Podcasts about Strass

Damage & Strass invite le collectif 16GiGa pour sa résidence de mai. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Damage & Strass invite le collectif 16GiGa pour sa résidence de mai.

Glitzer, Friedhöfe und Stripclubs – darum geht's diesmal mit Dragqueen Olivia Jones. Gemeinsam mit Barbara Schöneberger spricht sie über gutaussehende Männer im Business, ihre Zeit als Grufti und ein Leben voller Glitzer und Strass. Welche Männer es im Stripclub von Olivia Jones gibt, weshalb sie sich die Beine verkürzen lassen hat und wieso für sie die Beerdigung der letzte große Auftritt ist – das hört ihr in dieser Podcastfolge.

Le Conseil d'État critique l'exit tax qui frapperait les entreprises qui veulent délocaliser leurs activités hors de Belgique. Le projet est dans la loi-programme. Le président américain, Donald Trump, veut faire pression sur le secteur pharma pour réduire le prix des médicaments, mais la mise en oeuvre semble assez complexe. Le Festival de Cannes démarre aujourd'hui sur les célèbres marches. Les producteurs belges sont venus en nombre au marché du film. Le Brief, le podcast matinal de L'Echo Ce que vous devez savoir avant de démarrer la journée, on vous le sert au creux de l’oreille, chaque matin, en 7 infos, dès 7h. Le Brief, un podcast éclairant, avec l’essentiel de l’info business, entreprendre, investir et politique. Signé L’Echo. Abonnez-vous sur votre plateforme d'écoute favorite Apple Podcast | Spotify | Podcast Addict l Castbox | Deezer | Google PodcastsSee omnystudio.com/listener for privacy information.

Pour sa résidence du mois d'avril, Damage & Strass invite Mael Cobb Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Pour sa résidence du mois d'avril, Damage & Strass invite Mael Cobb

Damage & Strass laisse ses platines à Daddy Yencli pour un set régalant. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Damage & Strass laisse ses platines à Daddy Yencli pour un set régalant.

Damage & Strass c'est un grand voyage aussi chaotique que mimi dans l'univers des raves UK. Non aucun des deux n'est anglais mais ils ont tellement diggé qu'à la fin vous aurez l'impression qu'ils ont l'accent.En plus de leurs selecta breaks, garage, dubstep ou techno, le duo vous a préparé un disque dur entier de productions originales ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Damage & Strass c'est un grand voyage aussi chaotique que mimi dans l'univers des raves UK. Non aucun des deux n'est anglais mais ils ont tellement diggé qu'à la fin vous aurez l'impression qu'ils ont l'accent. En plus de leurs selecta breaks, garage, dubstep ou techno, le duo vous a préparé un disque dur entier de productions originales !

„Ein Manifest für den Glamour“ wurde Jovana Reisingers Essay „Pleasure“ genannt. Über Kitsch, Camp, Trash, Strass, exzessives Rumliegen in luxuriösen Hotelbetten und alles, was Spaß macht. „Die subversive Kraft der Tussi“ hieß ein Text von ihr in der „Vogue“. Die „Tussi“ ist ihr Rollenmodell: eine Frau, die sich nimmt, was sie will und dafür Grenzen überschreitet – der sozialen Klasse und des sogenannten guten Geschmacks. „Einfach nur geil“. Steht in „Enjoy Schatz“, Reisingers Roman über die sexuelle Selbstbestimmung einer Schriftstellerin nach der Trennung von ihrem Mann. Happy Valentinstag!

"Was macht eigentlich das Unterschichtskind auf dem Roten Teppich?", fragt eine Besucherin auf dem Münchner Filmfest in meine Richtung. Ja, was macht sie da? Sie ist auf einer Mission. Die Tussi suggeriert durch ihre Erscheinung ein grenzüberschreitendes Begehren. Es geht um Kitsch, Glamour, Trash, es geht um Camp. Es geht um Körper, Identitäten. Es geht um Strass, um Klasse und um künstliche Fingernägel. Pleasure ist eine atemberaubend eloquente Tour de Force durch die Luxus-Triade Schlaf (meterlange Hotelbett-Laken!), Nahrung (Schlemmermaus!) und Kleidung (Dior, aber fake!). Anhand von aufschlussreichen Anekdoten aus der Kunstwelt stellt Jovana Reisinger in dieser einzigartigen Autorinnenlesung die verdeckten Normen eines vermeintlich liberalen Milieus, bricht eine Lanze für den Kitsch, für die Völlerei und das Rumliegen. Das Bekenntnis zu Pleasure ist nicht nur ein politisches Signal, sondern auch ein Weg zu individueller Freiheit. Für jede:n von uns.

