosen to help individuals create a strong foundation for fulfillment in their careers. Then, he elaborates on 10 practical and proven strategies that individuals can implement immediately to gain visibility and early success as they enter the workforce for the first time, move to a new company or re-enter the workforce after a period of absence. “The advice applies equally well to small or large corporations and to entrepreneurial ventures,” he said, adding, “The book was inspired by a request for advice from my daughter on how to be identified as a high potential employee and advance her career as she languished in an entry-level position at her large global company. The advice proved to be very effective as she was rapidly promoted into positions with greater levels of responsibility.” Chapters explore universal career-relevant topics such as: Demonstrating Commitment; Embracing the Company's Vision and Mission; Developing Cultural and Organizational Awareness; Understanding the Financial Underpinnings of the Business; Demonstrating Strategic Thinking Capability; Over-preparing for Every Meeting; Making Every Presentation a Command Performance; and Balancing Faith, Family and Career. Sievert drew upon his unique combination of experiences as a Christian executive, a mentor and a college instructor to develop a book packed with practical Christ-centered advice for those wishing to add a spiritual dimension to career pursuits. “During my career, and afterward, I mentored many young employees and executives — at least 10 of whom went on to become presidents or CEOs of their organizations,” Sievert explained. Ultimately, Sievert hopes to show others the value of nurturing a symbiotic relationship between faith and career. “Since most of us will spend more than half of our waking hours at work, I really felt it was important to talk about ways in which you can bring and follow biblical principles in the workplace, and at the same time, get some really valuable business tips from a guy who's been there,” he added. About the Author Raised in a lower-middle-class family that only occasionally spoke of God, Fred Sievert received an unexpected visit from God when he was 12. Despite his subsequent experiences as an adult, transitioning from a math teacher to the president of a Fortune 100 company — a journey driven by an aggressive pursuit of the American dream — his habit of thoughtful reflection and his spiritual longing from that one encounter in boyhood informed his decisions for the rest of his life. In retirement, Sievert's overwhelming passion is to positively impact the lives of others in service to the Lord by writing and speaking about his faith and his business experience. For more information, visit www.StoriesOfGodsGrace.com; follow the author on Facebook (fredsiev1) or Twitter (@FJSievert); or connect with him on LinkedIn (fred-sievert-9121727). Fast-Starting a Career of Consequence: Practical Christ-Centered Advice for Entering or Re-entering the Workforce Publisher: Morgan James ISBN-10: ‎1631953583 ISBN-13: ‎978-1631953583 Available from Amazon.com, BN.com and www.StoriesOfGodsGrace.com ► Luxury Women Handbag Discounts: https://www.theofficialathena.... ► Become an Equus Coach®: https://equuscoach.com/?rfsn=7... ► For $5 in ride credit, download the Lyft app using my referral link: https://www.lyft.com/ici/ASH58... ► Review Us: https://itunes.apple.com/us/po... ► Subscribe: http://www.youtube.com/c/AshSa... ► Instagram: https://www.instagram.com/1lov... ► Facebook: https://www.facebook.com/ashsa... ► Twitter: https://twitter.com/1loveAsh ► Blog: http://www.ashsaidit.com/blog #atlanta #ashsaidit #theashsaiditshow #ashblogsit #ashsaidit®

Stephen Engel is an Emmy Nominated Showrunner of Dream On. He's known for The Big Bang Theory, A.N.T. Farm, Mad About You, and Just Shoot Me! Join Michael and Stephen as they discuss how Stephen broke in, what it takes to make it in Hollywood, and how he approaches story.Show NotesStephen Engel on IMDB - https://www.imdb.com/name/nm0257145/Stephen Engel on Wikipedia - https://en.wikipedia.org/wiki/Stephen_EngelFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAuto-Generated TranscriptsMichael Jamin:You're listening to Screenwriters Need to hear this with Michael Jamin.Hey everyone, this is Michael Jamin. Welcome back to another episode of Screenwriters. Need to hear this. My next guest is a great dude and one of the first dudes I've ever worked with in Hollywood as a TV writer, Mr. Stephen Engel. And his credits are, well, geez man. These guys come fantastic credits. Dream on which you ran. He was the showrunner of Dream on. I did. We're going to talk about that because that was one of my favorite shows. Mad about You. All right. Already. Which you created. You co right? You co-created it orStephen Engel:You created I didn't create it. I ran it though. You ran it? Executive. I supervised an executive who the pilot and then ran the series. Co-ran the series.Michael Jamin:All right. Okay. Just shoot me, which we worked on together. Work With Me. Which that were you cr Wait,Stephen Engel:Did you create That? I created, that I createdMichael Jamin:Now was it work with Me or Work With Me? ItStephen Engel:Was work with me. It was work with me. It was Work with meMichael Jamin:Inside Schwartz, which I know you created and I, yes. Remember I helped out for a day or a day and a half. Yeah. I think I gave you a three hours worth of work in a day and a half.Stephen Engel:It was very appreciated.Michael Jamin:The big house. Yeah. Quintuplets, the war at Home, big Bang Theory. Ant Farm, mighty Med Sigman and the Sea Monsters. Yeah. Yeah. You got a lot of credits, dude. Now I,Stephen Engel:I've been around. I've been around. You'veMichael Jamin:Been around. Tell me, well, let's first begin with the beginning. Okay. Because I know you started as a lawyer.Stephen Engel:That is correct.Michael Jamin:And how long were you lawyering?Stephen Engel:It felt like forever, but it was really only three years maybe. AndMichael Jamin:This is in New York, right out of law school.Stephen Engel:I went to law school, which was a very big mistake. I knew within a month that I'd made a terrible mistake, maybe sooner.Michael Jamin:But why?Stephen Engel:I just got there. I went straight from college. Really? Cause I didn't know what else to do. And back then I didn't know I lived in New York. I grew up in a town away from you. And I didn't know what the TV was. I didn't know anything about. And so I was good at going to school. So I went to law school, I applied, I got into a good law school. I went and I just got there and it was like just stultifying, if that's the word it was. ButMichael Jamin:I thought, what I've heard is that law school is interesting. It's being a lawyer. That's not fun.Stephen Engel:No, I had all through college, I wasn't really do a lot of creative writing. I didn't take creative writing courses. But I was actually looking back at some, I found some of my old economics papers and I reread them and I wrote them as if they were Woody Allen vignettes for the new they, they had these big tee ups that were comedic. And then I would get into the substance, but it was with examples that were funny. And then I would sort of sum them up at the end and my professor would always be like, thank you. After reading 25 papers, there's a pleasure to read something that was entertaining. Oh,Michael Jamin:That's nice. SoStephen Engel:When you get to law school, there was no leeway for that. It was, everything was just completely dry. So intellectually it was kind of interesting, but it was very creatively stifling.Michael Jamin:But as a kid you didn't do any creative. No. You were in the theater, you weren't doing anything like that?Stephen Engel:No, not really. I mean, I was interested in comedy. If I look backwards, I could see all of these things that I did. I did a TV show in college, a game show that I wrote and hosted. I taught a class on 20th century humor and satire. So all of the things were there. In retrospect, you could see a path that was leading to writing comedy. But I didn't know that it was a job. And it wasn't really until law school that I started exploring doing comedy. I started doing standup a little bit. Really?Michael Jamin:I didn't know that.Stephen Engel:Yeah.Michael Jamin:But then how did you realize it was a job? At what point?Stephen Engel:At the time, I had a friend who was doing from college who was doing standup also. We, our girlfriends were best friends and he was a year behind me. He was applied to law school, didn't go and decided he wanted to try to break into writing. And we were both doing standup. And then we said, we just started talking and said we should write a movie. We're like, okay. So we kind of got together one weekend. He was living in la I was in NYU law school. I interviewed for law at law firms in California. So they would fly me out so that we could get together and talk about movie ideas.Michael Jamin:OhStephen Engel:Wow. Yeah. So we came up with an idea. We started writing separately and we knew nothing. We literally knew nothing about writing screenplays. We just had seen movies and you knows. And so we were like started writing this idea that we thought it was really great. We had about 50 pages that we thought were fantastic. So we ended up through, a friend of a friend had lunch with a guy who was a professional screenwriter and he told us, you know, should read this book screenplay by Sid Field, which everyone should read. They're trying to write. So we read this book and we're like, oh no, you're doing it wrong. We dunno anything. And we realized that the 50 pages that we wrote that we thought were gold should have been five pages. Nothing was happening. It was just character development, character development, joke, joke, joke, joke, joke, funny scenes. So we took those 50 pages, compressed them down to five pages and came up with a proper structure. And then we were writing this whole movie. Well, he was pursuing his career and I was a lawyer guy guy's name by the way is Rob Burnett, who we were writing partners. And he went on to great success at David Letterman. And he was executiveMichael Jamin:Producer of le. But was he the head writer or executiveStephen Engel:Producer? Head writer, executive producer. And basically president of Worldwide Pants. And we wrote five movies together for studios, various studios. And ultimately I got a job on Dream On and moved out to LA to write by myself because he was writing a Letterman by himself. And at that point we didn't need to collaborate because we both had individual careers.Michael Jamin:You skipped a step. How did you get hired on Dream On?Stephen Engel:Okay. He and I were writing this movie. I got a law job when I graduated. They, I'd worked there for the summer. They offered me a job when I graduated. And I did the first risky thing I'd ever done in my life. I had never done anything remotely rebellious. And I decided that I was going to take probably the first gap year that anyone ever took. Oh wow. I asked the firm if I could defer my job for a year because I was trying to write. They're like, okay, yeah, no problem. You'll have a job waiting for you in a year. So during that year we kept working on this screenplay and trying to finish it and hone it. And he was still working at Letterman and he at that point had had risen from an intern to work in the talent department to being a writer.So he worked with a woman, we finished a screenplay and he worked with a woman. He shared an office in the talent department with a woman who had been there a long time and decided to leave to become a manager. And her only client at that point was I think Chris Elliot who had been on Letterman. So he knew, she knew that we had this movie because Rob had mentioned, she's like, let me see it when you're done. I'll see if I could do anything with it. So she read it and she sent it out and got us hired to write a movie for 20th Century Fox. Oh wow. A week before I started my law job. And I didn't want to not start the law job because we were a writing team. It was like guild minimum. I thought this may be the only writing job I ever have and I have a pretty high paying law job. Let me try to do both and keep both paths open as long as I can. So I did that essentially for three years. I practiced law while I was writing the entire time writing movies for studios.Michael Jamin:And Wait, and you were practicing law out here in la?Stephen Engel:I was in New York. YouMichael Jamin:Were still in New York?Stephen Engel:I was still in New York. And essentially the law didn't know what I was doing. So I had this double life where I was treating my law job, this very prestigious law job. I was a bartender gig writing movies at the same time. And eventually I couldn't keep all the balls up in the air. The law firm said, you know what? We want you to go, we got a great treat for you. We're going to send you back to law school at night to get your master's in tax law. I'm like, that's fantastic. And I didn't tell them was, now I had two jobs and I was going to school at nightMichael Jamin:And you couldn't turn down. You couldn't turn on their offer.Stephen Engel:I couldn't tell them. And eventually I couldn't do it anymore. I was getting too much work at the law firm. I had school screenplays, deadlines. I just finally kind of went into work one day and just kind of said, I no moss.Michael Jamin:How'd that go over?Stephen Engel:They were like, you know what, this makes so much sense because we were all, you seem really smart and you're really good at what you do, but it just didn't feel like your heart was in it. Yeah, right. So they could tell and it answered a lot of questions for them. So then I quit and decided to write full time panicked that I had just thrown my entire life away. So we ended up getting, because by the way, that manager was Lori David. She went out to marry Lori Leonard who went out to marry Larry David and divorce Larry. David and then produce an Inconvenient Truth as she won an Oscar for that.Michael Jamin:But then she submit you to get, how did you your Hands fund forStephen Engel:Dream On? For Dream on. So I had, eventually what happened was we got a second screenplay deal to write another movie and she said, by the way, I am not allowed to negotiate your deal cause I'm a manager, so I'm going to bring an agent in to negotiate your deal. And we kind of said, well then I guess maybe we should look for an agent rather than just have this guy come in and do the deal and I'm not sure we really need a manager and an agent. Back then you didn't. We ended up getting an agent at icm. Right. A feature agent. And we then did a couple of other projects and eventually I started between drafts of a movie I was writing. Rob by the way, was at this point a writer at Letterman and I quit my law job. So I was like, well if he has a day job while we're writing movies at night, I need my own career as an individual.So I wrote a movie by myself, gave it to my agent, he shopped it around. I got a lot of meetings and stuff. And then I wrote a just a TV spec on the whim between drafts of this movie because I felt like taking a break from it. And I gave that to my feature agent. He gave it to a TV agent at ICM who loved it and started submitting me around. And I ended up meeting with Kaufman and Crane for a show, not Dream On, they had Dream on. And they had another pilot that was going to series on nbc.Michael Jamin:What show was that? AndStephen Engel:It was a show called The Powers that nobody saw. It was with John Forsyth and Right. David Hyde had an amazing cast. So I go to meet with them and my agent had sent me episodes of Dream On and had sent me the pilot of the show. So they come in and they go, what'd you think of the pilot? I go, yeah, it was pretty good, but I really like Dream on. I'd never seen it before. And I kept talking about Dream On and how much I loved it. And we had a really good meeting. And then when I get back, my agent calls me and says, just so you know, when you go up for a show and someone says, how'd you like the pilot? And that's the show you're up for. Yeah. You loved the pilot and it gets the show you want to work on. Right. They're not hiring for Dream on right now and they don't want to hire you on this pilot cause you didn't seem interested, interested. I'm like, okay. Yeah. And then a month later they were hiring for Dream On and they remembered me and they hired me for that instead. So I did. And in fact, I ended up back backing into this job that I much preferred.Michael Jamin:How, but how many years were you dream on before they bumped you to showrunner? Okay,Stephen Engel:So I was a stor. I went as staff writer, not had not worked a day in television. Really? Andy Gordon was Andy and Eileen. It was their first day right writer named Howard Morris. It was his first day. We were all three staff writers, but I had written five movies. So I had a pretty good understanding of story structure and if you can write a movie, you can write a tv. So I did the first season Astor as staff writer. The next season I was a story editor and then the showrunners left and they needed to find a new showrunner and they couldn't find anyone they liked. And eventually they just said, I think Stephen can do it. So I literally went from being my second year, I was a story editor or executive story editor, maybe I got a bump at the end to showrunner.Michael Jamin:That's crazy.Stephen Engel:So I was, I didn't know if I was ready at all. I was just, the only reason to say no would've been out of fear. And I realized worst case scenario, if I completely flame out then so they bring someone in over me and I'm still in the same position.Michael Jamin:And then what were they? Or they fire you, but they getStephen Engel:Rid of you. Well, I don't think they probably would've just kept me around because I was the only one who knew the show.Michael Jamin:And how many years did you run it for?Stephen Engel:I ran for the next two seasons, the last and then the show ended.Michael Jamin:And why do you think they left? Why did they leave the show? Their own show. They had a deal somewhere.Stephen Engel:Har and Crane created the show, ran it for three seasons. They were getting paid like a dollar to do this. They had never done anything. It was insane how little money they were making. And they got a deal at Warner Brothers. So between season two and three, they had created a show before Friends called Family Album. And I went and worked on that between Seasons of Friends, between Seasons of Dream On. And then I went back to Dream on as the showrunner. So the season, the second season, two other writers who had been on, who had been producers, Jeff Greens son and Jeff Straus rose to showrunner, then they left and took a deal at Universal. So there was nobody, because they weren't paying a lot, so people were going to more lucrative jobs. So they needed a showrunner and nobody had else had worked on the show. And they were like, we could bring in someone else who doesn't know the show or we could let Steven try.Michael Jamin:And I mean, you were not intimidated by, I mean, IStephen Engel:Was scared shitless.Michael Jamin:Right. I mean,Stephen Engel:I didn't know what I was doing. I had no idea. I learned, fortunately I learned from really good people,Michael Jamin:But I remember when we worked together and just shoot me the first six episodes. First season, yeah. I was, was useless. And I didn't know what to say. And I would look at you guys, the more senior writers. I'm like, how did they know what to say? How did they know? I mean it was real. I was so lost. Yeah.Stephen Engel:I think part of it had been that I was a little older than you were. I had already been a lawyer for, so I was like 30 when I had my staff writer job. So maybe I was a little bit more confident just in Gen general. You were like 25, 23.Michael Jamin:I was 26. I was 26. Ok. But ok.Stephen Engel:So I had gotten my first writing job when I was 26 writing a movie. And I, so I done a bunch of movies, I understood structure, I had a confidence in that I knew how to tell a story. So I guess I kind of, the first day of Dream On, I remember pitching something where they were telling a story that had a fairly conventional ending where everything worked out really well. And I pitched this subversive twist on it where the character looks like the character was going to win. And then at the end it all got pulled out from under him. And they were all, I think that's better because I had just not really been around network television or even any kind of television. So I was pitching kind of a lot of, I don't know, movie, more movie-like ideas I guess.Michael Jamin:That's so interesting because I really remember, I remember on jhu Me, you would stand at the board a lot. I remember, to be honest, we often disagree with Levitan. And you made such a compelling case and you're always at the board. You had immaculate handwriting and you're always standing at the board breaking the story and you'd make an argument. And it was so compelling. I'm like, maybe we should be listening to this guy. It was dooms. If we don't what's going to happen, of course there's many ways you could do it, but of course I was like, of course. I was like, wow, what's going to happen if we don't do it that way?Stephen Engel:It's very funny. I remember the first season of Dream on Howard Morris who I love. He's a great guy, very emotional guy. And I was very logical in a lot of ways. And he had written a script and he had this whole run that he really was in love with. And the script was long. We needed cuts. And I was like, I think we can cut from here to two pages later. And you really, the story actually, not only would you not miss it, but the story would actually be working better and be more tight. And he was like, you can't do that. You can't possibly do that. This is the greatest thing that's ever been written. It is really good. But I think we need cuts. And I don't think it's actually, and one by one, everybody in the room was like, I think he's right. And he was losing his mind. He was like, right, don't listen to him using his logic on you. He's a magician. And we ended up cutting it and it ended up working better. So it's funny that I guess the legal training came in, I guess to some useMichael Jamin:Well, yeah, I, but I also remember you saying, I quote you as this saying this, that I have to get this right. Your worst day as a writer was still better than your best day as a lawyer.Stephen Engel:It was probably, I'm not sure that's true anymore.Michael Jamin:I believe thatStephen Engel:For a long time that was true. I would say there have been some dark days. But whatMichael Jamin:Do dark days look like then for you? Yeah. What isStephen Engel:It? Well, the day your show gets canceled, right? There were days, there was a, one show got canceled where I was like, oh, thank God. Right? Because I had a deal behind it and it was like a nightmare. And I hated going there every minute. And I was like, I had to go into the room and pretend like I got really bad news. Everyone, the show's been canceled. I was like, this is the best thing that's ever happened to me. There are sometimes when it's so bad you're like, just end it. Just fucking euthanize me. So that there are days where it show you isn't going badly, gets canceled and then it's kind of heartbreaking.Michael Jamin:Now do you have a preference? Cause you've done a lot. Do you have a preference between working single camera R? Right. Writing.Stephen Engel:I prefer single camera. Why? I think it comes from my feature writing career. It was funny, I made such a conversion when I worked on that show family album with Kauffman and Crane. We went in and there was some joke in my script and it was a good joke I thought. And we go to the table read and it doesn't do great at the table. This is my first time I've ever had been to a multi cam table read ever my first multi cam script. And everyone in the room is kind of like, yeah, I think we maybe want to punch this joke. And David Crane to his credit was like, no, I believe in this joke. And there's a really good smart joke. So we go to the run through first run through, it dies. And again, everyone's like, maybe we want to pitch on this. And David's like, no, no, I really, let's give it one more day. I don't think, I feel like they didn't do a great job on it. Let's give it one more day. By the third day it dies again. And same thing. And David's like, let's give it another day. He goes, I think it's rye. I'm at this point I'm completely converted. I'm like, fuck rye. Rye is fucking crickets.We could pitch 20 more jokes. It took me three days to realize that, you know, can't get away with clever. You need to get real laughs.Michael Jamin:Right.Stephen Engel:And I'd like, I like it. I just like the storytelling in Multicam a little bit better. OrMichael Jamin:Just you, the storytelling multicam better.Stephen Engel:No, no. In single Camm a bit better. Yeah. Frankly, I used to think a perfect job for me would be you write the scripts and then you send them out magazines. You don't actually have to produce them. Oh yeah. That was always where the hard,Michael Jamin:It's never as funny as it is. It's never asStephen Engel:Funny. Sometimes it is. It depends on your cast. But other times it's the rewriting and the endless rewriting. It's just have them read it and let them imagine what it might look like.Michael Jamin:It's called a book.Stephen Engel:It's called a book. Yeah.Michael Jamin:There was a episode, I think it was, not sure if you were there then, but I, I was fighting, I fought with Sievert, my partner about a joke that I wanted in the script. I go, this joke is going to kill. And he's like, this joke is terrible. I'm like, it's going in, it's going. And we got blows over it. We put it in the script, we go to the table and the joke just dies. It gets nothing. And then I start laughing hysterically. He goes like, cause how could I have been so wrong and so arrogant? And I'm laughing hysterically Now everyone's looking at seabird because they're like, it's his joke. You're laughing atStephen Engel:Him. And now I'mMichael Jamin:Laughing even more. I'm like, yeah, it's his fucking trouble.Stephen Engel:There's nothing more humbling than watching your jokes die on a stage. Like after a while you get used to it. But the great thing about single cam on, dream on, we'd write it, we'd go out and film it. And if no one's laughing, you never know.Michael Jamin:You never know. Right. But did you can't believe in it. But you did table reads for Dream on, I'm sure, right? DidStephen Engel:Not do table reads.Michael Jamin:That's so interesting. How did you get away away with that?Stephen Engel:They had no, they didn't. They gave no notes. H B O gave no notes. I remember getting one note one time and being like, I can't work like this. This joke is, I'm not changing this joke. And I was like, indignant a playwright. Eugene O'Neal had beenMichael Jamin:MarriedStephen Engel:To change a stage direction. And then I got to network and it was like, oh, okay.Michael Jamin:Yeah. Now these are notes. This is how it works. When you were, now you've done also a lot of kit shows. I mean, you get a lot of notes on Kit shows more or less. Oh myStephen Engel:God. Yeah. You'd get tons of notesMichael Jamin:More than networks.Stephen Engel:I did. Oftentimes you get a note, it's like, I please take some of these jokes out. I we doesn't need to be this funny,Michael Jamin:Real, what's the problem with, all right,Stephen Engel:I can get you the best punch down. Writers in. Yeah,Michael Jamin:Bring them in. But really they don't want fun. Is that what kind of notes they give you in these show? I did aStephen Engel:Show, did a show this, show this Sigma and the Sea Monsters reboot, which wasMichael Jamin:Very scaryStephen Engel:For Amazon. And the first thing we turned in there, it was very funny. And they were like, we don't really do this. It's like, we don't want this to be funny. As nearly as funny as this script is, it's just don't feel compelled to put a joke on every page. I'm like a joke. You don't want one joke on it on every page. And they're like, no, if it's warm and fuzzy and they just were afraid that it was going to feel too Disney or tooMichael Jamin:NoStephen Engel:Jokey networky or jokey or whatever.Michael Jamin:Because when you look back at sitcoms from the sixties and seventies family affair, there weren't a lot of jokes in Family Affair. I mean,Stephen Engel:No, I think that's what they were going for. They were going for just kind of poignant and sort of warm. They, I feel they felt like jokes would alienate people and be too controversial. Or they kept referring to their viewers as customers,Michael Jamin:Buyers. TheyStephen Engel:Want buyers.Michael Jamin:Buyers,Stephen Engel:Our buyers, our customers don't really want that. I'm like, okay, all right.Michael Jamin:That's so good. I wonder if that's, that's really how they saw them is like, yeah, what else were they going to about?Stephen Engel:Yeah, yeah. It was,Michael Jamin:Oh my God. Did that make the hours easier since you didn't have to punch upStephen Engel:Or doing a sort of family shows?Michael Jamin:Are you getting out earlier?Stephen Engel:Yeah. Yeah. I think so. For the most part. We never phoned it in. We were always trying to do, and we never wrote down the shows that I worked on. We made them as funny as we could and as bendy and weird as we could, oftentimes we would get notes saying, this is too, I think you're, you kids aren't going to get this. But what they don't get, they'll ask their parents or their older siblings and let's not underestimate the audience watching Bugs Bunny cartoons. You're going to still laugh and you may not get every level. So we were kind of writing it for the adults.Michael Jamin:You were able to push back on that.Stephen Engel:Yeah, yeah. I mean, I guess their recourse was ultimately to cancel you if you weren't doing what they wanted you to do.Michael Jamin:Well, do they have different ways of I they must, different ways of measuring. We haven't done too many streaming shows, but measuring when people are dropping off, what kind of stuff they like more statistics. Do they share that with you?Stephen Engel:No,Michael Jamin:No, never.Stephen Engel:I only did mean the Amazon was the only streaming show and they never really wanted this show. I don't think to begin with. I think it was inherited from the previous regime or something. It was like the whole thing was driven by puppets and they were, if we had our druthers, we wouldn't even have the puppets in it. Well, well the main character is a puppet, so you're kind of stuck.Michael Jamin:So, oh man, that's Hollywood man. Yeah. Now do you, but you must get more obviously opportunities in the children's businesses.Stephen Engel:I don't. I don't. Don't. And I don't pursue them. I didn't really want to do it. Right. I basically did it. I only did it because it was a show writing opportunity and I didn't want work on someone else's show at that point. And I also leveraged it into, I wanted, I said, I'll do it if I can direct.Michael Jamin:Okay.Stephen Engel:So I ended up getting in the DGA and directing a handful of episodes.Michael Jamin:And they were single camera?Stephen Engel:No, they were multiMichael Jamin:Camera, multi and so interesting.Stephen Engel:And it was kind of fun. I mean, I had just sort of aged out of coaching my kids little league and basketball teams and stuff. So they were now just had just more or less finished that. So working on a show, that was almost like being a coach or a camp counselor in a weird way. You'd go to the stage, the kids would be thrilled to see you, you'd get down on one knee and get eye level with them and give them a compliment sandwich. Do you know that from coaching?Michael Jamin:No. What is that?Stephen Engel:A compliment sandwich is basically in baseball you would literally get down on a knee and you'd say you're doing tee-ball. And in tee-ball what happens invariably is a kid hits the ball to left field and every kid on the field runs to get the ball from every position, or at least a handful of them do. So you get down on the knee and you go, I love your hustle and great enthusiasm. Then you put the criticism in the middle and you're like, but you know, need to stay where your position is so that everybody has their own spot. And if the balls it to you, the ball, you know, field it. If the balls it to left field, they field it. But again, great energy and keep up that enthusiasm. So you put the constructive criticism in between two compliments. IMichael Jamin:Would think that they would remember the first thing and the last thing they heard.Stephen Engel:Well, that's great job. We did a joke like that. We did a joke like that where a character on an forum was giving a note to somebody. They were doing a musical performance or something, and the main character said to this other character, I really like your enthusiasm. Try to hit at least any of the notes if possible because your singing's not good at all. But again, great energy. And the character goes, thanks. Hey, thanks.Michael Jamin:Yeah, that's what I would, so that's so interesting. And were you dealing with a lot of parents on adult momager orStephen Engel:Whatever? Yeah, there was a lot of that. It was fun, but creatively it was like, I'm done. This I just want to do, I'd rather not work and just write stuff I want to write than write on a kid show at this point. Because I also felt like they weren't really looking for you to do anything smart and that smart or that funny. It's changed. I think they're trying to be more creative and more inventive now, but at the time it just felt like, I don't really feel like doing this anymore. It's just not like someone would say, what are you working on? I'm like, it's not important. Don't worry about it. You're not going to watch it. It's fine.Michael Jamin:WellStephen Engel:Fine for what? But I don't watch it. You're not going to watch it.Michael Jamin:But when you say working on your own stuff now, so whatever, you'll just write stuff on spec and hope toStephen Engel:Sell. Yeah, I'll pitch stuff. I'll write stuff on spec. I've written a bunch of specs recently where I've tried every possible way to skin a cat in this business. I'm like, it's all I'm going to write spec scripts. That way they'll totally see what the show is. And then I would have a bible behind it to pitch all of these things. And I've had a couple of things where I had studios say, let's go out with this, but let's pitch it. You didn't write itMichael Jamin:Right yet.Stephen Engel:I'm like, well, why would you do that? Because I've got it right here. AndMichael Jamin:Because they want to put their thumbprints on, theyStephen Engel:Want to put their imprimatur on it. So the way I put it is, if you give, give someone a baked fully baked cake, they'll be like, this is a, it's a good cake, but I've got this recipe for a cake. Yeah, that's going to be the best cake that's ever been made and we're going to put in all these different ingredients and make it even better. And then that gets turned in and they're like, it's a cake. There's always that unknown potential of what a pitch is going to be. Whereas a spec, they'll go, well, there's this one thing I'm not sure about or this other thing and they want to get involved.Michael Jamin:But have you ever sold anything on spec? BecauseStephen Engel:When you, honestly, I don't think I have. IMichael Jamin:Know haven't written a few.Stephen Engel:I have a project, I have a project right now that it, we're going back and forth on negotiations, negotiating an option for them to, to option the script. And they're trying to decide whether we should go out with the script or go out or whether I should reverse engineer the pitch.Michael Jamin:ButStephen Engel:We have an option. They have an option for a year within a purchase with a purchase price to buy the script. What would happen is if we pitch it, they would basically go, okay, just wait three months and then turn in the script that you've already written because we left the script. But again, it's unclear as to what my feeling is. We should send out the script because the idea and it's in and of itself is not necessarily that unique. It's the execution of the idea. That's unique. Of course. And I think that's what got you interested. If I had just pitched you this idea, you probably would've said, well, I don't know. It seems like there's stuff out there like that. But it was my script that got you excited.Michael Jamin:Right, right. I remember early on, I wonder if you still feel this way. I remember I just shoot me, you telling me, yeah, because you were ready to leave, move on. And you're like, yeah, I want to go back to running a show. And then you did couple many shows. Yeah. But do you still feel that way? Do you care so much whether you're running it or,Stephen Engel:No, I've had good experiences and bad experiences doing both for a while after the big house, which was a good experience. My kids were at that point, maybe, how old were they? Eight and six. And I was running a show was very all consuming. And you, yeah, you never go home. I mean, yeah, even when you're home, you're like, you've got outlines to read, you've got cuts to watch, you've got the weight of the show on your shoulders at all times. You can't get away from it. And I was like, I really want to be more present. I want to be able to go to my kids' games. I want to be come home and be able to relax. So I'm like, I want to go on be someone else's, like consigliere, I'll be the number two. Yeah. I'll go, here's what I would do. Do it. Don't do it whatever you want. And then go home and be like, I'm done for the day. And I did that for a while. And I think in retrospect it sort of took me off of the showrunner showrunner's list for doing that for three or four years. I think people were necessarily remembering or thinking me necessarily when they were looking for showrunners because I was all of a sudden now someone's number two. But I don't regret it because I got to spend the time with my family.Michael Jamin:But now I now want to go back to running. I mean, it is a lot of work,Stephen Engel:My kid, well, right now, honestly, nobody, you know me, but anyone under the age of 40 doesn't, has never worked with me and doesn't know who I am. So for me to get a job on another show, because I, it's been a while since I've worked on a show where with people who would be young enough to go, oh, we need to work with this guy. He's really smart and good and funny. If I'm going to get a job, it's because I'm going to create a show myself and run it. And that's the job I'll have. I don't even know if my agent even submits me. I have no idea. So I'm back to just pitching and writing my own stuff and if it sells, of course I'll run it. So look, they both have their perils. I missed my kind of adolescence as a TV writer. I went from being right a second grader to a college student. I never had that. So I got to go and be on someone else's show. And sometimes it was good and sometimes it was bad. I worked in the Big Bang theory and it was not funMichael Jamin:From a lot of people. TheStephen Engel:Most fun place to work, it was delightful show. But I used to not going to work every day. Right. Cause I didn't take the tone of the show, the work environment, I mean the tone of the show, I was fine not dictating the tone of the show, but I was not enjoying the tone of the work environment.Michael Jamin:I got you. I know what you'reStephen Engel:Saying. So it was not a good experience. I dreaded going every day. It was a job. It, I might as well have been a lawyer again.Michael Jamin:Hey, it's Michael. 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 going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Yeah. You've had many experiences like that though. Were you like you pitting your stomach every morning?Stephen Engel:Not that many once on my own show, just because I had a difficult situation with one of the stars who it's not worth going into, butMichael Jamin:At least on the air.Stephen Engel:What'sMichael Jamin:That? At least? At least not on the air. NotStephen Engel:On the air. But most shows have been, some are better than others. I worked on a show that it was very dysfunctional and I've gone into work on shows where, where I had a deal where they were like, we need you to go help on this show. And it's kind of in shambles. I'm like, I'll go in and help, but I'm going in between the hours of 10 and seven. And if they start at five, I'll be there from five to seven.Michael Jamin:But okay, you can make that deal with the studio. But then the minute the showrunner finds out about that, during I made itStephen Engel:With the show, I made the deal with the showrunner.Michael Jamin:Oh, okay.Stephen Engel:Because they needed the help. And I was like, I'm not going down this sinkhole. I've already, I'm in a deal. I don't, I'm doing this. I'm helping out because I want to be a team player, but I'm going to help out within the hours that are reasonable hours. And it was so dysfunctional, people would show up and play guitars for four hours and play ping pong. And I'm like, are we going to work or not work? So I'm like, let me know when we're starting and I'll be there.Michael Jamin:Yeah, I know. I wonder, I don't know if that happens so much anymore. I think that's something that's been cleaned up a little bit.Stephen Engel:I don't know. I don't know mean, look, some shows, some showrunners are not, some creators become writers, become creators are not prepared to be a showrunner. They don't know how to manage a business. That'sMichael Jamin:Exactly right.Stephen Engel:And it's a different skillset being a talented writer and being a manager or a C E o or different skillsets. And some people are lucky enough to have both skills. Some people are good CEOs but not great writers and they need a better team. And some people are great writers and need someone to help them literally get through the day. AndMichael Jamin:People don't realize that because no one goes into comedy writing to become a manager of people. No.Stephen Engel:And if you have the talent, you eventually rise to a level where you're expected to all of a sudden be in charge of 150 people and to show up every day on time and to try to be responsible and actually conduct yourself in a way that's professional. And not everyone can do that.Michael Jamin:And always the trickiest thing. I think as a show runners, no one went to push knowing how far you can push back against a network note or even a difficult actor. Yeah. And what's your thought on that?Stephen Engel:Well, what I used to do is they never would give me a note. The trick to getting and addressing notes is to get them to realize that they're being heard. And you'll say, we're not going to figure this out right now together. I hear you. I know what, I know exactly what to do. And then go off and change it enough that they feel like you've taken their, at least into consideration their thought, their thoughts into consideration. But oftentimes what I would sometimes do is they'd give a note. I'm like, we can do that. But just so you know, here's the ripple effect. If we do that, then this scene here no longer makes sense because this scene that you really love won't make sense because we've already revealed this information. So this scene doesn't play and then this scene doesn't work because whatever this and this and this, we can do it. And I'm have to change those scenes and I'm willing to, but just realize that it's not as simple as making this one change here. There are ripple effects throughout the rest of the script. And they're like, you know what? You're right. Stuff's working great. Don't worry about it.So they don't know. They don't necessarily always see the big picture and understand how pulling one thread could unravel the entire sweater. So I just present it to them and go, would you like me to do that? We can do that. And then they go, no, no. Like I, I hear what you want and I'll massage it without having to do those things. But I hear what you're saying and I'll try to adjust it as best I can without unraveling the whole scriptMichael Jamin:And then working. What about working with difficult actors?Stephen Engel:That's harder. That's harder because you can'tMichael Jamin:Put the words in their mouth. You can't make mistake, you can'tStephen Engel:Make them do it. I mean, had an actor who literally was so he just wanted to take over the show and was, he never should have done it. They backed up a money truck to get him to do it and he didn't want to do it. And he did it reluctantly and didn't wanted it to be his show and not my show. So I think wanted tried to get rid of me and came to table reads with sunglasses on and just looked down the whole time. And which was the best thing that ever happened because the network saw that he was not doing his job. He was doing my job, but he wasn't doing his. But they'reMichael Jamin:Still going to take his side. TheStephen Engel:Show went down, but I didn't get, they were like, you handed yourself really professionally. And that person,Michael Jamin:Were you worried so much about that? Are you worried so much about protecting your reputa reputation like that within the industry? I mean,Stephen Engel:You always have to be a little bit worried. I, I would probably think that just given my, I don't know, I guess I have a, it's maybe it's coming from being a lawyer. I can see, if you tell me, like I mentioned, if we should change this joke or this line or this, do we need this? I can see all of the ramifications all at once. So sometimes I will, by pointing out the flaws in the note, some executives don't want to hear that. They don't want to know. They just want to think that they're right. Or they also want you to basically, I remember in one situation on a show where they were