Jamal mit hoztál? Jamal progressziót hozott, de jó ez így a Bayernnek? 05:11 - a Football Tourette-ben: nemi abúzus, Cristiano Ronaldo és Paulinho. 28:08 - Mezszemle speciál. ⭐️ A teljes adást a https://premierleak.hu/ oldalon, előfizetés után nézheted meg, amiben szó lesz még: Témák: 

Le 19 mai 1962, Marilyn Monroe chantait le plus doux des joyeux anniversaires au président américain John F. Kennedy. Une fête d'anniversaire qui cachait en réalité un lourd agenda politique… Sujets traités : Marilyn Monroe, John F. Kennedy, strass, politique, New-York, Madison Square Garden, fête, anniversaire Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Monaco accueille ce dimanche 26 mai 2024 son 81ème Grand Prix de Formule 1. Fabrice Jaton et Luc Domenjoz analysent les qualifications du jour et évoquent les particularités de ce Grand Prix légendaire.

Depuis quelques années, on assiste au retour en force du jean taille basse, du crop top, de la French manucure ou encore des strass sur les dents. Les années 2000 sont de retour sur les podiums et dans la rue, et ça se voit. Baptisée “Y2K”, “Y” pour « Year » et « 2K » pour 2000, soit en Français “années 2000”, cette nouvelle tendance de mode puise sans limites dans l'imagerie du début de siècle. Longtemps taxée de vulgaire, le retour en force d'un certain style entre “lolita pop” et sportswear ne manque pas de surprendre. Que représentent les années 2000 dans l'Histoire de la mode ? Qu'est-ce qui se joue dans cette nouvelle fascination pour le monde d'il y a 20 ans, y compris chez les jeunes générations ? Et de quelle manière la mode de 2024 revisite-t-elle le vestiaire et l'état d'esprit du passage au nouveau millénaire ? Dans cet épisode, trois experts du Y2K vont analyser cette tendance que personne n'attendait : Lamine Kouyaté, designer et fondateur de la marque Xuly.BËT, Manon Renault, critique de mode et autrice d'une thèse sur la perception de la mode par les jeunes et Alice Pfeiffer, autrice, critique de mode et rédactrice en chef du magazine Nylon France.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/castp0dcast/message

Que signifie le retour du crop top ? Pourquoi, après des années de jean taille haute, la coupe taille basse est-elle redevenue subitement à la mode ? Et que penser de la soudaine attractivité des faux ongles et des paillettes ? Longtemps taxée de vulgaire, le retour en force d'un certain style entre “lolita pop” et sportswear ne manque pas de surprendre. Que représentent les années 2000 dans l'Histoire de la mode ? Et de quelle manière la mode de 2024 revisite-t-elle le vestiaire et l'état d'esprit du passage au nouveau millénaire ?Dans cet épisode, trois experts du Y2K vont analyser cette tendance que personne n'attendait : Lamine Kouyaté, designer et fondateur de la marque Xuly.BËT, Manon Renault, critique de mode et autrice d'une thèse sur la perception de la mode par les jeunes et Alice Pfeiffer, autrice et critique de mode. Cet épisode est incarné par Jeanne Balibar. Catwalk Calling est une création de la Fédération de la Haute Couture et de la Mode avec le soutien du Défi, incarné par Jeanne Balibar, produit par Lacmé Production, préparé, tourné et écrit par Lola Bertet, réalisé et mis en musique par Thomas Rozès, avec une identité graphique signée Julien Pacaud.--Catwalk Calling est le podcast de la Fédération de la Haute Couture et de la Mode, avec le soutien du Défi.La série explore à travers six épisodes comment les grandes tendances de mode (Punk, Queer, Y2K, Quiet Luxury, Sportswear) suivent et initient les changements majeurs de notre société. Nous parcourons ces tendances et les grands défilés qui les ont marquées avec des interviews de designers, chercheurs dans la mode, ou figures emblématiques. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Le stress est un allié potentiel...prêt.e à l'apprivoiser pour le faire briller ?« Chamber stress », John Dada & the Weathermen (artlist.io) ©« Sunny Daydreams », Danny Shields (artlist.io) ©Réalisation : Leslie Rijmenams Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