like, we've got great news. The network wants to do a mini room. I'm like, great.Michael Jamin:How's that? Great news? The news?Stephen Engel:I thought the deal was they're either going to pick up the show or not. That's why we went there. It'sMichael Jamin:Great news for us.Stephen Engel:They're like, well, why wouldn't you want to delve into the characters more? And I do, but that's not the deal we negotiated and now you're basically, I have to do all the same work for one 10th of the money. And they didn't want to hear that. So I think sometimes it's just best to be like, and I would also maybe sometimes have a tendency if somebody is lying blatantly to me and I say, wait, I don't understand last, yesterday you said X, Y, and Z, but now you're saying A, B, and C. So I'm confused. And they just want to go. They don't want to be called out on that.Michael Jamin:Right?Stephen Engel:So they're like, look, why are you being difficult? I'm like, I'm not, I'm just asking for clarification. Cause it seems like you're telling me two different things and I don't understand as opposed to just going, okay, I hear you. We'll do it without any. So I think sometimes you just have to swallow your pride and just eat shit and not speak up about it.Michael Jamin:The problem is you're saying, I feel like most of those fights are not winnable.Stephen Engel:They're not winnable. So there's no point in pointing it out. But sometimes I'm just, I don't, don't understand. Just tell me what, what's going on and then we can move forward. But they sometimes they don't even remember what's what they're spinning.Michael Jamin:I don't think I've ever convinced an studio or network executive that I was and they were wrong. I don't think I'veStephen Engel:Ever, it may have been a per victory, but I have.Michael Jamin:You were fired shortly afterwards.Stephen Engel:No, I mean it just may be whatever. Yeah, you're right if you're doing it this way. But in the long run, they just maybe weren't that happy with the direction, generalMichael Jamin:Direction. Right.Stephen Engel:I did the show where this kid show, and it was about a superhero hospital and there were villains and there were heroes and superheroes and super villains. And we wanted the villains and the heroes to have distinct personalities and flaws and be funny. They could be a villain and be funny at the same time. They're like, look, just have them villains. Just be scary and don't give them, they don't have to be funny. But we're writing a comedy and eventually we took a lot of the jokes out, but we didn't want to deliver a show that we didn't believe in. And then ultimately they were like, we did two seasons. And they were like, this is not really what we want to do. So they didn't do a third season. So you either go down with your ship and what you do, the show you want to do and have it not get picked up for another season or do a show for four seasons that you don't believe in.Michael Jamin:Though a lot of people on social media, they say, well, they don't understand. I think all the writers in Hollywood terrible, because if all the shows I'm like, you don't understand how shows are made. It's like, no, no. Sometimes the system is designed to make a show bad and there's really nothing you can do about it other than either,Stephen Engel:I mean, no one's looking to make a show bad. It's just what the creator thinks is good and what the network thinks is good may not be the same thing. There's that famous story about what those guys who did that Stephen Weber show called Cursed,Michael Jamin:I dunno if I know this story. Okay.Stephen Engel:Steven Webber did a show, there was a show starring Stephen Webber, it was called Cursed. It was for n b NBC back in the nineties. And the premise was, Stephen Webber is like this kind of womanizing dating machine who goes on this date and with a I, you shouldn't even say Gypsy, I guess, I dunno if it's derogatory, but a woman who puts a spell on it, he basically ghosts her or doesn't call her or is not nice to her on a date. And turns out she puts a curse on him that he's never going to find love and oh, his romantic life is going to be a disaster. Okay. So the cast, Steven Weber, he's super charming and funny. They decide to pick up the show and they go, we're picking up the show, but we have one elemental change if we'd like to pick. It's a small note. They're like, okay, what is it? He goes, we don't want him to be cursed. They're like all cursed. They're like, well, we can change it. We'll like so. Well, well, the Steven Weber show.Michael Jamin:Okay,Stephen Engel:So now what's the premise about Steven Weber dating?Michael Jamin:Oh, okay. But he is not having a hard time dating. He'sStephen Engel:Just, he either is but there's no curse.Michael Jamin:There's no curse.Stephen Engel:Yeah. Okay. Nig did a show called Inside Schwartz, and the whole idea of it was that you're inside the main character's head. Right. So the idea is that, you know, get to see his internal and hear his internal dialogue with characters he's talking to that only he can see. All right. And at one point about halfway through the series, the president of the network came to run, came to talk to me after a run through and said, look, we really like the main character. He's a great actor, but he's like, we want it to be more of a Michael J. Fox character dives into things without thinking. I'm like, well, the character is written is an overthinker and he's thinking about everything. And we dramatize those in the forms of him talking to these people who only he sees. He goes, well we, no, we don't. We want him to not be an overthinker. We want him to be just to jump into stuff. I'm like, so I'm writing inside Schwartz and you want outside Schwartz, right? And they went exactly perfect. I said, all right, I guess. But at that point it's like, how do you turn a aircraft carrier aroundThrough, and you've got four or five scripts that are ready to go that are all, hold on, I'mMichael Jamin:HollywoodStephen Engel:That are written inside Schwartz, and you want outside Schwartz. And they're like, well come up with new scripts, you know, can take an extra week, a hiatus and change. So we had to basically change course and make an adjustment. So just because they think, what if they changed their minds? They love something when they saw it and then they start to panic that they think it should be this, and they the next day have a completely different idea. But it, it's just, that's the idea they woke up with.Michael Jamin:Or often it's whatever was a hit over the weekend, that's what they want and make it more like that.Stephen Engel:Exactly. Exactly. So that has ramifications and real life ramifications that you've then got to make work. And it's your job, unfortunately sometimes is to try to turn a cat into a monkey. It's just like, all right, that's what I'm going to have to try to do.Michael Jamin:And are you able to do this with a good attitude?Stephen Engel:I to, I think I have probably, I have a better attitude about it now. I'm just more mature and it's like, all right, it is what it is. I understand it. Back then, I think I took everything much more personally and I was agonized more about it. Now I'm just like, I come, it's coming and you just have to deal with it or not deal with it or whatever. I, I've walked away from it. I've walked away from a deal on a show where I was like, I didn't feel right about it.Michael Jamin:What do you mean you didn't feel right about it?Stephen Engel:I just didn't, I don't know, I just wasn't comfortable ultimately with the people I was going to be working with. As I got to know them better, the deal wasn't the greatest deal and I was like, I don't think this is worth it. I think this is going to be a nightmare. And I just said, I turned wouldn't, they didn't come up. I just said, you know what, no mean, at the time I was running a different show, so this was development behind it, so I didn't need the job, but I was like, I see the writing on the wall here and if I can't, you can't meet my numbers and this is going to be unpleasant. And I can already tell. AndMichael Jamin:How do you think they took it when you did that? No one likes to hear thatStephen Engel:They were really not happy. I mean, yeah, really. I said, look, I'm just not comfortable with it. And I just, things had changed. It was an idea that it's not worth going into. It was easier to just say, forget, don't rather not do it than go into what I know is going to be a shit stormMichael Jamin:Right now. Not enough money. The industry has changed so much even in the past maybe 10 years or so. But I dunno, what are your thoughts on it? What are your thoughts on where it's going? Look,Stephen Engel:I'm one of those people who, whatever, everyone who's not in the industry says, oh, must be so great now, all these different streaming networks and some to sell shows. I'm like, it's not great. First of all, these places are, you know, do all the same work and you're doing six episodes or eight episodes or 10 episodes, and that's exactly when the curve starts to get, there's a very steep curve getting a show off the ground. And then it's like, now I get the show and now it's sort of the, it's heavy lifting at the beginning and then it sort of tapers off and it's always heavy lifting, but you start to figure it out. And then for the back nine it's like, it's not as hard if you stay on top of it and you get stories broken on time. So you're doing all of the heavy lifting without any of the economies of scale and you're only getting paid by the episode and you're working 40 weeks to do seven episodes or eight episodes instead of 40 weeks to do 22 episodes.Michael Jamin:Okay. So in, cause they make, that's not the case on many of the shows we're doing. Maybe they're lower budget, they just usually bring you on thete, the writing staff in pre-production. And so then you're the showStephen Engel:Runners. But as a showrunner, you've got to do, you're there for whatever the eight saying you're doing eight episodes, you're going to do eight weeks of pre-production and writing. You're going to do eight weeks or more of production, then you're going to do eight to 10 weeks of post. And yeah, you're working 35 weeks to do those eight episodes. Whereas if you're working on a network show for 22 episodes, you work 40 weeks and you do, you get 22 fees. So the writers who come in and do their six or 12 weeks get paid for their eight episodes and not, that said they work there eight weeks and they do their 12, their eight episodes. Do youMichael Jamin:Feel this affects the quality of writers that you're able to hire now because they have less training?Stephen Engel:I think so. They're not around production. They don't understand or understand production as well. It, it's tricky. I also think that to some extent, I may be alone in this. I think that some of the storytelling and streaming, it feels like a lot of shows feel like they, someone took a movie and they probably didn't sell this movie, and they said, I got an idea for a series and it would be a great movie. But what they end up doing is they, it's those chest spreaders if you were to have a heart bypass or something, it's like they put a chest spreader into the screenplay and they open it up and they jam six episodes of filler in the middle. And the beginning is the first half of a good movie. And the last two episodes, this is the second half of a pretty good movie, and the middle is just treading water. And you're just like, yeah, each episode becomes a chapter in a book. So a lot of writers are not learning how to tell an episode that has a beginning, middle, and end because it's all middle.Michael Jamin:Right?Stephen Engel:Episode one is a beginning, episode eight is the ending, and everything in the middle is middle. No. Those episodes don't have a beginning, middle, and end. They're picking up from the middle and ending somewhere else in the middle. They're moving the ball down the field. But you don't have a kickoff and you don't, I think a lot of writers maybe don't know how to tell a complete story anymore because there aren't any freestanding episodes.Michael Jamin:How do you think these new writers are breaking in today? It's very different than when we were breaking in. How are they getting in?Stephen Engel:I teach a course at UCLA and I always, they always ask the same question. How do you get an agent? How do you break in? I guess it's not that different other than the fact that there are maybe fewer barriers to entry. You want to write a web series and shoot it on your phone and send it out to a million people on. Now the trick is it's getting people to see it, but no one was going to read your screenplay. If you're a new writer and you say, Hey, will you read my script and you're in my class? They're like, Hey, can I send you a new script I just wrote? I'm like, no. Yeah, I'm not going to read that. But if they send me, Hey, I wrote a one minute episode, you want to, would you watch it? I'm like, okay. I mean, I could watch a one minute episode of something.Right? And if it's interesting, then you could go, that's really kind of interesting. Let's talk about it. So there are ways to get in. I hired a writer on an farm I was writing with a guy named Dan Sinner. Sinner, great guy, funny writer. And we were looking for an assistant. So we met this woman and she came in and she had no experience as an assistant, but she had just graduated from Harvard six months earlier. But she mentioned she had a Twitter feed and that she had written a couple of jokes that somehow Maude Aow had found. And she was like 12. And she tweeted it, retweeted it, and then because Judd Aow followed her and saw the jokes, he started following her and retweeted it. And then a lot of his followers were started following her. So all of a sudden I had 10,000 followers.So anyway, we finished interviewing her. I really liked her. And I'm like, what's the feed? What's the Twitter feed? She told me And I went and I read it and there were, I read the first 10 jokes. Eight of them were a plus jokes. And I said to Dan, I'm like, let's hire her as our assistant. If we need jokes, we, she's really good at joke writing and we're still looking for a last staff writer. And she was our assistant for a day. I'm like, do you have a spec? You've written? Like, I wrote a 30 Rock. So I read it and it was green, but first five pages, five great jokes. So finally Dan and I were like, let's hire her today because in three years we're going to be looking for her to hire us because she was that talented.Michael Jamin:Have had three years passed.Stephen Engel:She very quickly became very successful and has over a million Twitter, Twitter dollars.Michael Jamin:But is she working as a writer?Stephen Engel:She ended up working on Silicon Valley and Oh wow. Parks and Rec and she ended up working on The Simpsons. And soMichael Jamin:You were right. The good place.Stephen Engel:Yeah. I mean she was really talent. It was undeniable. So I always tell writers, write Jo, if you could write jokes, you'll work to, you're 90. To the extent shows like to have jokes anymore, which a lot of them don't. Right. I always think about that joke. I dunno if you remember this from the Emmys, maybe like four or five, six years ago, Michael Chay and Colin Jost hosted the Emmys. And I always tell this to my class, Colin, Joe says that the opening monologue, he says, tonight we give awards for the best comedies and dramas in television. And for those of you who don't know, a drama, a comedy is a drama that's 30 minutes long.Michael Jamin:Yeah.Stephen Engel:There's just so many shows now that are not really that funnyMichael Jamin:That I ain't going for it. What is this club, what's the class called that you're teaching at U ucla?Stephen Engel:It's in the professional program through the school of the Film School write writing a half hour pilot.Michael Jamin:So a graduate. So they have a grad, graduateStephen Engel:Program. It's not a M ffa and it's not undergrad. It's like a professional program where you can apply, it's a one year program. You take three quarters, 10 weeks each, and you go from basically Idea to finish script in 10 weeks.Michael Jamin:And it's at, you say, so it's not used to extension, it's something else.Stephen Engel:No, it's not Extension. It's a, it's through the School of Television, film and theater. Wow. That's theater, film and television, I guess it's called. Yeah. So eight to 10 people. And you're kind of, wow. I kind of act as the showrunner, but I want to hear, get everybody's input. Everyone gets input from each other about their ideas. So it's like a writing class group.Michael Jamin:They'd be lucky to get in your class. For sure.Stephen Engel:Yeah. I tend to give them a lot of, I think, very thorough notes and hopefully it's helpful. And I don't mince words. I mean, I'm gentle with it. I'll always, I'll do my notes and then I'll go back and soften them. I'll be like, instead of this, I don't think this is working. I would say, I wonder if some readers might think this is a bit confusing as opposed to, this is confusing. Or I remember confusing.Michael Jamin:I remember. And just shouldn't be turning to you. I can't remember. It was a script. Levi 10 was running the show, and I think we had a problem with the scene. And I seem to remember you helping us. You pulled you aside, Hey, how do you think this scene should work? Because we were lost and you were very helpful.Stephen Engel:Well, I had at that point already run Dreman for several years and and had some showing experience. And look, Ste, Steve was a great showrunner and one of his, he's smart enough and secure enough to know that I will benefit by having other experienced showrunners on working with me and other very experienced writers. Cause I may not have the answer all the time.Michael Jamin:Oh, I also remember thinking that I don't want to bother the boss. I'll bother someone who's not the boss.Stephen Engel:Yeah. But again, was you were your first job and you're want to make sure you don't do any. I've worked on shows where staff writers are told, don't even say a word.Michael Jamin:Oh, really?Stephen Engel:More or less. It's just you're there to generate jokes on your own and just keep quiet. Which is to me is if I can get a joke from a pa, I'll take it. I don't care where the joke comes from. If it helps make the script better. If a PA comes in and delivers a pizza and goes, what'd be funny? I'm like, that is funny. Right. I'll put that in.Michael Jamin:Right. Yeah. You whatever gets you home earlier. Yeah. Yeah.Stephen Engel:And makes the script better. And hopefully makes the script better. It's all going to make you look better as a showrunner.Michael Jamin:Yeah, it was. And you're right, dude. I mean that show that it was really top heavy, just shoot me. It's top heavy. And it was, that's probably what was so intimidating to me was everyone was so funny. And I remember even turning to Marsh after several weeks. It was like, Marsha, I, I'm laughing too much. I'm not pitching enough. I'm enjoying myself too much. Right. What do I do? Because I'm not here to observe.Stephen Engel:I can see how it would be intimidating. I was lucky enough that on my first job it was Kauffman and Crane were the showrunners. Greenstone and Strass were like the producer, co-producer, exec producer, kind of supervising producer level. And then we had three staff writers who were all pretty new. So it felt democratic. But you come into a Topheavy show and you're, you were the only staff writers. Yeah. There.Michael Jamin:And there's Tom Martin. There's Tom Martin. Oh,Stephen Engel:Tom. Right

This week on the GeekWire Podcast, we're coming to you from our mobile recording studio, aka Todd's car, as he and John make the most of their time in a clogged parking garage to discuss the comments they had just heard from T-Mobile CEO Mike Sievert at the Technology Alliance annual State of Technology luncheon. Topics include artificial intelligence, national security concerns over Chinese hacking, downtown safety, and getting employees back to the office. From there, we take an impromptu driving tour of Amazon HQ to see things first-hand. Stories discussed on this week's show: How T-Mobile plans to use AI to improve one of its most important business metrics ‘It's your responsibility': T-Mobile CEO exhorts tech industry leaders to return to the office Car and foot traffic data show impact of Amazon's return to office mandate on Seattle commutes Microsoft says critical U.S. infrastructure targeted by Chinese hackers Amazon responds to walkout plan: ‘We respect our employees' rights to express their opinions' With GeekWire co-founders Todd Bishop and John Cook. Audio clips of Sievert provided by the Tech Alliance. See GeekWire.com for more coverage.See omnystudio.com/listener for privacy information.

Show Notes  Today we have the privilege of speaking with Fred Sievert, renowned speaker and author, AND former president of the Fortune 100 New York Life Insurance Company.  In this show we have a conversation with Fred about his latest book, Fast-Starting A Career of Consequence. In this book Fred Sievert offers incredible (as well as uncommon) suggestions for how to move up in the ranks of your company. We talk about starting a new career, re-entering the workforce, or even how to reinvigorate your current career.  Also, as a devout man of faith, Fred gives creative insights on how we might create a balance between faith, family, and career.  With that, let's begin the show. LINKS Please check out Fred Sieverts latest book, Fast-Starting a Career of Consequence.  

Kate SievertKate is a Research Fellow at Deakin University's Global Centre For Preventive Health and Nutrition, also known as GLOBE. GLOBE's mission is innovative preventive health and nutrition research that empowers people and enables healthier environments. She is also Co-Founder and President at Health Food Systems Australia. Gold MemberLove Humans of Purpose and sick of all the ads?Join as a monthly or annual Humans of Purpose Gold Member like our rock star supporters Noel, Kathy, Andrew 1, Andrew 2, Chris, Nikki, Margaret, Ben, Misha, Sarah and Geoff. You'll get the following awesome perks in return each and every week:Removal of all three ads per episodeEarly access to all episodesFull transcripts of all episodesAudio notes for all episodesBrokered intros to all podcast guestsSign Up today to get the optimal Humans of Purpose experience. No ads, just the good stuff!Promotional PartnershipsOur partnerships enable promotional campaigns help to amplify purpose-driven and socially impactful organisations and enable you to reach our engaged local and global audience. We run just 5 of these campaigns per year to enable our social enterprise model.Click Here to learn more about collaborating on a custom campaign package. Ready to partner? Just complete this short Partner Enquiry Form and we'll be in touch. Hosted on Acast. See acast.com/privacy for more information.

Kevin Heffernan is 1/5 of the comedy group Broken Lizard and has made cult classics like Super Troopers, Beerfest, Club Dread, and the upcoming Quasi out on Hulu on 4/20. Kevin is also the Showrunner of the hit sitcom Tacoma FD on TruTV and streaming on HBOMax.Show NotesKevin Heffernan on Instagram - https://www.instagram.com/heffernanrules/Kevin Heffernan on IMDB - https://www.imdb.com/name/nm0373571/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAuto-Generated TranscriptKevin Heffernan:That meeting that we first had with you guys. Yeah. And we, we were at Dave, we were at we were at the three Arts offices. Yep. AndAnd I remember this cuz I was like, you know, let me and I, and you know, maybe you've come to realize this, but let, and I were, were a little bit more insecure about our knowledge about how to make a TV show cuz we hadn't done it before. Right. And and I remember I kept in the meeting, we would have conversations like, he would keep saying things like well I don't know. Cause we only make movies, you know, I don't know. Cause he's gonna make movies. Right. I kept saying that. And what I was trying to say was, I don't know anything about tv. Right. But your partner Sivert, he, he threw that back in my face at one point. He does. He said, but I don't know. Cause I only make TV, you know. Oh my God. Thought was the funniest fucking thing. I thought it was so fucking funny. Michael Jamin:Oh, thank God he didn't take the meeting.You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to Screenwriters Need to Hear This, the podcast. I got another great guest for you everyone. Hope everyone's sitting down. It's Kevin Heffernan. He's also my boss, so I'm gonna be extra nice for this. But IKevin Heffernan:Like to think we're coworkers, Mike. Well,Michael Jamin:He likes to say that, but meanwhile he makes him, makes me bring him lunch. I like to and rub his feet while he eats it. I like toKevin Heffernan:But then you get somebody, you get somebody younger to bring you lunch to bring Correct. Isn't that the way it works?Michael Jamin:And rub my feet. Yes. Right. Just kickKevin Heffernan:It down.Michael Jamin:Fine. Kevin, let me give you a proper introduction for those. Okay. Who never, ever heard of you. First of all, he's the star and showrunner of Tacoma fd. We're in season four. We just finished season four right now. But also you may know him from from a million million movies. Supert Trooper. Supert Trooper Two Club, dread Slam and Salmon Beer Fest. Quai he's one of the founding members of, and I'm of Broken Lizard, which is a comedy troop. And he's also an actor. Everyone, please welcome to the show, Kevin Heffernan. Ron, can I applaud? You should definitely applaud, dude. Thank you so much. I, I have to say, and I've said this to you many times publicly, but I gotta say it, that everyone is listening. I always give you and Lemi a lot, so much credit for what you guys have done because like, the way I see my career, I feel like, I guess I'm like a Hollywood insider in the sense that I got hired by someone to be on a show and then I rose up the ranks. And then about halfway through my career, I noticed I was no longer working for Hollywood Insiders. I was working for basically Hollywood outsiders. People who made their own career and made themselves so desirable that Hollywood came to them and said, Hey, will you do stuff for us? And that's what I feel like you guys have done.Kevin Heffernan:Well, it's a little bit like I guess that's part of the, in front of the camera thing that gives you a little extra allure, I guess. I don't know. Or so, or a way to it does made,Michael Jamin:I think so. But when you started broken, you know, when you guys did your first broken lizard movie, you were just, you know, you guys did it on your own. Yes.Kevin Heffernan:Yeah.Michael Jamin:I mean, talk about that. How did you make that happen? You guys were just nobody's.Kevin Heffernan:Yeah, I mean, well we, we were a, you know, a group that was, I guess we were kind of self-contained. You know, a lot of people, they get out of school, whatever it is, and they, they kind of join some other entity whether it's, you know, some performance thing like the Groundlings or they go to a film school or whatever it is. And we just did it. Our, you know, we had five, well we had more, at the time it was like eight or nine folks. And then after we graduated from Colgate University, we went to New York and we started doing live shows and, and just doing everything soup to nuts. You know, we would, did did the acting and then directing, they're producing the editing and the writing and that, that's how kind of we cut our teeth in order to, you know, and then it was just kinda like, you know, Hey, let's make some short films. Let's, you knowMichael Jamin:Where were you showing these films?Kevin Heffernan:Yeah. And then we would show the films during our live shows. So we would do, you know, sketch shows, you know, in New York City and the Village or whatever. And we'd haul this like 800 pound you know, 32 inch tv into the room. And, and then we would just shoot these short videos. And they're essentially designed to show while we were able, you know, gives us a chance to change costumes and stuff, you know what I mean? It was, oh, it was a chance for us to have a, have a costume change and then we would start showing these videos. And then those were the things that always seemed to be really popular.Michael Jamin:And these were in like, small venues, like how big, how many seats?Kevin Heffernan:Yeah, I don't know. 80, you know, would,Michael Jamin:And how would you get people to show up?Kevin Heffernan:Well, we, you know, we went to Colgate, which is kind of a, kind of a big drinking school. And so and a lot of people migrate, you know, when they, it's in upstate New York, so they'll graduate and they'll, they'll move down to New York City. So there was this network of people from our school who were kind of big drinkers and, and young and, and we just kind of put out the word and all the friends would come, you'd get, you know, 50 people in the room. And I remember after the first weekend, the, the place, we were doing a place called the Duplex, which I think is still there. It's in like Christopher or Sheridan Square or something like that. Christopher Street. And the show would end and the bar, the guy who owned the club would walk in and the table would be full of empty beer bottles just full . And and he'd be so happy. And he kept offering us more, you know, gigs more nights or whatever. And it was basically cuz our friends came and they drank beer and they had laughs and, and were youMichael Jamin:Hitting the door? Or how, how were you charging?Kevin Heffernan:Yeah, yeah. We, well probably, we probably got some real shitty deal. You know, we probably had some horrible deal. I mean, it was like we were begging for stage time around town, you know? And and these guys, you know, let you start on a Monday night, you know, or whatever, whatever shitty time is, or, you know, Monday at 10 o'clock or whatever, you know, Uhhuh and do the show. And, and we'd get our friends to come and then it was Wednesday night, and then it was Friday night, and then it's, you know, Hey, you're doing the whole weekend. You know, and it kind of, kind of grew that way, but, and that was, and we learned to write sketches mm-hmm. when we were doing that, you know? And then did youMichael Jamin:Kind of, did you kind of learn in college though, when you were, you were writing sketches in college though?Kevin Heffernan:Yeah, we, we kind of self-taught. We, we, it was kind of later towards the end of our college careers where we started this comedy group. And my buddy Jay Chen Sekar, who's, you know, still in the,Michael Jamin:There he is. Oh, we're gonna plug that Quasi is the movie plugKevin Heffernan:That, but that's him. That's Jay ChenMichael Jamin:Important. That's the most important one. I've left that one out.Kevin Heffernan:Yeah. But that's him. And then he had had some background in Chicago at the IO in Second City and things like that, doing improv. And always wanted to do a show at Colgate. And so he had gotten the opportunity through some student theater group. There was a guy who was like, Hey, why don't you put up a show? And he was like, ah, I don't wanna do it. I don't wanna do it. And then ultimately, I think they gave him like 500 bucks, Uhhuh . And he decided to put together a group of people, and he and I were very close friends. And he knew that I was interested in something like that. And so we put together this group of folks, and it was probably like 15 people at that point in time and, and just started this comedy group. And we didn't know, like we didn't know how to do improv. We didn't know how to write sketches, we know any of that stuff. And it was just, JayMichael Jamin:Took one class, basically, and he's like, I'll, I'll teach you guys how to doKevin Heffernan:It. Well, he, he didn't, he wasn't even the teacher, you know, like he did. Yeah. Like, he did a, a summer, like likeGuys. Yeah. And he's like, yeah, I'll try this. And we were miserable. I mean, we were horrible. But the, the thing in, in colleges and, and you probably have the same thing, it's like, you know, I think a lot of comedy is, is is the, you have to laugh out of shared experience, right? So the audience says, Hey, I know that happened to me. You know, that's why they laugh, right? So at college, it's a very insular world that you can do that. So you can make fun of that professor and that security guard and that, you know, fraternity, sorority, whatever it is. And, and that's the thing that you learn to write and that everyone laughs at. And so that's how we started where you would just, you'd make fun of people on campus and people love it. And then you, in that way, you learn how to write and, and do characters and whatever, and Right.You know, whatever. We were all fans of Saturday Night Live and Monty Python and whatever. And I think, you know, the idea was let's just try to do that. And it was very simple because it was a, it's like given a wedding toast, you know? It's like, you know, everyone's on your side, right? Everyone wants to laugh together, the same thing. And, you know, we started doing these shows there, and they were just super popular because there was nothing like it there. And people were, were happy to see us make fun of, you know, that professor or that, butMichael Jamin:Then at some point though, you had to branch out to a larger audience, though.Kevin Heffernan:Well, that's the, that's the, the terrifying thing is we got to, we moved to New York City afterwards and realized you couldn't make fun of the dean or the professor or whatever. You had to figure out what the things are that more people would laugh at. And I think, you know, that's the little of a learning curve. But we did that, and then you just start writing sketches and, and we started making these videos. ButMichael Jamin:Then how did you still, how do you make this jump from, you know, selling tickets to friends, to selling tickets to strangers, basically?Kevin Heffernan:Yeah. I, it's just, I guess it's just word of mouth is, is the way, is the way it happens. Where it's like, I, I, I remember, you know, people would bring their friends, you know, from high school and their other friends and whatever it is, and then all of a sudden you have a group of people who are into it, you know? And and then you'd have, you know, agents start to come and industry people start to show up. And really, theyMichael Jamin:Were trying to show up. You, they weren't, this is fascinating to me. So you didn't even invite them, they would just show up.Kevin Heffernan:Yeah, well, you know, I mean it was kind of a fun time in New York at the time where there was kind of these two, there are different movements that were kind of happening. And one of 'em was the independent film movement, which was, you know, big. It was the Kevin Smith and, and you know, that kind of stuff where you, everyone was making, you know, low budget films. And then it was also, you know, kind of the growth of the comedy group. Again, I guess, you know, where U C B was just, just starting up in New York. And there was another group called The State that was doing stuff in they were outta nyu and they were doing shows. And so there were different kind of like, there was kind of a lot of burgeoning kind of comedy groups that were kind of in that same era. And, you know, people catch on. There was a, you know, M T V wanted to make a sketch comedy show, and they started scouting all these comedy groups, and they picked this group, the state, and they made the, they made their comedy show. So there was a, you know, there were a lot of people out there that had an appetite for, for this kind of thing. And, and you know, we were trying to capitalize on him.Michael Jamin:And the whole time you str all you guys were struggling, but you, you were also attending law school at the sameKevin Heffernan:Time? I did. I went to law school. I, I I I was working at a law firm for, for a couple years out of school. And then, yeah, I went, I ended up gonna law school during the day. Right. And then we would do these comedy shows at night. And they never, they're very different worlds, you know, like, but I remember one time we were taking a tour of the courthouse with my law school class, Uhhuh . And somebody walked up to me who had seen the live show, Uhhuh , who was like, Hey, you are the comedian Kevin hen, da da da da. Not that I was famous anyway, but this guy just happened to be in, and everyone in my law school class has looked at me and like, who the fuck are you ? Like, they had no idea that I was, had that other thing going on. So. AndMichael Jamin:Did that change the way they looked at you after? Like, they,Kevin Heffernan:I think a little bit. I mean, I was, you know, I, I was not a, a great participant in the law school world. I was kind of a back bencher. I'd sit in the back row and I didn't really, I might crack a joke here and there. And so, but then, yeah, I think, I think they probably got a feeling of like, oh, maybe this is not his his highest priority, this law school thing. DidMichael Jamin:You, well, did you pa take the bar?Kevin Heffernan:I did, yeah. I took the bar. Yeah, I did. I we took the bar. Well, I graduated from law school, and then we made our, I graduated from May, and we were preparing to shoot the first feature film we ever made. We were preparing to shoot it in June. And so I started studying for the bar and I realized, oh, I can't do this. I can't do this stuff. And so I went to my dad and I was like, I'm not gonna take the bar exam. And he's like, what? Are you crazy? And I was like, you know, he goes, you get all, you're gonna get all through law school and you're not gonna take the party time. I was like, well, I'm gonna take it, but I'll take it, you know, six months from now or a year from now. Right. You're not gonna do that. And I said, I will, I will. And he said, you know, he said, that's insane. You don't take the ball down to the goal line and not cross into the goal. You know, youMichael Jamin:Do it, you figure you're in the New York Jets. That's how they,Kevin Heffernan:That's, that's right. You know, there's some people who just don't get in the end zone . And so I, and so we did it. So, but so we made the movie and then six months later I went back and I took the bar exam and I passed it. So,Michael Jamin:See, you're a good boy now, but how did you raise the money for the movie?Kevin Heffernan:Well, that, like I was saying before, that was that era of like, people were bankrolling movies on credit cards, you know, and it was like you know, Kevin Smith or whoever it was, they, you know, made clerks for $30,000 or whatever it was, you know what I mean? So we at the time, j Chan Sacar had taken a couple N Y U film classes, and he was very much into it. He also had got started working with this guy as a, as an intern at this office of this lawyer. His name was John Slots, who had went on to become this huge, you know, independent film, you know, movie producer, icon type of a guy. And he represented all those guys, the link laters and, you know, the Kevin Smiths and Rodriguez, all these guys are making these kind of, you know, el mariachi, you know, they're making these movies, you know. And so he got into his head like, let's try to do this. And so basically we went around and we charged, I think the movie we made was called Puddle Cruiser, which was about 250,000 bucks. And most of it was charged on credit cardsMichael Jamin:Between the five of you.Kevin Heffernan:Well, well, Jay did most of it. And then some of us did some stuff in, and then some, and people got like, some of their families kicking, you know, five grand here or whatever. But the thing with Jay was that, his name is Jay Chanter Sekar. And his parents were doctors. And for some reason, the credit card companies started to thought that maybe he was a doctor and they started sending him, they would send him these credit cards and, you know, he was a day, right? You'd get a credit card in the mail, you know what I mean? And you'd be like, ah, whatever. And you use it. And so he u you know, he just charged him up and but he,Michael Jamin:And he wasn't worried about like ever paying it back. I mean,Kevin Heffernan:You know, I, I think ultimately he probably was, but that's just what everybody was doing. Like, they were just putting the stuff on credit cards and that's what we did. And we, you know, charged the camera package on credit cards and we did all that stuff. HeMichael Jamin:Needed that much. That's a lot of money. I'm surprised you couldn't do for less.Kevin Heffernan:Well there are a couple things to it. Like, number one, we shot on 35 millimeter, right? Which was unusual. Cause that's a very expensive film format. And at the time, people were shooting 16 millimeter and other things, something called Super 16. They're shooting all these things. And but we wanted shoot on 35 just cuz we thought we could ha make the movie have more commercial appeal. Right. And so we did that. And and then also it's just, you know, a lot of those movies were kind of like the adventure of one man or whatever. And we had like, you know, we al it's always been our problem. We have five storylines with five guys and whatever. So the movie's always kind of expanded a little bit. But yeah, so we went up to Colgate University we had written a, a, a, a romantic comedy like set in a college.And we went up to Colgate University and we said, Hey, can we shoot this film? And we went, we made a big pitch to the dean, you know, former students, you know, doing this thing. And he said, Nope. And then he said, you're, you're not, you're, we're not gonna let you do it. And we said that, but that's crazy. He said, look I'm the guy who puts my name on this thing, and you know, you're gonna come here up here and make an animal house and then we're gonna look like assholes. And then, and so we're like, but we would never do that. You can read the script, blah, blah, blah. And so essentially what we did we went back and, and we told our friends, it's like, like I said earlier with the people we're all drinking, it's a very networky school.And we just reached out to everyone and we said, please reach out to this dean and tell 'em you support alumni's you know in the arts. You, you support alumni in the arts and that kind of thing. And it was the, it was the age of the fax machine. Mm-Hmm. . And they just, we gave out this guy's fax number and he just started getting, he got probably like a thousand fax from faxes from you know, alumni and wow. And finally he caved. He's like, okay, all right. You can do it. Just don't have the school's name anywhere in, in in the movie. Like, okay, what about insurance? You have to worry about that. Who, who is you? Yeah. Yeah. That's part, I mean, that's part of film. You know, you, you buy insurance. Okay. You paid for that wasn't, wasn't called.Okay. No, well, they wouldn't let us. They were very adamant about us, you know, using as little of their facility as possible. They, you know, we were hoping we, they would give us a dorm for us to stay in. They wouldn't do that. And we couldn't house anybody on the campus or any of that kind of stuff. So, but it's so what I, it's just so scrappy of you guys. It really is. It's just, yeah. Yeah. No, I I, it's totally scrappy and I, I give chance se a lot of credit for that. He, you know, he was very much in that camp of like you know, let's go make a movie however we can. And and we did. And, and you know, we didn't no idea what we were doing. And, and we didn't know where to put the camera.We didn't know any of that stuff. And we had, you know, we had some professional crew folks that came that we hired, you know, from New York City, and they came up there and, you know, the DP and the Grip and the gaffer were guys who were a little bit more experienced than we were. And and, and we just shot this thing. And then we didn't even know how to edit it. We've never, you know, edited a movie before and you just learned as you did it, man. And we did. So what we did, then we came back, we were and our buddy was a NYU film student. We would, he would sneak us in at night to the NYU film department, and we would use the edit machines. And at the time, at the beginning it was Steam Back. So it was like literally the film, you would put the film and cut the film. You know what I mean? Yeah. I mean, don't do that anymore. But that, that, that was the end of that era. But we started cutting our films that way. And then, and then we turned, you know, on this particular movie called Puddle Cruiser, we moved over to computer editing, which was just starting then.Michael Jamin:So, wow. See what I, well, and I wanna talk about Quasi, which by the way, so Quasi Drops, this is your latest movie. It drops on four 20 on Marijuana Day Yeah. On Hulu. And everyone should go sit your, you know, whatever. It's, make sure you watch this movieKevin Heffernan:Marijuana Day,Michael Jamin:But, well, I saw, I don't even know how much you changed cuz I went to a, a screening of it, what was it, a year ago? How long was that?Kevin Heffernan:It was yeah, it was March. It was March. Wow. Of of 20 21, 2 20 22.Michael Jamin:And maybe there was, was there maybe a couple hundred people who went to that? Who Yeah,Kevin Heffernan:We, we you know, we like to do that, to do the test screens to see where the laughs are or whatever. And we got about 200 folks. We did a screening room, screening Room, Warner Brothers, and then and itMichael Jamin:Went great. Every, I mean, everyone was laughing, everyone. So I'm, yeah. I don't even know howKevin Heffernan:Much, which is terrifying because you know, that the movie, and you saw that version is, that's the, like, that was like the two hour plus cut. Right. You know, and that's when you just, you know, you throw it out there and just see what hits what sticks, you know, andMichael Jamin:And aKevin Heffernan:Lot did it with that one. And then since that version you saw mm-hmm. , you know, we've been through doing test screenings. We get notes from everybody at the studio, all that kind of business, and we've whittled away another half an hour.Michael Jamin:Do you, do you find the Oh, really took a half hour? You finding you have more notes the more, the bigger the budget or No?Kevin Heffernan:No, I don't think so. I mean, there's more fear, there's no question about that. You know, we, we, we, but we've never kind of like really kind of moved in that world a little bit. You know, we, we, we were very, we made, we remade the Dukes of Hazard, we did the Dukes of Hazard movies for Warner Brothers. That was like the biggest thing that we did budget wise, where that's like, you're spending 60, 70, 80 million and then all the decisions become very precious and, and very much my committee. But for us, I think the beauty is we've always functioned at a budget level where people kind of leave you alone. Right. You know, like, they might get adamant about something or whatever. You know, we, we had a few things on this movie that they were, they felt very strongly about. And we, you know, we'll go back and forth, but for the most part, you know, we've never been in that horrible situation of, youMichael Jamin:Know, t Sibert and I, we, we prefer the world of low budget for that reason. Yeah. Do you guys feel the same way?Kevin Heffernan:Yeah. I mean, you, you just kind of fly under the radar screen. You know, it's like you know, when, when we made the movie Beer Fest, you know, we made it at Warner Brothers and at the same time they were making like the first like, huge Superman reboot and, you know, the budget of our movie was like a week of catering, you know? Yeah. On that Superman movie. And they were so worried about that stuff that they don't, they don't care. Not they don't care, but they just, you're not a high priority. So like, they do yourMichael Jamin:Thing. Bigger problems. Yeah. One of the fun things that I love, I I by watch 'em all your movies and it's, I, I don't know if you know, if you think about this, but to me it's like fun to see the same guys playing different roles, often two different parts in the same movie. And it's just, I don't know, do you, are you aware of how much like joy that gives Keep people?Kevin Heffernan:Yeah, no, I mean, we love it cuz like, we'll do that too. Like when we would go from movie to movie and intentionally try to put guys into different kinds of characters, Uhhuh, , you know, and, and, and that was the reason why. Cause we thought it was so fun to see guys do different things. I mean, this movie's a great example because we do play multiple parts and guys play different kind of characters. But after we shot Supert Troopers, like for example like Jay Chanter Sekar who directed it, you know, and it was a hard thing. It's a hard thing to direct a movie, you know, it was just kind of for a million bucks and whatever, and you're always, you know, fighting the clock and you're always fighting whatever. And so he would always kind of get dower at times, you know, and, and we'd have to remind him in his performance, Hey man, pick it up.You know, we're doing a comedy, don't worry about that. Put that shit behind you. Whatever. Uhhuh . And so after Supert Troopers, you know, his character is a very straight kind of guy. We made a movie called Club Dread, and it was like, let's go in the opposite direction. And we intentionally wrote Jay as like a Ponzi, British raaf, Farian tennis player, Uhhuh . And so with the intention of like, let's give him a character that's completely opposite of what he was. Right. And it ends up having the effect of being very cool, I think for people who like the movies cuz they see people play different kinds of characters, you know,Michael Jamin:But how do you guys even do that with five, because you have five equal partners writing. Like how do you decide who comes, is one person pitching an idea? How do you get five people on board to do anything?Kevin Heffernan:It's, it's pretty hard. I think it's, I think we're lucky that we started doing it together in college. Probably like, if, if we had been assembled like in, you know, at age 35 or whatever, never fucking made, it was like, you know, it's like putting a like a, like a like the monkeys together or something, or whatever, you know what I mean? I, I don't know that we would ever have been able to do that. Cuz yeah, there's fights and whatever, but I I I think it's really always come out of making each other laugh. And if, and if the rest of the guys laugh, then you're like, oh, okay. I I think that's, and you know, and, and the cra fights, you know, from casting point of view, we started getting into this practice and we did it from Super Troopers on where, for the most part, we don't cast the movie when we're writing it. And we don't cast the movie till way later in the game because you, you find out that, you know, if you know what the part you're playing, then you kind of start writing for yourself and your own part. But if you don't know, then you write for everybody. Right?Michael Jamin:Oh, is that right? So, yeah.Kevin Heffernan:And so we made a very conscious effort early on that we would push, like, there, there are sometimes now like movie quasi, you know Lemi, we knew Lemi was gonna be the title character, but I think most of our movies, it's like we wait till later in the game after the script has gone through multiple drafts, and then we cast it. AndMichael Jamin:Then how do you decide who, I mean, how do you, what if I wanna be theKevin Heffernan:Whatever that happens too. I mean, we, we I remember Super Troopers, you know, we wrote it, we wrote Mel multiple drafts. It was with many different companies and there are many different places, and we never really cast it. And then we decided we would sit down and we, the five of us, we sat down at a table and everyone read the different parts. And then it was a conversation. It's like, you know, I think, I think you're that guy, you know? And and luckily there was never a, a big fight. And then now it's like, you know, like in the movie quasi, there's a couple characters and it was like, Hey, I thought, you know, soda, you should be that guy and Jay should be this guy. And they were like, nah, no, you know, I think he'd be much better at that guy. You know, and they were right. You know, so it was like, it kind of, it's the mindset of what's doing best for the movie, which is nice. Right. right. And so we've never really gotten into those big fights because we just cast it later, you know? Is thereMichael Jamin:A procedure though, when you guys do? Is there like a vote? Or like, how do you, how do you agree to settle shit?Kevin Heffernan:Yeah, I mean, I think like, usually it's, I guess it's the director who's kind of settles it, but it, it, no, it's just, it's just by side who's the director by democracy , becauseMichael Jamin:You guys have also also, you know, swapped sometimes, you know, you direct sometimes, you know, sometimes Jay directs andKevin Heffernan:Yeah. I mean, I guess we've done like seven seven kind of proper broken legend movies and he's directed five of them. Yeah. And I've done two of themMichael Jamin:Now. Since you've done two, I don't know why you do two. Isn't it exhausting? I mean it's, it's exhaust, it's a full-time job being a director, but then to also act Yeah. It's, it's twice as exhausting.Kevin Heffernan:Yeah. It's, it's, it is kind of exhausting. And you know, the funny thing on this movie I played two characters. We all played two characters, right? Mm-Hmm. . And there's, there was some days where my two characters were having scenes with each other. Yeah. And like, you're standing there and you're like, you're acting against yourself and you're directing the thing. Yeah. And it was just like, you're like, what the fuck? Like, your head's gonna fucking explode. You're like, what am I doing here? ? And like, the beauty of it is we have these five guys, we have the support thing. And so Lemi will be there, Chan Sa I'll be there and they'll be like, Hey, you know, you should look, look out for this or whatever. You know, there's a good support group where Right. Luckily you're not, you're not hanging out there alone.Michael Jamin:And you've directed many episodes of Tacoma FD Do, how much do you, you know, what do you, what do you think, do you, what is your, what do you prefer writing, directing, acting? Do you have a preference?Kevin Heffernan:I don't know. I, I always think of it as like as like the seasons, you know, it's like whenever it's winter you want it to be summer, or whenever it's summer you wanna be winter. Yeah. Like, I always feel that way. Like whenever I'm doing one of the jobs, I'm like, God, I wish I was writing right now. Yeah. . But I mean, I think that's the beauty of the, the hyphen thing. It's like, you know, it's like you know, I just got through the editing process, right? And then which is a whole thing. And, and, and then by the, we've been doing six months and then by the end of that you're like, Ugh. And now you know, we're working on a project with you mm-hmm. , and we're working on a project with the Republican lizard guys. And you start moving back into the writing mode and you're like, oh, thank God this is fucking great. Right? Yeah. Yeah. And then whatever, three months from now they're like, God, I wish I was shooting. You know, ,Michael Jamin:It's a shooting is ex especially being directory is exhausting. You gotta be the first one there and the last one out.Kevin Heffernan:Yeah. And then you gotta prepare for the next day. You gotta prepare. You should, at least you should, you know.Michael Jamin:Yeah.Kevin Heffernan:You know, but a again, like, you know, part of it that's nice is the all-encompassing kind of thing of it where it's like I don't necessarily have to expend all the director energy directing an actor mm-hmm. , because I'm doing it. And I don't have to spend, I don't spend a lot of energy translating between a writer and a director and an actor. Which also is a, I think a lot of a director's job is these kind of like interpersonal mm-hmm. , you know, figuring out how to do that because we kind of do it all, you know, so there's something kind of nice to that, you know.Michael Jamin:Yeah. Well, I guess, I mean, and I, again, I give you a lot of credit. It's cuz it'sKevin Heffernan:Well, but like, when you, when you're having a problem on the set, for example, right? Mm-Hmm. and then you know, some scenes not working or whatever it is, and you're in the middle of it as the actor writer and the director, you just kind of cart blanche to, to try to fix it. You know what I mean? Yeah. It's not like you have to bring a committee together to try to fix something, you know? Right. There's something nice to that there's something nice to that.Michael Jamin:Do you, now, this Tacoma was pretty much your first was your, was it was your first TV venture, but now, you know, I know, I, I knowKevin Heffernan:How it was. Yeah. I mean, it was the first one that went, you know, like Yeah. The thing is that Lemy and I, you know, for many years, and you know, this, I mean, for many years we, we had been making TV or developing TV shows and selling scripts and Yeah. And you can go there. I mean, I think we sold a different script, like something like eight years in a row mm-hmm. Into, into TV season, you know what I mean? Right. And they just don't go, they don't go, they don't go for whatever reason. You know, like I remember one year we sold one to I think it was B, c and we were so excited about it, and then we found out that they bought 80 scripts. Oh, . Yes. And they're, and they're gonna shoot three of them. Right. Right. And what we found out was that these networks a lot of times will just kind of preemtively buy scripts Yeah. In order to be able to control the market. And, and it doesn't cost them a lot just to have a bunch of things you know, options. Yeah. And then, you know, you're, oh fuck. So I, I think as time went on, we were trying to figure out like, what's, how do you get to the next step? Like how do you write the TV script that they're gonna shoot?Michael Jamin:Yeah.Kevin Heffernan:You know? Mm-Hmm.Michael Jamin:, what did you figure out? I mean,Kevin Heffernan:Well, it, it's partly who you do business with. So like when we pitched com, we pitched everybody, we pitched the big networks and the little networks and you know, the one that they were the most excited about and the most that you got the vibe that this, they're gonna shoot, this thing was true tv.Michael Jamin:Right.Kevin Heffernan:And, you know, we could have sold it to Fox or whoever it is, but we knew that those people were gonna shoot it. And that's the battle.Michael Jamin:They told you that. I mean, some orKevin Heffernan:Essentially, I mean, it's like we, you can also know, like, you can say, you can find out how many they buy. Right. And out of those, how many they shoot, and out of those, how many get on the air and, and somebody like True who's a smaller network, they can't go out and buy 80 scripts. You know what I mean? Right. So what they do is they'll, they'll buy three scripts and you know that you have a damn good chance if it's three scripts, you know,Michael Jamin:We would, when we sold shows back on network, you'd be optimistic at first, and then you'd read in the trades what someone else sold the show, maybe with some actor attach or director. And you'd go, all right, that's one less slot. You, you just knew it, you just knew that's one less thought to buy. Yeah.Kevin Heffernan:Yeah. And then you get to things like, let me and I were talk about this morning, we were like trying to remember, there was a a, we sold a script one year about stay-at-home dads. Right. I think it was called Kept Men and the Stay-Home Dads. And our wives had great jobs and we, we would just stay at home, take care of the kids, whatever. And it's an idea that everyone has had. And I remember we, we sold it somewhere, I can't remember, it was N B C or B ABC or whatever it was. And then we found out, I think it was B nbc, we found out that there were three other stay-at-home dads scripts that had sold Uhhuh to nbc. And then we found out that like, you know, one of the producers was Jimmy Fallon, one of the producers was Ellen, you know, one of the, it was, you know, whoever. And you knew then that your fortunes are getting, you know, less favorable. Yeah. And then ultimately they pick one of those, you know, they're an nbc they're gonna pick the Jimmy Fallon project mm-hmm. . Cause Jimmy Fon is one of their superstars. And, and, and, and you know, so your, your discouragement kind of goes down as he gone. But that was always the thing was like, how do you get from the point where you sell that script to you make that script, which is really why we're in this business.Michael Jamin:Yeah. Right. And and your eyes are higher. Well, it's, it's, so, it's, I was, I would, I was gonna say your eyes are higher up getting a TV show made than a movie, but you've gotten a movies made. So what am I doing? Yeah.Kevin Heffernan:I mean, I, I guess it depends on what the market has been. I mean, they're just, sometimes, I, I only say that because I feel like it's shifting a little bit again now, but there's certainly, you know, when the streamers came in on top of the broadcast people, there were more opportunities, I feel like mm-hmm. . And at that point the films were shrinking for a number of reasons, just that it's so expensive to put a movie out. Yeah. you know, that, that as the movie companies get bigger they will not take chances on certain comedies. You know, like we, when we made Beer Fest at Warner Brothers, we were like, why don't you guys just make a shitload of, you know, 15 million comedies and try to make a lot of money outta 'em? And then cuz they said, cuz we'll make one Harry Potter and it'll make more money than 115 million comedies. Right. Everyone'sMichael Jamin:Swinging for theKevin Heffernan:Home run. Yeah. And, and that's why, and that's what we'll do. And so there was a lot of that vibe. So I think that's part of why, you know, we were like, you know, let's take a shot at tv. There's a, there's a better home for comedy. You know, at that point, I think. Yeah. and it, and it was, you know, and, and when we sent up for True tv, you know, their, their motto has kind of changed. But at the time they were trying to build a comedy network and they had Andrea Savage and Amy Sedaris and, you know, Bobcat Golf Weight and all these guys had shows. Yeah. And they were, that they were trying to make these comedy shows. So it seemed like a good, a good fit for us.Michael Jamin:And I had a question, I just now now I just lost it, but, oh, I was gonna say. So, but you also have acted on other, you've guest art on plenty other, on other shows, Goldberg, but Yeah. Do you, but do you prefer, like, do you have a preference even, I don't know, doing other people's material, your material? Do you care at all?Kevin Heffernan:I, I, I don't mind people's material, but I love writing our material and doing our material. You know, it's like, it's like the, it's like the standup thing. It's like, you know, the beauty of doing standup is that you can write a joke and then perform the joke and get the reaction from the crowd. I, I kind of feel the same way about performing our own material, you know?Michael Jamin:But I know you and you guys used to do a lot of performing standup, but you don't, you haven't done that in quite a while and you don't, what's the plan? Do you miss that at all or what?Kevin Heffernan:Sometimes I do. Sometimes I do. You know, I think it was something that we I mean some of the guys in our group have a background like, you know, chance Sakar has, you know, stand background or whatever. But I had never had it really. And then it was that last, it was the last writer strike whatever, 2008, 2009, whatever was that, when was that? Like,Michael Jamin:It was 2008. What? Yeah. What did you guys do during that?Kevin Heffernan:Well, we were, you know, we had made our movie of Slam and Salmon and we had to make it independently cuz no studios were buying. And then, you know, nobody's making a TV shows. We couldn't sell anything. We couldn't write anything. And so we had one of these kind of live standup agents who was like, look, you guys have notoriety now. You can go around and do a show, you know? Yeah. And, and make money. You know. And so it was like, oh, okay. And so we put together this show in, I think it was 2008 or 2009, you know, come in, in the strike. And we went on tour and we did whatever, I, I can't remember, we did like 20 or 30 show cities or whatever it was. And and it was like it, it, it, it kind of morphed over time.But it was like, you know, we would put our Supert Troopers uniforms on and go do a supert trooper sketch mm-hmm. . And then a guy would do, you know, 10 minutes of standup and then we'd do a beer fest sketch and then guys would do 10 minutes of standup and then whatever. And so I think that was when the vibe for live comedy for us kind of really grew. We were like, oh, this is great. This is cool. And there's an audience. Like there's a, there are fans of ours. It's not like we have to go Yeah. TheyMichael Jamin:Come see you. Yeah.Kevin Heffernan:Yeah. Like we used to go and, you know, walk around Washington Square Park and hand out fucking postcards. Come see our show, come see our show come now. We don't have to do that. You know? So Isn't that amazing? That was nice. And so then that's why we got into standup cuz cuz we started doing that. And then I, I had never really done standup and I had a blast. And then it got to be the end of that tour. And then it was, the agent was like, does any of you guys, you guys still wanna go do some standup? I'll book you. And then lemme like, yeah, we'd love to. Let's do it. And so we went probably for eight or nine years we traveled.Michael Jamin:Now when you were doing this, were you literally on the road? Were you on the road the whole time? Were, were you fly back and forth to California?Kevin Heffernan:No, no. We were like you know, 40 year old guy standups, you know, it's like if we were the 20 year old standups, we would be like in a car driving around, but we would No, you'd go out, you'd do two weekends a month or whatever, you know, and you'd go out and you'd do, you know, a Thursday, Friday, Saturday showsMichael Jamin:And then flyKevin Heffernan:Back. And then fly back. Yeah. Yeah. And so but you know, probably eight or nine years we did it, you know, we would do, you know, I don't know, maybe 20 weekends in a year.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 michaeljamin.com/watchlist.It's, it's so interesting. I again, cuz you guys are just like, when I hear so many times, you're like, people are like, well, how do I sell my screenplay? And my voice is always, you don't and just do what you're, build it yourself, do it. Stop asking for permission, and that's exactly what you guys did. You just did it.Kevin Heffernan:Yeah.Michael Jamin:You know?Kevin Heffernan:Yeah. I mean, that's the same advice that we give people too. It's like, you know, and whatever the, the, the kind of the world changes a little and you know you know, there are different ways to do your own thing. You know, I mean, when we started, people didn't have camera phones or Right. , you could haveMichael Jamin:Made that movieKevin Heffernan:Equipment or you know,Michael Jamin:You instead of 250,000 you could have made that movie Yeah. For a fraction of that. Right?Kevin Heffernan:Yeah. Yeah. And, and so people, I think people do have that opportunity and, and, you know, they can go shoot a movie on their phone or whatever it is. And I mean, in that way, you, you at least learn how to write and act and where to put a camera and how maybe how to light something or whatever. Its Right. Right. but that, that's what we always say to people is, is do that. You know, write your own stuff and go do it.Michael Jamin:Do you find, because I mean, I'm jumping around here, but you ob you collaborate a lot either with five or four other guys, or sometimes you work with Lemy or with the writing set. Is it, you know, do you find that you don't, that you know, you don't really get to use your voice that you're always, it's, it's more collaborative? Do you miss or do you crave doing something just with your own voice or anything?Kevin Heffernan:I don't know. I never thought about that. No, I don't think so. No. I like, I like the collaboration thing. Right. I, I don't, I mean, whatever we've worked together for, what, four years now? I don't, I'm not super precious. I, I, and I, I I'm not like a dig my heels in guy I don't think. Maybe I am, maybe you'll tell me differently. But I think, you know, I think I, I, I like, I love getting, you know, seeing other people write some good jokes and whatever. Right, right. It's a, and I think it's probably born out of the fact that I've always been in a group, you know, and I've always been with these five, you know, I was with these five guys and, you know, you learn the value of having other people's perspectives and whatever. So I, I don't know. I, you know, I like standup. I, I, I really enjoyed it and it was fun and it was fun to go and tell stories and whatever, but I, you know, I don't know if there's something I I like more about, probably about the TV or movie worldMichael Jamin:Because even directing, like as a showrunner, you could, you still have ultimate the final say on anything. So if you had someone else direct, you do, I know you have other people direct episodes, but I wonder like, you know, why, I guess why, you know, what's the, what's the appeal of doing it yourself when you still have ultimate control anyway?Kevin Heffernan:Right. Right. You mean like, why not have more people?Michael Jamin:Yeah, I mean I, no, I, IKevin Heffernan:Just think, well that's, that's, youMichael Jamin:Know, exhausting. It is. That's,Kevin Heffernan:That's O C D and control and control issues, Michael.Michael Jamin:Oh, so that's why you, cuz you really want, you just want to get it done. YouKevin Heffernan:Well, no, that's what my kids will say. They'll say that I have control issues. That's right. May, that may be the case that I, I like to do things myself, but,Michael Jamin:Oh, well. But, but, but that's what that kind of speaks to what I'm talking about is like, okay, well you're do you are getting your voice across cuz you ultimately making, well, you know, so many decisions. But yeah. And so I don't know what, what advice do you have for, for young people breaking in? Do you, you know, are you getting swarm by this? You know?Kevin Heffernan:Yeah. It, I mean, you know, it happens. I mean, you get it right? You get people and they wanna send you. IMichael Jamin:Get it. But you, I'm, I think you might get different questions from me. You're, you're, well, IKevin Heffernan:Guess, I guess other, you know, I mean, yeah, I get other questions.Michael Jamin:You get recognize you walk on the street and people know who you are andKevin Heffernan:So Yeah. How do I become an actor, you know, and get that. Yeah. And, you know and it's hard. Like I, you know, I try to help people out, but I, you know, you know, there's not, there's like a, some sort magic bullet. Like, you know, guys in this industry, I mean, no matter how long you've been there, you me, every day we try to figure out how to keep our careers going. Mm-Hmm. You know what I mean? , it's like, yeah. It's like I got enough trouble, you know, trying to get what I, you know, I don't know what my next project is, you know? Right. And, and it's and every, it's a fight. I don't care if you're Martin Scorsese or whatever, it's always a fucking fight. Yeah. And so, you know, you try to impress it on people, but you don't wanna be, you know, the doom and gloom guy.You know, I, I, I did a, our buddy who's a producer, rich Perlo, who produced these our movies, he teaches a class at Columbia and, you know, LUMY and I zoomed into the class the other day and there's a lot of those questions, you know, and, and I, we got off and I was trying, I said to him, God, I'm to Rich who teaches the class. I said, I'm really sorry. I hope we didn't come across as these doom and gloom guys. Cuz we, you know, our point was it's very hard and you gotta work hard and nobody's gonna give it to you. Mm-Hmm. , you know, there's like all these kind of like, you know, myths of you know, being discovered this, that, the other thing. But it's like, you know, we've been pushing the rock up the hill for, for many, many years. Yeah. And it's just accumulation of relationships and experiences and whatever that kind of get you going that way. You know,Michael Jamin:It's, it's, yeah. Sometimes people say to me though, they wanna send me scripts. I, I'm not the guy, I I'm not the gatekeeper. I'm not the guy. I'm, I'm the same guy as you are. Try Kevin Heffernan:Trying to Yeah. You want me to do, you know, I mean, and, and you know, like you can't read their script cuz then you do violate various kind of legal things, you know?Michael Jamin:Yeah. I'm not doing that. Yeah.Kevin Heffernan:Yeah. And I remember the first time we ran into that, I think we we had just gone to college and Jay and I wrote like all these spec jokes and sent 'em to the Letterman show. Mm-Hmm. . And they just, and you, like four days later you get the envelope back unopened. Yeah. with a return to sender thing on it. And there's a, a form letter, it says, we do not read unsolicited material, you know? Yep. Oh,Michael Jamin:That's, that's the end ofKevin Heffernan:That. And so that's, you can't even, you can't do it that way. So you just have to work. And I, I tell these guys also, you know, you think about some of the people who work with us, like in our writer's room, right? It's like we have this great woman Hannah who she, you know, wants to be a writer and she wants, or at least wants to work in the industry. And, and you know, we said, well, you know, you can start, you know, at the bottom. That's how, that's how you do it. You know. And so she came and she was, you know, an intern unpaid for a while, and then she was a pa and she worked right up and da blah da. And then, you know, she got to do some stuff in our writer's room, you know, essentially the secretarial elements of it, you know, which she did last year. And and that's the way you do it. You know, you start at the grunt level and then you make relationships and you keep going, , you work yourMichael Jamin:Way, right? People wanna start at the top, Mike, you don't get to start at the top. You gotta start. No.Kevin Heffernan:And you meet all the people on the way up. You know, the guy who is my, now my, my PR guy, my PR agent, who's a pre reputable guy in the business now. He's like, I don't know if you remember, I met you, you know, many years ago. And I was like, is that right? And he goes, yeah, I was an assistant on the desk of this producer mm-hmm. that you guys are doing a project with. And you would come to the office and you'd like, oh. And he said, you're very nice to me. And I, I was like, oh, glad, I'm glad to hear that. Yes. and . Now here's that guy. He's, you know, this big PR guy who, you know is very successful in the business, you know? So it, it's just, you know, there's no way that people are gonna put their script in there and become this, you know, the next Oscar winner until they work theirMichael Jamin:Right pe people are gonna think that you have listened to me talk on social media. And I know for a fact you haven't because you're saying that I've already said, which is Oh, okay. You know, I told a story as well where I was, I can't, we were going to pitch a show and the person we're meeting with is young executive. He goes, you know, we, we've met before. And I'm like, oh no. I'm like, cause I don't remember the guy. And I'm like, already, I just tanked the meeting. And he goes, yeah, I was a, I worked on a desk and you were nice to me. And I was like, oh, thank God. You know, you gotta be nice to people cuz they, you've gotta be nice to people cuz they're not gonna stay in that deskKevin Heffernan:Correctly. That's why I tell everyone, you wanna know the key to Hollywood, be nice to the assistance. Yes. Because they're, they are the gatekeepers and then ultimately they will move on to other jobs. Yeah. So they benefit you in many different ways, but if you're just a nice personMichael Jamin:Yeah, I say that as well. Don't kiss my ass, kiss the ass of the assistant. They're the ones I'm gettingKevin Heffernan:The door.Michael Jamin:Yeah. I'm not gonna help you. But they might help you.Kevin Heffernan:But then it's all, you know, whatever. It's all relationships. We, you know, I, like you said, I didn't do a, we'd never made a TV show before, you know? And we relied on certain people like you to help us do that. SoMichael Jamin:Now, and now you don't need us anymore. But don't, don't.Kevin Heffernan:Well I, I like to, I like to have you though.Michael Jamin:You like to have my little nap, littleKevin Heffernan:Laptop. No. You know, it's funny, I, I vividly remember that meeting that we first had with you guys. Yeah. And we, we were at day, we were at we were at the three arts offices. Yep. And and I remember this cuz I was like, you know, let me and I, and you know, maybe you've come to realize it, but lemme and I were, were a little bit more insecure about our knowledge about how to make a TV show cuz we hadn't done it before. Right. And and I remember I kept in the meeting, we would have conversations like, he would keep saying things like well I don't know cause we only make movies, you know, I don't know. Cause we gonna make movies. I kept saying that. And what I was trying to say was, I don't know anything about tv. Right. But then your partner Sievert, he, he threw that back in my face. . At one point he said something he said, but I don't know cause I only make tv, you know. Oh my God. That's the funniest fucking thing. I thought it was so fucking funny. Michael Jamin:Oh, thank God he didn't tank the meeting.Kevin Heffernan:No, no. I mean, I, I thought it was hysterical because that's exactly how it sounded. Uhhuh . But but we all knew what we were really saying to each other. You know what I mean? Right, right. But good cause you know, he, he made a joke of it and I thought that was very funny. I I always remember that. I alwaysMichael Jamin:Think about that. Oh, that's so funny. Cause he, he'd be embarrassed. I think if you, if you mentioned that we had a meeting once, I don't wanna say what it was, but it was not a, it was on a Disney show and you know, and he didn't want the job, but it was a job. And and he tanked. Siver tanked. He didn't mean to, he just kept on putting his foot what wasn'tKevin Heffernan:Intentional tanking.Michael Jamin:Right. He was not intentional tanking . And, and actually thank God he did. Because after that we got What did he do?Kevin Heffernan:Like what did you do to tank it? Like what was it, was he just saying bad shit?Michael Jamin:He was trying to, he was trying to be not, he was basically saying, how do you know if this is funny? Like, he's basically saying, none of this is funny to me. How do you know if it's funny?Kevin Heffernan:Okay.Michael Jamin:That's coming out. And it was just the funniest thing. And he was trying to cover up and, and I was trying to help him dig outta this hole. And it was just getting worse . And afterwards he felt terrible. He felt, cuz it's not what he was trying to do, he just felt terrible about it. But it worked out for the best.Kevin Heffernan:And you clearly did not get the job.Michael Jamin:We did not get the job. No one, only an idiot would hire after that job. But and I, I didn't make him feel bad. He felt terrible. But I was like, don't, don't worry about it. This is not the job for us.Kevin Heffernan:. . See, you don't want it. Like, if they don't get, you know, you don't wantMichael Jamin:Yeah, it was, it was a, it was very awkward. But we doKevin Heffernan:That in a lot in our careers though. Like, I feel like there was certainly, and certainly in that time period I talked about where we were just selling, you know, TV scripts. You re you think about like, I I just want to, I just need to make some money. I need to do this. I need you going to get this door and whatever. And then, I don't know, there, I think that point in time where we started doing standup and whatever, I was just like, ah, fuck, fuck it man. I can't, we had been hired so many times to write scripts for people and, and you know, it didn't go anywhere that they, you're like, what the fuck, who the fuck is this person giving me comedy notes? Mm-Hmm. . And finally you're like, Ugh, I don't wanna do that anymore. Yeah, yeah. I just wanna make a TV show.Michael Jamin:Yeah. And, and, and, and you get, you know, it's actually, I I think it's, it's more gra I don't know, I say this never having made a movie, but I don't know. It's like you get to shoot it, you write it and then you shoot it and then it's up in the air in a matter of months. And they get Yeah. You could do work in film, not you guys, but most people work in film and they never get a, you know, anything shot. They can have aKevin Heffernan:. Yeah. I mean that's the Yeah. But that, that's, that's also the weird thing about movies too. And, well, it's a little different when these movies now this, this streaming stuff is just a little bit different. It's, it is a little bit more in the TV world, but movies are kind of like gotta, I don't wanna sound like a, I'm shitting on it or whatever, but I, it's, I love it. But there is like this thing with this, this buildup and you've worked on this thing for years and then it gets to that first weekend and then that's it. Whether it's, you know, successful or not successful, you're done.Michael Jamin:It's all about opening weekend.Kevin Heffernan:Yeah. It's over. Like, you know, like, there's not like a, and I'm not saying that in a bad way, I'm just saying it's like, it's like, it's like kinda stepping off a cliff, you know what I mean? And then you're done. Like tv, the beauty of like Tacoma 13 weeks in a row, you got in something new story that's coming out.Michael Jamin:Right. And it can buildKevin Heffernan:And it can build and it's a new thing. ButMichael Jamin:Never whatKevin Heffernan:Understood that finite thing, you know?Michael Jamin:But I never understood that with a box office. If you tank on your opening weekend, like, well why can't it build, grow? Like why can't it grow in the second weekend? Why can't, the word of mouthKevin Heffernan:Why can, and it does at times, but it doesn't ma like the, the metric the bar is, is how you do in that first weekend. So like,Michael Jamin:That's what you're measured up. But why don't they consider the overall gross? I mean, I don't, you know.Kevin Heffernan:Yeah. I, it just, it doesn't know. I don't know. Cause it, it just, it's all pushed by that opening weekend. You know, like our, like our movie like Super Troopers. It did, you know, it did okay. It did nothing. Nobody who we were. But you know, it was at the height of the kind of DVD era, which is they were, you know, printing money in that era. This movie studios were. Yeah. And we would see, you know, quarterly reports for, you know, Fox or whatever and Super Troopers would be listed in them cuz it would be making so much money for them. Yeah. Not in theatrical, but on the DVD market. Right. And you're like, well, why aren't we though? You know, the guys that you sing about. And it's, it's cuz it's still the industry still driven by opening weekend.Michael Jamin:It's so Still is. Yeah. Because it became a cult hit. I mean, you guys are, you know, you really have a, a cult following. I mean, and then loyal, you know, they, they show up you're fans.Kevin Heffernan:Yeah. And so that, that was the great thing. So this trailer came out and in the first 24 hours at 8 million views.Michael Jamin:Is that right? Yeah. How did, how did that now where did they drop where? Okay. How does that work when they drop a trailer on the, we&#

Kelsey Sievert virtually joins me for this week's Keoni Chats. I met Kelsey during my time at the University of Oregon. While in Eugene, my roommate and I took in a stray cat (that ended up being pregnant with three kittens). Kelsey and I went on a couple dates, and while that never led to anything, I still thought of her as a great friend and gave her a kitten. One aspect that made me want to talk with her was that she is a professional makeup artist. I wanted to know how early covid affected her and how she adapted. We also talked about the grief for her brother. I usually try to learn from my guest but talking with Kelsey about her grief helped me gain a new perspective on mine. Since leaving Eugene, Kelsey has outstood two marriages and is in her third; I wanted to know how she didn't give up on love. Follow Kelsey here: https://bit.ly/3FCdxsl; https://bit.ly/3JREU3Z; https://bit.ly/3ZVyLtc

Were you a fan of the TV show Silicon Valley? If so, make sure to check out this podcast episode featuring John Altschuler, one of the show's creators.Show NotesJohn Altschuler IMDB - https://www.imdb.com/name/nm1014365/John Altschuler Wikipedia -  https://en.wikipedia.org/wiki/John_AltschulerJohn Schuler Emmys - https://www.emmys.com/bios/john-altschulerMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAutomated Transcription:John Altschuler (00:00:00):And I got back from delivering pizzas. And this is like, we didn't even have an answering machine. Okay? This is like we had no money or whatever. I get back, my phone's ringing and I, I remember it was about four in the afternoon and I, I pick it up and I can I speak to John Altschuler and I go, this is, this is he? And he goes, this is Mad Simmons. No, his rats. I think this rats, you know, this is rats of Soman. And he goes, money talks. What have you got? . Okay. I'll be like, what is, I got your dollar beer bill right here. What have you got?Michael Jamin (00:00:33):You're listening to Screenwriters. Need to hear this with Michael. Janet.(00:00:41):Hello everyone. Welcome back to Screenwriters. Need to hear this. I'm Michael Jamin, and I have another great guest today that I don't know how many people are listening. I have thousands and thousands of listeners. And I'm telling you, not one of them is deserving to hear this man speak because this guy, the credits, his credits. And I'm gonna start off by saying, say, welcome to my show. It's John Altschuler. I'm gonna give him the proper introduction. He's my friend, but also many times he's been my boss and this guy, he, he was the, he ran, he and his partner, Dave Krinsky, ran King of the Hill for many years. They created Silicon Court, co-created Silicon Valley, their movie credits, or they also created The Good Family. Do you remember that show? They, they ran Beavers and Butthead for a while. They, they're in credits in they created, wait, did I say Silicon Valley? Yes. Their movie credits are included. Well geez,John Altschuler (00:01:31):John Henry, I'll tell you, blades of Glory,Michael Jamin (00:01:34):My Tongue, blades of Glory. But also produced X Track. And and they ran Lopez on I think that was tbs. Where was that? Tb?John Altschuler (00:01:44):That was Viacom, yeah,Michael Jamin (00:01:46):. And, and I worked on it. I don't remember what, but never . But John, thank you so much for the coming to the show. This is a go, this is gonna be a great one because John is one of, first of all, lemme start from the beginning cause I'm not even sure if I know all this. Like, when did you decide you wanted to be a writer?John Altschuler (00:02:03):You know it's interesting because I think, I would say when I was 10 or 12, Uhhuh , I was one of those kids from our age that comedy was everything. Okay. And back then you had three networks and you were just like, oh my God. You know, the, you know George Carlin is going to be on this show and you just get 10 minutes of it, you know? And so I always loved comedy and I always kind of loved the deep dive into comedy. And then, but so it, it always was kind of important to me. And then I went to the University of North Carolina and I majored my dad. You know, I come from an academic family, so I majored in anthropology and economics Uhhuh. But I was really interested in writing. Now my thing was, well, I didn't think that I should major in, you know, writing for screen, whatever, you know, whatever.(00:03:06): Because I kind of thought you learned by doing Uhhuh , and I wanted an academic degree. But what happened in college is that at Carolina, at the time, we had an incredibly bad communications department. Okay. It was so bad that I'm not making this up. They had equipment in the basement that students weren't allowed to use because they might break it. Yeah. Okay. Literally not allowed to use it. Okay. . So, but this these people who I knew started S T V Student television using cable access cuz they have to provide it and da da and Dave and I and our friend David Palmer, were just vultures and like, all these guys did really hard work. They got the campus to, you know, the university put up money and they got cable. And we just showed up and took all the cameras and, and filmed our stupid comedy show. Know, probably you're, you're familiar with Friday the 13th, the stage musical, and Bonnie and Clyde and Ted and Alice and, and Point and Wave you.Michael Jamin (00:04:12):And so you, I, this is obviously, cause I, I don't know this cause I haven't visited the Library of Congress re recentlyJohn Altschuler (00:04:18): Yes. With the Smithsonian.Michael Jamin (00:04:20):But, so with these, like, these were a single camera show that you acted, did you act in as well?John Altschuler (00:04:24):Oh yeah, yeah. It was me, Dave, Dave Krinsky, and this guy David Palmer. And we did a half hour comedy show just while we were, you know, in school. And then when we graduated, it was, I, I was like, well, I had an econ degree, which means, and not a graduate degree. I didn't. So it was kinda like, well, you go work as a teller in a bank, there's not much you could do. And I was like, you know what? I want to, I want to, I think I'm interested in writing. And my mom, who is, she passed away, like going to 99 years old. I I was like, I think I wanna do it. She goes, well, why wouldn't you? You know? And I was like, you know, go out to California. You're, you're young, you're stupid. If it doesn't work, you just come back.(00:05:06):There's no, and Amazon was like, oh, she's right. And so from North Carolina though, so graduated. Yeah. And what Dave and I did is we basically both worked service jobs in Chapel Hill to save up money to come to California. And in the interim, I had this idea, and actually it was a, it turned out to be a, a pretty important one is I was like, let's get published. Okay? Now, back then they had these things called books. Okay. You know, you didn't have the internet and you went to the library and it was a book called The Writer's Market. And it was, yeah, it was every magazine and what they're, you know, so we're looking up, you know, well, where could we get comedy stuff published? And there were only, there weren't many outlets. There was just, national Lampoon was the only national Humor magazine.(00:05:59):Playboy did humorous pieces. And then after that it was just porn because they were all trying to maintain First Amendment thread. So they would publish articles. So like, I remember there was like something called Nut Nugget and Smut in the Butt, . And we were like, okay, let's start with National Lampoon, and then when we get rejected, we'll end up hopefully getting published by Smut in the butt. Okay. So what happened, is that we start with National Lampoon. So I, I find them in the, the Writer's Query, and I mean, and the writer's market, and it says specifically National Lampoon does not accept any unsolicited material. Right? Okay. So now you probably know this about, I'm a little off the beaten path kinda guy. And so I'm like, well, you know, Dave and I had come up with a bunch of ideas. And so what I did was I put a letter together and explaining an incredibly snotty, sarcastic terms, how important you are at Nash Lampoon.(00:07:02):And, you know, your time is so valuable. So here I'm, I, I'm, I'm enclosing something for your time. And I enclosed a dollar bill with the letter Uhhuh . And, and I sent it to the managing editor Chris Simmons, and then his son Mad Simmons. No, mad Simmons was the, the managing editor. He, he invented the Diner's card. Okay. He invented the credit card. Right. And then bought National Ha as a large Wow. Mad Simmons, Chris Simmons and Ratso Sloman. So I sent it out the, and I swear to God I was, I, I worked, I delivered pizzas and worked at a Chinese restaurant as a waiter, and I got back from delivering pizzas. And this is like, we didn't even have an answering machine. Okay? This is like, we had no money or whatever. I get back my phones ring, and I, I remember it was about four in the afternoon, and I, I pick it up and I can I speak to John Altschuler and I go, this is, this is he?(00:08:01):And he goes, this is Matt Simmons? No, his rats, I think it was Rats told, you know, this is rats slow. And he goes, money talks . What have you got? . Okay. I'm be like, what is, I got your dollar beer bill right here. What have you got? And so, right off the bat, I just started pitching. And he goes, okay, okay. We, we had one idea about, there was this woman named Kathy, Evelyn Smith, who went to jail. She was the one who was with John Belushi when he overdosed. Okay. Okay. Now, he was a freaking drug addict. He was gonna die. Okay? But they blamed her because she supplied some drugs and da da da. And so the thesis of the article is that all she was getting out of prison, and Hollywood was terrified because of her, her abilities to make them do things they don't wanna do.(00:08:52):You know, like Richard Pryor says, she made me set fire to myself, freebasing. And they, and they're all like, so they liked that. So wrote that and it got published. Now, back then, national Lampoon was a big deal. Yeah. Animal House had ju had come out just a few years before National was vacation and Stripes. Mm-Hmm. all in a freaking row. So us being published by National Lampoon coming out Hollywood, it opened up huge doors. I mean, go ahead. No, I'm, I, I'm, I didn't know. I'm surprised. So what kind of doors did it open? Well, like, for example okay. So you can't be shy. Okay? It, it, it's simply nobody's gonna do it for you. As I sometimes tell kids, nobody wants you here. Nobody wants you to do, there's plenty of people doing and nobody's looking for. Let's get one more. Okay.(00:09:41):But I'd gotten the name of an agent at C a a, Lance Tendler, and Lance Tener was in the music and of ca but I didn't know anybody. Right? So I, I said, and you know, here's the thing. If you show some manners and take a little bit of time, it's a big, it's a big deal. So I sent him nice letter, explained, well, this is what we're trying to do. And he ended up giving it to a colleague, and the colleague said, well, I C A A was a, I mean, that's who where I am now after, you know, 30 years. But at the time, I mean, they were the biggest deal. Like, you know, nobody could get ripped by and blah, blah. But they offered to pass our material on, and one of the people they passed it on to was a producer named Neil Maritz.(00:10:26):Now Neil, Neil Maritz ended up producing all the Fast and Furious movies. Right? Okay. And he had not gotten a movie made yet, and so he loved National Lamp and he jumped on it. So our first producer was this guy Neil Maritz. And our first agent, no, no, he was a producer. Okay. The agent sent our stuff to him. Oh, I see, okay. And so that was kind of an in, and he was a hustler and kind of new. And so, and he is actually a nice guy. He really is. Like, he's, he's very Hollywood, but kind of in a way that you miss. But he wasn't, he wasn't a, he wasn't toxic. He was like a, a good sort that really wanted it to work out. And so that was our, our end. And then it's kind of funny because we were trying, okay.(00:11:18):We moved to Burbank, California, and Dave and I, my part, we, we got a a two bedroom, one bath apartment in the Valley, $625 a month, no air conditioning. Okay. Right. And I mean, it was freaking brutal , because, you know, you'd have Yes, I can imagine. Oh, yeah. You know, it'd be like a hundred degrees and a Yeah. You know and I worked room service up at Universal, and Dave was a bellman, and I finally got a connection after six months of being a PA on a movie. And that was like, huge, right? Like, oh my God. You know? So I'm a, I'm a pa and and what movie was that? It was called Miracle Mile. And the, it was not a good movie, but it was directed by a really nice guy, talented writer, g you know, actually some people like Miracle Mile, I don't know.(00:12:13):Not me. But but he was a good guy. His name is Steve Dejak. And he he ended up being like, I, I just sort of worked. And he, he was a good sort. But that led to being a pa on a movie called Tort Song Trilogy, which was produced by Howard Gottfried. Right. And Howard Gottfried produced network and altered states. And so there's something that Dave and I learned is that p I'm really cheap, okay? Because I came up with no money didn't have Wealthy f . It was all, I, I was on my own now, my parents were great, just didn't have money. Okay? So what I found is that writing is expensive, because if you're writing, you're not making money. Mm-Hmm. . Okay. And I figured out that every day to write cost me back then about 60 to 80 bucks because I could live on nothing.(00:13:11):Right. But I needed about 60, 80 bucks a day to get, you know, to, to survive. That's what I needed to make. And what I found is I would work these PA jobs, and I found that I could work for a month to write for a month. It was almost one to one. And it was interesting because when I was a interest, I've said that three times, it was interesting to me, you know, that when I was working as a pa I also tell the youngins this is that if you are a pa, just don't be insane. If you're an intern, don't be out of your mind, okay? Because if you are not crazy, and you make your boss's life that much easier, right? They love you. Yeah. I mean, they love you. And so all I did on Torch, on Trilogy is I made sure that Howard Gottfried always had a coffee cup in his hand.(00:14:02):I anything, if there was an errand there, be run, it was done like hours before it needed to be done. And I just did my job. And one time Howard was walking by and he goes, John, John, John, look, you don't wanna be a pa. What do you, what do you wanna be? I go, well, I wanna be a writer. He's like, well, I know something about writers, you know, because he was Patty CHAI's producer. He goes, let me read what you got. Okay? So I gave him something that we were working on, and it was interesting. It was interesting. He, he, he says, this isn't gonna sell Uhhuh. You write five, five scripts. He goes, if, if you write five scripts, you are going to sell it. And I swear to God, the fifth script sold, because you need to write, fail, write, fail, write, fail. And he read it and he goes, you know what? There's some stuff here you need to, he goes five times.Michael Jamin (00:14:56):Right.John Altschuler (00:14:57):That's what, that's what it took. And so that was the break was a, an idea that I had, it's something I'd read, read something in the, the Wall Street Journal, one of those things about like, you only use one-tenth of your brain power, right? And this idea was like, well, what if these scientists unlocked the other nine-tenths? But it didn't make you smart, it just made you this throbbing biological mess. You can hear everything and it bef while you're raining. And in't that was called Brain Man, right? And we sold that, and that was our entree into Hollywood.Michael Jamin (00:15:35):You see, one thing I wanna interrupt is that for the most people who were listening, they don't know this, but John is easily the most entrepreneurial writer that I know. Many writers. Like, he makes his own path. And so this is just, this is, okay. I'm not surprised at all that, I mean, but then, okay, so then you sold that. Then what, what happened after that?John Altschuler (00:15:53):Well, back then, back when dinosaurs roamed the earth, you literally could only work either TV or features Uhhuh. . Okay. Mo they were completely separate as a, and I just liked comedy. I liked it. Like I didn't care if it was, but that made no sense to anybody. Okay. They were like, no, no. And to the point where agents would get into fights mm-hmm. if a movie client did TV or Vice, because it was taking money out of their pocket. Right. You know, I gotta give, Ari was one of the early guys who was like, no, no, no, we gotta, we gotta, we need everybody. Everybody's gotta be working to bring money to me, . So, so we gotta share, you know? But it was very divided. So we started out with a, in the movie business, and, you know, we would, we would sell a pitch or every year, year and a half.(00:16:51):Yeah. You know, and just, we were just sort of hanging in there. And this was sort of odd. The phone again, is that I remember, okay. Got down to 92. Do, and this is about steering your own ship. Okay? Yeah. We got down to $92 and had a meeting with an a comedian called Pauly Shore. And Pauly Shore was a huge deal back then. He was a, you know, comedian and he had this character, the Weasel, and he was like and oddly enough, his manager was and his our manager now. Okay. So we go into this meeting and it was like, now if you knew Polly Shore, he is, this is Guy blah. And this is very eighties you know, it might have been 90, but whatever. So I had this idea, the Sound of Music, but instead of Julie Andrews, it's Poll Shore is the nanny to all these kids.(00:17:49):Okay? Very simple. Okay. So I just said, well, here's this idea. And the executive that knew I loved it, oh, go in. You gotta pitch, you gotta pitch Polly. Okay? So Dave and I go in to pitch Polly's Shore, and you know, I've actually heard he is a good guy. This, this was not . We, we go in and I, I, it was so vivid is that he kinda looks at it and he is like, well, I don't know Michael Rotenberg, that these guys kind of greasy. And like, you know, okay, I have this thing. We've had a very rough ride, is that I do my job, okay. I've had an executive while we're pitching, get up and leave the room. Mm-Hmm. I just keep pitching, okay. Because I'm gonna do my job. Okay. That's all I can control is what I do. So these guys are kind of greasy and just hear what they have to say.(00:18:39):So I go, sound of Music. So I've done it, and he is like, what sound of, why would I want the sound of Music? I don't know what that is. No, this I'm not doing a music video, man. I'm doing a movie. And, and I remember Rotenberg going, Polly, you know, sound of Music, okay, it's on every year, you know? And he is like, oh no. He like, ah, man, this is all I want, man. Is it? So I'm gonna go like in England, I might say like, Cheerio chap. And then like, maybe you send me to Germany and I'll maybe wear those funny leather pants and go, you know, Hey, hi. You know? And so we leave that meeting and it was just like, what the fuck? Yeah. It was just crazy . And we get, I, I check on the agent and she goes, they wanna hire you.(00:19:28):And I'm like, what? Now here's the thing. People have different views of careers. I've always believed that if I made one misstep my career's over, because I'm kind of a snob. So I'm kind of like, you know, well, you know, and I was sitting there going like, well, I know who does Polish Shore movies, okay. I can't be the guy who does Polys shore movies because I didn't drive, you know, in my car, didn't have air conditioning either, you know, across and work for three a three years as a pa break in to be that guy. Now I got nothing against it. There's a place in it. But I knew that I would never ever get out of that. Yeah, okay. Some people can, some people can then, you know, have Academy Award-winning careers, you know, but not me. I knew it. So I said, well, call the agent.(00:20:21):I don't wanna do it. And Agent turns, she says, don't worry. Okay, so what do you mean? Okay, what do I do? She says, I'm gonna ask for so much money that they'll pass. No problem. Cuz I, now, this was for New Line Cinema who, who I, and Dave and I literally moved the furniture into their offices. Okay. Wow. We were, when I was a PA for Georgetown Sure. It was for New Line. So we sort of know, knew these people, you know. And so we, I get, again, with the phone call, I get a phone call and I pick it up and it's a guy just starts yelling, who the fuck do you think you are? ? Who the fuck do you think? I'm like, well, wait, is this John? I'm like, yeah, who the fuck do you think you are passing on Polly Shore?(00:21:08):I'm like, we, we didn't pass on Polly Shore. He goes, oh yeah. Like, we're gonna pay you 400,000 fucking dollars. No fucking wait. You're gonna do it and you're gonna do it for what you should get paid. And I'm like we didn't do it. Okay. And I'm glad that we didn't do it because it would've been probably the end of who knows You, you, you make with whatever you, you do. But we ended up not doing it. And then went back to being a pa and I never had any doubts about it. But then what happened is an executive at H B O named Carolyn Strauss, who actually was a producer of game of Thrones, and she was the, the head of H B O for a, for a little while. And the, she was the head of their scripted, and, and she really liked a, a, a screenplay that Dave and I wrote.(00:22:01):Mm-Hmm. and she, she said, you know, Hey, would you consider working in television? And David, I like, yeah, nobody will let us, you know? And, and she's like, well, if you'll consider it, can I, there's a new show that H B O has with this writer, Adam Resnick. Now Adam Resnick, as I said, maybe the greatest guy I've ever met in Hollywood outside of Michael Jamin. He's, he's extremely funny, extremely talented, extremely nice. Okay. Everything you want. Okay. So we get on the phone with him and we basically talked about The Godfather for an hour, hour and 15. And we get off and, and you know, we only had one phone day. What do you think? He likes The Godfather. said, I like the Godfather. I think, you know, I don't know. And then they say, we get a call, he wants to hire us, and will you guys move to New York?(00:22:56):Now, this is the good thing about living below your means or at your means, is that we're like, well, yeah, we'll move to New York. And then they go, will you move in three days? Okay. And it's like, yeah. So literally locked the apartment in Burbank on the corner of Pass Avenue in Verdugo. And three days later we're in the Ed Sullivan Theater. It was produced by David Letterman. Right. So we were in the Letterman offices with an o overlooking Broadway three days later. Wow. And, you know and that was interesting because writing for TV was such a huge win for us because we'd written screenplays and sold screenplays, but nothing had been made. Right. You don't learn anything when things aren't made. Mm-Hmm. . So being, and also Adam was such a great, generous guy, and the staff was me, Dave, and this guy, Vince Calandra.(00:23:53):There was no staff. So we were allowed to do every, you know, everything, but you would see things that you think are written, well, not playing. And now it wasn't, it wasn't a com it was a con, it was comedic, but it wasn't a joke driven show by any stretch. But you, that was the high life, right? That was the high life. Yeah. But you learned by doing, it's all about doing. And I've told, you know, executive for years, if you wanna rewrite them, you don't hire a movie. You guy, you gotta hire TV guys, because like Dave and I have rerun, rewritten, run, probably 300 rewrites. Okay. That means you, you, you put it up there, you keep what matters. You lose what's screwing things up, and you gotta make it better. Okay. And I think we're particularly good at it of some people, the only way they know how to rewrite is by throwing everything away, which is a waste.(00:24:52):Right. It's, it's a waste of time and you lose good things. But if you want to have your movies rewritten, higher TV writers, because what Dave and I learned through working and TV is you just see it again and again and again. And I always tell people like, the most remarkable thing about comedy is that there is something that you like, you know, Dave and I ran King of the Hill for eight years, you know, and there were, there's both sides of it. Is that, you know, we're, we are the last decision makers, okay? So they're things that we are convinced are gonna kill. Okay. Thi this is so freaking funny, we can't wait. And so the table read happens. Mm-Hmm. And everybody, and you're, and you're not laughing . Okay. And you're like, what? Because you can't make yourself laugh. Yeah. You know, there, there's one guy who worked on King of the Hill, and he had this trick, he, he sort of very nice guy, but very political in a way that he knew how to go to make a laugh happen.(00:26:01):Mm-Hmm. , I think you learned that on SNL or something. You , you know, and that would, but you can't make yourself laugh. And then on the other hand, there'd be a joke that I would condescendingly agree to put on, you know, and Dave, shall We slum with this? And, and, and then the the roof comes off. Yeah. And you're like, you just don't know. It's, it's dark magic. I mean, that's part of magic. But did, no, you joined King, who, was it season two or one, were you Oh, season one. We, we, we, we came in during the first, you know, the, the first run, they were just, they, they, they had broadcast one or two episodes, but, you know, in animation. So we worked on episode three for all, you know, all through. And we're the , this is awful. But Dave and I we're the only ones who worked on that show, except for, I mean, the actors, 13 Seasons David are the only ones like beginning to, yeah. It's it was a lot.Michael Jamin (00:27:08):And tell me about, cause I was, I was there for it. But when you got the, when you guys got the bump to run the show, I mean, what, that was a big, that's a big step in any writer's career.John Altschuler (00:27:16):Well, you know what, what it boils down to is you should always be ready. Uhhuh , you just gotta be ready. And what happened, the wheels had come off King of the Hill for various reasons. And the episodes simply weren't the being delivered. It was, it was, they were gonna cancel the show. And w it was a very weird combination of we were working these incredibly long hours one time, like almost, I think we worked three days without going home one time, two and a half. AndMichael Jamin (00:27:47):I remember there were jack hammering in the lobby while we were trying to sleep in on the fourth floor. Oh yeah. You remember that?John Altschuler (00:27:54):Oh my God. Yeah. So it was just awful. And what Dave and I, we just wanted to go home. Yeah. So we just on our own with a few writers, let's go write an episode because there, it just wasn't happening. And so we wrote an episode and what's interesting is that the show was gonna be canceled and they had no choice because there was a script. We gotta do it. And it played great. Right? And so then, well, they needed another script and they needed another. And what happened, and this is because of Mike Judge, is that it, we were just doing it in the like, oh, let's go, let's go get it done. And it was so gratifying because we liked the show a lot. Yeah. We loved the show. And to see it go off the rails to get it moving again. And basically Mike Judge found out that we were writing all this scripts not by ourselves. Right. With all theri You were there, you know, with all the writers just putting, and they he just said, I'm not doing another year unless John and Dave are running the show. Now. We were very low on the totem pole. Okay. No,Michael Jamin (00:29:02):You were No, you were, you were, weJohn Altschuler (00:29:04):Were co-producers.Michael Jamin (00:29:04):You were co-producers at that point.John Altschuler (00:29:06):Yeah. Yeah. Okay. Believe me, I know. It turned in, it turned into a big problem with Fox because we saved the show. All we asked to take over and run it was to get paid what other people have been paid. And they're like, well, no, we'll give you a 15% bump from no producer. And you're just like, no.Michael Jamin (00:29:29):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 could, whenever you want, I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.John Altschuler (00:29:53):There. Apparently there's still animosity to us, cuz we were seen as arrogant mm-hmm. for that.Michael Jamin (00:29:58):Right. Well, you got paid, you gotta get paid, paid this suck guy.John Altschuler (00:30:02):Yeah.Michael Jamin (00:30:02):Yeah. You guys did it for many years and then they canceled the show. Then they, they brought it back and then you were back in charge of it again for the final circum excuses.John Altschuler (00:30:10):Well, yeah, yeah. So they, they kept, Dave and I kept it, kept it alive, is that they, they tried to cancel it two more times. Right. But we kept the, like we just, we always delivered the show on time and the ratings kept going up so they literally couldn't cancel it. They tried a total of three times. Yeah. And then it, there's something kind of interesting to us that a lot of people don't understand is that the last episode, one thing I always said, like, well you didn't do this, you didn't tie it up, you didn't do that. You didn't have, you know, these people there is that. I decided I'm not making the last episode. Okay. If this is the last episode, great. But we had been canceled. Right. The last two. So I'm like, I'm gonna make an episode. That could be the last episode, but I'm not the one putting the, I'm not gonna be the one who puts the, you know,Michael Jamin (00:31:05):Nail the coffin. Right. Because you wanna keep it goingJohn Altschuler (00:31:08):. Well, but I also didn't feel like that was the right thing to do is that, you know, we didn't create it Uhhuh, you know, and I was just like, you know and Mike was good with that. He would've been, he was okay with killing it, you know, he was like, you know, he was, you know, done. But I'm, I'm, yeah. So anyway, that, that was the run of King of the Hill. But what's great about doing that is by learning how to rewrite and also it was a three act show. It helped our movie writing dramatically. Yeah. And so while we were running King of the Hill, we wrote Blades of Glory and got that in production, which we, we simply wouldn't have had the skills Yep. To do it without all of that. The foundations from all those rewrites.Michael Jamin (00:31:57):I was just, I used telling people just the other day, if you wanna be a feature writer starting TV, so you learn Yes. Three act structure, you learn how to do it. And I said exactly what you said, you know, five minutes ago, which was we, we did, we sold the movie a couple movies and the exec said I wish all feature writers were as easy as TV writers. You know, because nothing's precious.John Altschuler (00:32:17):Nothing's precious.Michael Jamin (00:32:17):Rewrite it. Well, fine. Yeah. As long as I can check I'll rewrite it. You know. Well,John Altschuler (00:32:21):I always tell people like, it doesn't disappear, appear, put it to the side, it can always come back. Yeah. You know, be because, and if it co if it makes its way back fine but you don't care by then, you tend to like better. Cuz obstacles, you know how like people who don't have obstacles, you'll like, how'd that piece of shit get made? You know, or you know how it got made, but why is it so bad? It's cause you didn't have obstacles. Right. You always need people going, huh. What? Huh? Wait, because then you got to justify yourself and then you gotta bulletproof it and you gotta try harder. That's how something gets, gets good.Michael Jamin (00:32:59):Yeah. And then what, how did, how did Silicon Valley come about?John Altschuler (00:33:04):Silicon Valley happened because I was reading a book about Steve Jobs by Howard Isaacson. Okay. And I remember reading this book about Steve Jobs and there was this paragraph just a, and it was about Bill Gates making fun of Steve Jobs because the asshole can't even write code. And I'm sitting there, I was on a plane and I remember laughing, reading this going, that's freaking funny. The guy created the biggest brand name in the history of the world. Right. And there's some other guy going, what an asshole. You can't write code. And I was just like, well that's freaking funny. And so then I didn't even know really what writing code meant. Right. So I was like asked my brother who's an engineer and my brother-in-law is in an engineer. Everybody is engineers. And then, so I was like, well, there's something here.(00:33:58):Okay. And then we went up to Silicon Valley to do a little r and d cuz it's like, okay, there's something important here. Couldn't quite put my finger on it. And it was hilarious cuz I was able to get, we got meetings with these tech executives mm-hmm. . Okay. And three out of three said they want, look, we're not, we're not trying to make money. We're trying to make the world a better place. Mm-Hmm. we're just trying to make, and, and, and I was like, that's freaking funny. I remember telling Mike, I was like, Mike, this is, this is a freaking gold mine nobody. They just wanna make the world a better place. Yeah. One place that we, we we met with, they're not there anymore. That's when we, most of the things that you see through the first season, were just from that one trip because you're like, there was a guy number seven and you're like number seven.(00:34:51): And it turns out in Silicon Valley your importance was the lowest, how low your number was because that's how the number you were hired. Right. He was number seven at Microsoft. You know, whatever the hell it was, I don't, you know, so number sevens there. And then this company was, you know how, I can't even remember. I got, I'm sure I got the Snapchat gives you 15 seconds. Okay. We're gonna give you nine. Okay. And I remember going well, wait, so is less a proprietary concept? Absolutely. . They're like, okay, so your whole and these offices overlooked San Francisco Bay, they were fund on and they're pick being, we give you less. Right. and so you're like, well this is ripe for the taking. Yeah. Because self-important. You know, like the original pitch it was in there was like basically never a history of the world.(00:35:49):Have these guys been in charge? Yeah. You know, it's like nerd, you know, nerds in, in charge and there's an angry vibe, kind of an underlying insecurity, which is funny. You know, the, if, if you , when we went into production, the, the, the name of the you always have to have a holding company for a production. Right. And if you look at the end, it says, you know, s b H productions, that's the company that made Silicon Valley. It's because we were flying in and I, I looked down and I turned to my, I go, ah, the ship Brown Hills of Silicon Valley. And so when they, they said, what's the production name? I went, how about SB H productions and how funny. Yeah. So that was Silicon Valley. You know, one, one thing interesting about Silicon Valley I think was that we, we, Dave and I is, is, we met Thomas Middleditch, who was the star of it.(00:36:50):He had an animated show that we helped him with where he drew it and did all the voices. Oh, I good. Yeah. And so when we had this idea, I was like, well, let's write it for him. Okay. Because he was the right age. He was really heavy into gaming and we didn't know that age group, like kind of who, so we wrote it for him. As a matter of fact, the original name was Thomas Pecking of Richard's character because pecking is Thomas Mill ditches. Ma mom's maiden name pecking. Well, that's kind of funny. And so we wanted him, but HBO o didn't want him. Nobody wanted him. And I remember, you know, some thought, they thought, oh, he is too old or whatever. And I'm like, you know, I I tell you, you can't, you don't cast a 22 year old as a 22 year old these days.(00:37:43):He's gotta be older. So I remember he had like a full beard and we had like, we were doing casting. I said, Thomas shave the goddamn beard and get down there. And we, we kept running him up the flagpole and then every he was the best. Yeah. So, you know, so that, you know, that that was, and Silicon Valley was good because what not to, you know, that aren't we great? But we had done animated half hour, we had done live action features, you know, succeeded. This was live action tv. So we kind of like, okay guys, we've done it. You know, and which is, there aren't a lot of people who have succeeded in various moments, which it's inter to me, I often get asked like, well, what, what's, what's the, what's the length of, you know, this project and I don't care. Mm-Hmm. , if it's a half hour, you go, you, you make adjustments. If it's an hour, it, it's just, it's a, it's dr it's a dramatic concept. Right. If I got 15 minutes, I divide it up differently. Right. So we have the skills to do that if that from grinding it in these different arenas.Michael Jamin (00:39:00):Now how so, given that the industry's changed so much, so, you know, even since we, since both of us started, like what do you tell, what do you tell new writers? Or what, how do you see, like, how do you see making it now?John Altschuler (00:39:12):Yeah. That, that's tough because it's so different. It used to be, I would say easy to tell. Like I went, you know, to N C and I would say, well, go to la Just go to LA and start working. Because once you're working, you're around other creative people, you kind of, you know, you get in the mix a bit. You, you, you learn who's doing what. That's not LA's not LA anymore. You know, every people are in Atlanta, people are in New Mexico, PE every, everybody's spread out. Mm-Hmm. . So, and then the biggest difference is difference is that you would write a spec script just to show that like in TV or even in in features, you would write a feature script to sell. Right. For a million dollars. Okay. And there was such a hunger for the next big script that they were, oh my God, we were, nobody's officer NK Krinsky have a new speck.(00:40:08):And it's like, we haven't even got anything made. Okay. But they, they were like all on it. And then, or in TV you would write from a hit show, cheers, Seinfeld, you know, whatever in episode just to show what you could do. Cause everybody knew those shows. Right. So now you really can't write a spec because nobody sees any shows. I mean, I think Hill Silicon Valley's a hit. Right. And people have written specs of it, but most people haven't seen it. So you can't, you can't do that. You have to do original work. So the good and bad of the now is that you have to write an original pilot for tv. And actually, what I tell a lot of people starting to say, you gotta make something. Mm-Hmm. . Okay. And I, I'm not a fan of what, there are some really good examples of this, like insecure where Isa Ra makes her own stuff and then it transitions.(00:41:12):Okay. But what we've ended up with in general are, is a failure of craft, is that if everybody does, if you have to do everything mm-hmm. , the writing's not as good. The directing's not as good, everything's not as good. So there's a little bit of a sloppiness to the media a bit, but that doesn't necessarily mean it's worse. Mm-Hmm. . So I think now you gotta make something, you gotta either make a web series or do some pieces and put 'em out there. Yeah. So even if they're not seen at, unless you at least you have them and you can compile them and send them to somebody because nobody cat, sorry. Nobody knows what anything is. So you go, well here's my my pieces from my you know, reviewed on Collider or whatever. No. Nobody knows. Right. so, but you really gotta do it.Michael Jamin (00:42:12):Right. You gotta, you gotta put yourself on Hu Hustle. And, but I still think it's important to come to LA Cause I still think that this is where people are and you know, this is your, this, you, you get involved, you get, you have a graduating class of people. Yes. Whoever, whatever group you're in, that's your, that's the class you're in.John Altschuler (00:42:28):Well, I, I think you're right because now, but you're talking about writing specifically. Yes. Because Hollywood is still the brain center. Right. And this is where all the improv groups are and all that. So it's there for me, the MEU simply not there. Because what I always liked is that see, costume designers are talented and creative set designers are talented and creative. It, they used to all be around you. Now they can't afford to live in la Wow. So they live in Atlanta and the entry jobs are not as plentiful as they used to be. Like, I mean, they always wanted somebody to feed the beasts. Like, you could get a job as a pa, you could be an assistant that you could do, you know what you want. So that's a little different. But I do agree with you that if you're gonna live somewhere and you wanna write, LA is probably the best place to be.Michael Jamin (00:43:24):One thing I wanna mention is that even now, like I said, you're, you're so entrepreneurial, even now, it's like you don't wait for projects. So many people are like, oh, well, they're asking Hollywood for permission. Yeah. I make my script, read my script, you know, and even like now, you don't ask any anybody for permission. You're out there, you're getting, I know you're traveling to Europe to set some deals up. I'm like, you're constantly hustling for your next job. And look what you've done. You'd think that it would all f you know, nothing falls on your plate. You have to hustle for it,John Altschuler (00:43:53):You know? Yes. And the, you know, well, first of all, I'm, I'm more entertained by, by this I've moved a lot of the things that I'm doing and that David and I are doing to Europe mm-hmm. , you know, like for example, the Gangsters Guide to Sobriety, which you can see backwards. Okay. It was an idea that we could have sold as a, a pitch. And I was like, well, we already cracked it. Let's write it as a book. Because then everybody, ip ip, well then we own the ip. So now we, it's about this gangster and Irish gangster moved to America total re re drug addict dealer charming guy. It's very Scorsese like, but he basically got sober. And I liked all the stories of his horrid past, but I also liked his stories of getting clean. And so he kind of put those together.(00:44:51):It's like you go through 12 steps in aa. This has 12 chapters, so now we're long, we, we were going to do it in America. And then realize, you know what, he's Irish. Let's check out Ireland. Mm-Hmm. . And it's just a little bit fresher to have an Irish company backing us with Irish talent. Mm-Hmm. and doing it as a co-production. And so that's what we're doing in Italy. That's what we're doing in France. The I got the rights to this book, which you can see backwards burning down the house. Uhhuh , which is about the the pump movement in East Berlin before the fall of the wall. Right. And so I'm going to Germany in two weeks. Interesting. You know? Yeah. Because, you know, look, the fact is nobody's gonna do it for you. And the what I like about Europe is that you can talk about the projects more here. Issue one is always race. Issue two is gender identification is, then it's politic. And then, oh yeah. There's an idea in there somewhere. And that gets a little bit grinding when you just wanna talk about what, how cool this project is.Michael Jamin (00:46:06):I wanna mention by the way that your, that first book, the Gangsters Guide is based on a true story. So you had that guy. Yeah. And then, and it's like, that book is now available on Amazon. Everyone goes, check it out. Read it. It's, it's, it's fascinating.John Altschuler (00:46:18):So he, it, it, it's really great. And what's nice is that it's an elevating story, but it's, it, it's pretty damn harrowing. But it is, you know, you know, he survives. So there's a positivity to it. Like he says, like, I just want people to know because Ri Richie Stevens, who it's his life. Like I, I'm not telling anybody what to do. I don't have the answers. I just want them to know if somebody's fucked up as me, can survive and get clean and move on with his life. Anybody can,Michael Jamin (00:46:50):And these meetings in Europe, cuz you know, you're a writer, producer, but you're, you're, you're setting these up yourself. I mean, how are you reaching out to people?John Altschuler (00:46:57):You know what, here's the thing, luck, but also you just take what you have is that during the pandemic, for an odd reason, we ended up in Rome mm-hmm. . And because we, my wife's a psychologist. Our daughter was, hadn't gotten accepted to the school in high school, which Oh, that was great. And everything went freaking haywire, obviously. And so we're like, well, there's nothing going on here. Let's go to Rome. So we're in Rome and it's all locked down. Yeah. And somebody, oh, you should meet this woman Kissy Duggan. Now she was a standup comedian in la She's lived in Rome for over 20 years. She's married, has two kids. And and I connected with her and she started Women in film for Italy. Oh wow. And then I start kind of going, well wait, what's missing here? And I'm looking at Italy as a marketplace and I'm in it. Yeah. And people like me usually aren't there. Right. So people who go to Europe don't tend to have credits. They recognize. Yes. So it's, it it, well theyMichael Jamin (00:48:02):Recognize you. I mean No, not you. They recognize your work.John Altschuler (00:48:05):They recognize my work. Right. Yes. That's not who usually shows up. Right. Usually it's, it's people who have failed and are trying to go, oh. Whereas I'm going, you know what, what if we do this as an Italian American co-production? But Italy first, like I, these twins who I worked with a lot, one of them lived in bologna for seven years working in Tati. And his job was to come in and help turn Ducati. Right. Now, if you spend any time in Italy, it's, it's, it's wonderful and ridiculous because they are the most inefficient society ever and the most blessed. So you sit there and you go like, well, they gotta change, but they don't wanna change and they don't know how to change. Right. And that conflict makes for a really good comedic stew.Michael Jamin (00:48:58):Interesting.John Altschuler (00:48:59):So, you know, like we, we took a biotech project that was really ripe for America and we're like, you know what? We were, you know, while I was in Europe, went to London, met with this great company called Rough Cut. And he is like, it's biotech do it in Cambridge. So we're like, okay, let's set it in Cambridge cuz it's a little more, you know, sounds jaded, but we've kind of . It's not that we don't love doing stuff here, but we've done it. Right. You know, so it's kinda like, all right, well let's do another TV show here. Eh, this is all like, kind of fresh and fun. And also there's a real shortage of writers in Europe. Mm-Hmm. . So you're kinda like, okay. You know, it's just, it's just a fun vibe. Like why I like talking to students is why I like being in Europe is that there's kind of a, you're bringing people along for the ride. IsMichael Jamin (00:49:54):Krinsky going with you on this next trip?John Altschuler (00:49:56):He is not, you know, the, the, he, he is very tolerant of this is all just my crazy bo I get bored easily and Dave's just real like, ah, that sounds great. So yeah. Cause I kinda, it's sort of free moving, like, okay, I'm doing this, you know. But I would say that Dave is 105% supportive of my European adventures.Michael Jamin (00:50:26):So you have a lot of meetings set up then, basically.John Altschuler (00:50:28):Oh, yeah. Yeah. Like, I'm gonna be in Berlin for a week and then what's kind of nice about Europe is that the Italian company, they come to Berlin. There's the Bur Berlin Alley. It's a film, European film market in Berlin, then it's Venice, then it's Khan. Right. Rome and then the American Film Market. And so they just sort of, and that's how business is done. Right. So I'm meet, I work with this Luxembourg producer, Bernard Micheaux. He has a mo, he, he got two Academy Award nominations for documentary called Collective. That was great. And he's probably, there's a good chance he'll get an Academy Award nomination for his new movie Corsage Uhhuh . But it's all fun. Yeah. I mean, I know it sounds stupid, but you know, I didn't drive a car without air conditioning across the country and then work as a pa three years to be miserable. Right, right. And you know, we, we've, I don't know if this is untoward, Michael, but I've had this conversation where you, you do everything possible to figure out how to break into the business and then everything possible, figure out how to get outMichael Jamin (00:51:37):. Yes. That's, I mean, I've heard Yes, that's, yes. There's some truth to that . That's so funny. Wow. Wow. This is so interesting. So is there any other, any other advice you, you, you can share with people who are listening to this? I mean, I think you're so, he's such an interesting person to talk to. And like I said, you've been a great boss but a great friend over over the years. But it's because you also, like I said, have this entrepreneurial spirit where you're not doing it the way everyone else is doing necessarily. So,John Altschuler (00:52:08):Well, you know what, here's the thing. On one hand, being off the grid in my outlook has sometimes hurt Dave and I. Cause I kind of, I kind of lead, you know, and Dave is okay with that, you know. But as Dave points out, we wouldn't have anything if you didn't kind of like, well here's the even comedically you worked on King Hill with me. Everything has to be turned on its head. Okay. So if you, you, you got it. Everybody thinks this. Well no, let's do that. Right. And to me, that's the essence of comedy. That's the epi essence of drama. One of the problems I have with entertainment now is that there's this weird belief that everybody, that there's a right and a wrong and , I'm always go, everything's wrong. You know, you think those, you think this is good. Guess what? Oh, you think it's bad? Guess what? Throwing curve balls. Right. which is what I like to see. I like being surprised.Michael Jamin (00:53:09):Yeah.John Altschuler (00:53:09):So now, so the only advice I have is that it's what you always hear. You go, well write, write what you know, what the hell is right. What you know me Well now more than ever, it has to be specific. It has to be your story. Mm-Hmm. your journey. It's the only thing that you own. Yeah. Is your mindset and your experience. So you mine that. Now Jeremy, you probably had to listen to, you know, I talk and like every, like one time my judge goes, we got 150 episodes outta what pisses John Al Schuler off. And it's kinda true. HeMichael Jamin (00:53:49):Say that .John Altschuler (00:53:50):Yeah. He's like, because I'd sit there and I'd go, you know what veterinarians, they piss me off. And so I funnel my experience of taking my cat and them going WellMichael Jamin (00:54:03):That's so funny that he said that. But, but, but that was your, that's always been your take. It's your even on, even on Lopez, when we work together, it's it's like your, your take on what's going on in society. It was like, and, and the absurdity and that,John Altschuler (00:54:16):Well, everything, everything absurd. Cuz people, like, sometimes the the tone of what we do doesn't make sense to people. Because if you read just the synopsis of King Hill episodes, they'd sound, someone would sound pretty horrible. Uhhuh , they'd sound like offensive. But we're not in the offensive business. Okay. We're in the entertainment business. And so if there is a message, it's gotta be at least two or three levels deep. Yeah. You know, that's another problem is that people are coming out swinging with like, well this is my episode, this is my series about racism being bad. Uhhuh . Well that means that you're under the impression that there is a large population that thinks racism is good. Right. Okay. Well that's cuz you don't know anything. Like I lived in a trailer park and actually I have a whole, we have a project to imagined based on when I was 15, I lived in a mobile home that I owned by myself.(00:55:19):And I didn't see how the other half lived. I lived how the other half lived. And guess what, they're not a bunch of racist, horrible people that are gonna shoot. Now, they may shoot you , but there's, but there's a good and bad to them, to them running around with guns is then you start going, you know what, there's a human experience that is universal. And one of the problems is everybody these days has their team. And I don't like teams. You know, I, I I really hate teams. I don't think, you know, liberals like they drive me fucking nuts. Mm-Hmm. right wing. Like I like And it's, this used to be the job of comedy is that you're supposed to make fun of power. Yeah. Okay. Right. Well, you know, it's like, you know, the Matt and Trey from South Park, the, they're really nice and they're really great guys. Cause they're like, yeah, you probably get asked a lot, what side are you on? Mm-Hmm. . And it's like, I'm on the side of comedy. Right. It's not like comedy is a religion to me. I think it matters. I think it has to be cared for. And when I see people thinking that comedy means getting an applause line on a late night show, cuz you go Trump mad, that's not comedy. Right. You know, you gotta work.Michael Jamin (00:56:37):Interesting. That's wonderful. What? Yeah, I mean, I even Lopez, season two, it was, it was all about his quest for relevance. And we're like, what does that even mean,John Altschuler (00:56:47):? Well you, but you know what it, what it meant to me was everybody's trying, like, the world changed. Okay. Yeah. And he, he, there he is like 60 years old or whatever, and the world changed. And he was relevant because he existed. Right. Okay. And you were on tv, it was like, Seinfeld. Why did people watch? Cause it's on tv. Okay. Then relevance. Relevance became this phrase where Well, okay, but what's rel because there was no other metric. Right? There weren't, there weren't ratings, there weren't, people weren't, these companies weren't trying to make money. It was all about relevance. Yeah. So, if you remember, that was part of the, the comedy of nobody knows what relevance means yet. That's what was driving everybody.Michael Jamin (00:57:31):Yeah. We had fun that season. That was fun. Really was a great,John Altschuler (00:57:34):Okay. Well, well to your Michael Jamin is not only him and his partner Sievert, they're pros. Okay. Now, what is a pro and a pro is somebody who has the skills to do whatever you want them to do. Okay. So if you want something hacky and crappy and they're working for you, right. They'll do it. They'll do a really good version of it. But if you don't want something hacking and crappy, they can do that. They have the skills to do what you want. So you guys have always been a delight to work with, but also specifically on the set because you, you're, you know that you're quick. Yeah. You're quick. And it, the, the interesting thing, cuz I'm like, you guys, when I work for other people, they're the boss. Yes. I have no problem with that. I have no problem. As a matter of fact, my wife is like, like if I could work for myself, I would a hundred percent do it.(00:58:33):Cause then I wouldn't have the headaches of running things. But in our business, you often work for assholes who are unhappy and don't wanna go home to their wives. So you're, you're, you're, you're stuck. But you guys are always great because, you know, you have the skills, you're funniest shit. But we never, we always knew eight, you don't, you're not gonna try to e stab us in the back, but if it had to be done, you were gonna get it done. Yeah. So professionalism is key. But you, you guys wrote one of my favorite scripts ever, which was theMichael Jamin (00:59:08):What wasJohn Altschuler (00:59:08):That? The of the, the the garden. Now if you read that, you should, you should reread it because you did not understand how good it was. I remember, I remember you turning it in like, and, and you know, everybody's self-effacing when they turn something in. Right. But you were like, eh, you know, you and Steve were like, and if you reread that, you could be nothing but proud because it's like Anir story. Yeah. And it just builds and builds to the point where Bobby and Hank have murdered this thing. They gotta cover it up, but it's beautifully written.Michael Jamin (00:59:48):And Hank is selling out his son. .John Altschuler (00:59:51):. Exactly. You know, but you, you took him along for the ride. So yeah, no, you guys are, you, you're, you're truly, I don't know, pros, IMichael Jamin (01:00:02):Say this, I say this a lot. It's like the job of anybody who's not the job of showrunners is the hardest job there is. And it's stressful. And so everyone else is, my opinion of everyone else's job is to make the best version of the show that the showrunner wants to make. Right. And everything else is subjective. But who's to say it's better or worse? It doesn't matter. Your job is to serve the showman. They get to decide and, and great. It works out great if you can, as soon as you can accept that you'll be happy.John Altschuler (01:00:28):Well, and, and that was one of the big problems in our industry, is that nobody knows how shows get on the air. Mm-Hmm. . So they don't realize that when you get right down to it, if you are gonna hire somebody, all that matters is the showrunner. Right. Cause there are great writers, but you don't know how the script got there. So many people have gotten good jobs off of scripts that Dave and I had to write from beginning to end, but our name's not on it.Michael Jamin (01:01:01):You know, I I've heard that complaint from other store runners on other shows as well. So you're not, soJohn Altschuler (01:01:05):What happens is, like, remember everybody off of Seinfeld got these huge deals, but all that matters is Larry David, you know, and it was like, you know, the, and the the other thing that's kind of funny is that we would be asked to do a lot of writers round tables. Okay. Where, you know, big, big comedians, a big movies. And they'd ask, and they'd get tables together where you go through the script and pitch jokes on 'em. Okay. And they, Hey, do you know some good people that you could bring in? I'd go, well, yeah. And I one, this was literally the, the, my response and the answers like, well, do you want the guys and the girls the every literally, cause we had a lot of women, they're like, do you want the people who actually can deliver? Or do you want names? Mm-Hmm. . Oh, we want namesMichael Jamin (01:01:51):. He said that to you.John Altschuler (01:01:54):Yes. It's like all they want is to go, whoa. Yeah, we got, we got Neil Simon. Yeah. We've got the ghost of William Faulkner. We've got, you know, they, they don't want people to actually nail it because, so the inside of a staff is, it's inside baseball that nobody really knows what's going on.Michael Jamin (01:02:15):It's funny you say that. Oh no. Oh, it's so heartbreaking. John Altschuler (01:02:20):. It's a tough, ugly business.Michael Jamin (01:02:22):It really is. Well, that's a good place to end. John it. Thank you so much. Let's plug your book again so that people can go out and get it on Amazon. There it is Backwards.John Altschuler (01:02:32):The Gangsters Guide to Sobriety My Life in 12 Steps.Michael Jamin (01:02:36):Yep. Go out and run it. I gotta copy you in my house. Was great. So yeah, John, thank you again so much. It's and I'll see, you can tell k Crisco I'm gonna have from on next at some point just to, so we get the, the other version of the story.John Altschuler (01:02:48):Yeah, exactly. What, what he said. What?Michael Jamin (01:02:50):Yeah. . Why would he say that? . All right man. Thank you so much everyone. Thank you. It was a fun episode. Thank you for listening. And yeah, until the next week. Thanks so much. Bye-Bye.Phil Hudson (01:03:02):This has been an episode of Screenwriters. Need to Hear This with Michael Jamin. 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 at @PhilAHudson. This episode was produced by Phil Hudson and edited by Dallas Crane. Until next time, keep writing.

Today, we're talking with Ashley Sievert of Ashley Sievert Beauty! Growing up with insecurities about her skin due to acne was very challenging. She searched endlessly for the perfect foundation with excellent coverage, while looking and feeling as natural as possible. Unfortunately, every brand left her with additional breakouts and emphasized problematic skin. Ashley took matters into her own hands and created products she was unable to find. In June 2013, Ashley Sievert Beauty was launched. We discuss:•How Ashley truly launched a brand from the ground up•What motivates her to keep pushing, despite challenges- including anxiety•Do you really balance it all as a business woman and a mom?•How to stop your concealer from creasing!•Taking an idea from conception to realityMentioned:• ASB Spotlight • ASB Mineral Velvet Crème • 'Pepsi, Where's My Jet?' • Platform Mini Uggs We'd love to continue this conversation with you over on social media! Catch up with us on Instagram and Facebook:IG: instagram.com/talkfortytomepodcastFB: facebook.com/talkfortytomepodcastWebsite: talkfortytomepodcast.com

The crew discusses The Last of Us on HBO, Danny gets addicted to pixel-art Stalker, Jeremy misses Battlefield 2 and Frank is a pirate. RSS Feed: http://noclippodcast.libsyn.com/rssSpotify: https://open.spotify.com/show/5XYk92ubrXpvPVk1lin4VB?si=JRAcPnlvQ0-YJWU9XiW9pg Soundcloud: https://soundcloud.com/noclippodcast Watch our docs: https://youtube.com/noclippodcastPodcast channel: https://www.youtube.com/channel/noclippodcast Learn About Noclip: https://www.noclip.videoBecome a Patron and get early access to new episodes: https://www.patreon.com/noclip Follow @noclipvideo on Twitter

The Just 100 2023 list is out! The list ranks America's largest publicly traded companies based on corporate behaviors including worker wellness, governance, diversity, and environmental impact. T Mobile CEO Mike Sievert discusses his company's #20 ranking, and explains how “just” practices are financial, rather than political. Just Capital cofounder and investor Paul Tudor Jones discusses the ranking methodology, and addresses “woke capitalism,” and corporate virtue signaling. Tudor Jones also discusses the Federal Reserve's efforts to manage inflation. Just Capital's founding CEO Martin Whittaker offers a podcast-exclusive explanation of the list and its philosophy. Plus, the GOP is centering Republican constituents as it settles into House leadership, and reinstated Disney CEO Bob Iger warns employees not to settle into a work-from-home habit.  In this episode:Paul Tudor Jones, @ptj_officialMike Sievert, @MikeSievertBecky Quick @BeckyQuickJoe Kernen, @JoeSquawkAndrew Ross Sorkin, @andrewrsorkinKatie Kramer, @Kramer_Katie

Prof. Lynnette Leidy Sievert joins Chris and Cara to discuss how hot flashes, and other symptoms of menopause, vary around the world. Stick around for "offboarding" career advice and a conversation about fish! -------------------------------------------------------------------------------------- Lynnette Leidy Sievert has studied variation in age at menopause and symptoms at midlife for more than 30 years. In collaboration with local researchers, she carried out studies of menopause in western Massachusetts; Hilo, Hawaii; the Selška Valley, Slovenia; Asunción and Mbaracayu, Paraguay; Puebla and Campeche, Mexico; Sylhet, Bangladesh; and London, UK, as well as pilot studies in Odisha, India, and Ulaanbaatar, Mongolia. Sievert also studies and writes about the evolution of menopause and post-reproductive life. Of late, she has been disentangling the experience of hot flashes from the heat and humidity of Campeche, Mexico, and planning to study hot flashes in the winter cold of Mongolia. Her current study is on hot flashes in relation to estimates of brown adipose tissue. Sievert is an elected Fellow of the AAAS, served on the Board of Trustees of the North American Menopause Society, and was the Editor-in-Chief of the American Journal of Human Biology, the journal of the Human Biology Association. Her paper discussed on today's show, titled "Hand grip strength, standing balance, and rapid foot tapping in relation to the menopausal transition in Campeche, Mexico," can be found here: https://onlinelibrary.wiley.com/doi/10.1002/ajhb.23781 Contact Prof. Lynnette Sievert via e-mail at: leidy@umass.edu. -------------------------------------------------------------------------------------- Contact the Sausage of Science Podcast and Human Biology Association: Facebook: www.facebook.com/groups/humanbiologyassociation Website:humbio.org/, Twitter: @HumBioAssoc Cara Ocobock, Website: sites.nd.edu/cara-ocobock/, Email:cocobock@nd.edu, Twitter:@CaraOcobock Chris Lynn, HBA Public Relations Committee Chair, Website: cdlynn.people.ua.edu/, Email: cdlynn@ua.edu, Twitter:@Chris_Ly Eric Griffith, HBA Junior Fellow, SoS producer: E-mail: eric.griffith@duke.edu

The majority of Minnesota communities are experiencing abnormally dry or drought conditions according to the state Department of Natural Resources. Two sections of southern Minnesota are in extreme drought - including southwest Lyon and Redwood counties. Hennepin, Carver, Sibley and Scott counties are also facing serious drought. And late fall is a critical time to get moisture into the ground— but it hasn't come yet. Pete Boulay is the Assistant State Climatologist with the state Department of Natural Resources. Ralph Sievert is Director of Forestry for the Minneapolis Parks and Recreation Board. Both Boulay and Sievert joined Cathy to talk about the Minnesota's grim climate situation. Use the audio player above to listen to the full conversation. Subscribe to the Minnesota Now podcast on Apple Podcasts, Google Podcasts, Spotify or wherever you get your podcasts.   We attempt to make transcripts for Minnesota Now available the next business day after a broadcast. When ready they will appear here. 

As the rate of new medical knowledge continues to accelerate, how can medical students and practitioners keep up with it all and make sure they are providing the most up-to-date care to their patients? One answer is being provided by AMBOSS, a German medical technology company whose platform has greatly improved the way medical knowledge is acquired and utilized at the point of care. In this episode of Raise the Line, AMBOSS Co-founder Dr. Sievert Weiss joins host Shiv Gaglani to explore ways to increase adoption of new technologies in medicine, reminding us that even the thermometer was rejected when first introduced. He also shares his thoughts on the direction healthcare should head in order to enhance the doctor-patient relationship. “I think it's super important to get away from this patriarchal model to a model that is more on eye level”. Don't miss this thought-provoking conversation on these and many other critical issues in healthcare.

Once again I sat down to interview a finalist for LIBOR's 20 Under 40 rising stars in real estate, this time with Kristin Sievert, who uses here extensive experience in the hospitality industry to create a welcoming experience for clients that generates endless referrals and keeps people coming back. Like with all the 20 Under 40 finalists, there's so much to learn from Kristin, so check out this latest episode of the smells like cat pee podcast. Sell your house, land or commercial property on: https://handsomehomebuyer.com/ Follow us on: TikTok: https://www.tiktok.com/@handsome_home... Twitter: https://twitter.com/handsome_hb Instagram: https://www.instagram.com/handsome_ho... Pinterest: https://www.pinterest.com/handsome_ho... Linkedin: www.linkedin.com/in/charles-weinraub-94376116b --- Send in a voice message: https://anchor.fm/charles-weinraub/message