El Haus of Mala analiza los grupos musicales de las Superestrellas. Desde sus presentaciones grupales hasta darnos los mejores strass de España. Busca a tu joyería favorita, que este episodio comienza ahora. Draga Mala MAFIOSAAAAAA!Mala Patreonhttps://patreon.com/DragaMalaLinkTreehttps://linktr.ee/dragamalaBrock by Joséhttps://www.instagram.com/brockbyjose/https://www.tiktok.com/@brockbyjoseMala VoiceMailhttps://www.speakpipe.com/dragamalaInstagramDraga Mala

Dolly Partons garderob är lika färgsprakande och glittrande som en julgran och har genom åren fått många att tappa hakan av både förtjusning och fasa. Lyssna på alla avsnitt i Sveriges Radio Play. ”Ända sedan 60-talet har jag älskat att klä mig i 'tomtedrag'. Jag klär mig alltid som en tomte till jul. Bär jag inte tomtedräkt så sätter jag på mig röda och gröna kläder eller tröjor med inbyggda ljusslingor som man kan tända genom att trycka på en knapp. För somliga har jag till och med blivit synonym med julen, vilket gör mig väldigt glad”. Det säger Dolly Parton vars garderob, rent generellt, är lika färgsprakande och glittrande som en julgran.Men så har denna amerikanska superstjärna en, milt uttryckt, iögonenfallande stil som beskrivits som ”lika diskret som en kartong med glitterlim”, ”glamoröst kitschig” eller som ”smaklös” och ”för mycket”. Någon anhängare av diskret modeminimalism kan man inte beskylla Dolly Parton för att vara.I Dolly Partons kläduniversum råder snarare regeln ”mer är mer” och bara rent praktiska saker – som att kläderna måste fungera att sjunga och spela gitarr i – sätter stopp för ännu mer strass, blänkande stenar och åtsnörpande skärp om midjan. “När det gäller scenkläder tar jag ut svängarna allt vad jag kan”, som hon själv säger i den nyutkomna boken Behind the Seams: My Life in Rhinestones, som handlar om alla de kläder hon burit under sin karriär.I veckans program pratar vi med journalisten Holly George-Warren, som i samarbete med Dolly Parton skrivit texterna till Behind the Seams: My Life in Rhinestones. Vi försöker också reda ut varför Dolly Parton i sina scenkostymer återkommande bär kedjor eller pärlband i höjd med skrevet. Och så pratar vi med modeskaparen och konsthantverkaren Maja Freiman, som likt Dolly Partons mamma (som skapade den färgglada kappa som nämns i låten Coat of Many Colors) gör nya kläder av gamla textilier och avlagda plagg, något hon fått pris för.Gäst i studion är Sanna Nyström, kostymdesigner och skräddare.God jul till alla våra lyssnare önskar Stilredaktionen: Susanne, Erik, Samanda och Viola.

NOUVEAU - Abonnez-vous à Nouvelles Écoutes + pour profiter du catalogue Nouvelles Écoutes en intégralité et en avant premières, sans publicité. Vous aurez accès à des enquêtes, documentaires, séries et fictions exclusives passionnantes, comme « Au Nom du fils », « Roulette russe à Béziers », ou encore « Oussama Le Magnifique ».

Was hat Diabetes mit Fashion zu tun? Einiges! Sensoren die mit Strass beklebt werden, Schubladen die zu Apotheken umgestylt werden und Models, die auf der Fashion Week ihre Pumpen zeigen! In dieser Folge öffnet die "Typfrage"-Community ihre Kommoden für unsere Hosts und die Hörer*innen zeigen, wie stylish sie mit ihrem Diabetes-Equipment unterwegs sind. Außerdem sprechen Freddie Schürheck (Typ 1) und Kim Stoppert (Typ 2) mit Bachelor Daniel Voelz darüber, warum er seinen Sensor (verbotenerweise!) am Oberschenkel trägt, sie klären mit Sängerin Annie Heger wie sie Pumpe und Pailletten-Kleid kombiniert und die Kickboxerin Anja Renfordt erzählt, wie kompatibel Diabetes-Accessoires und Box-Outfit sind.

Vi har fået MAAANGE forspørgsler på de sociale medier - som en ægte blogger ville sige det...

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

Allt om outfitsen, makeupen, vinnarna och inte minst ögon-strassen från årets stora galakvällar! Emma och Frida lyfter några av vinnarna på Swedish Beauty Awards, som exempelvis sprayvaxet från Nine Yards, rengörings-balmet från Banila Co och den lite otippade vinnaren av Årets kroppsvård under 200 kronor. Dessutom om nerverna på Elle-galan när de plötsligt hamnade på scenen för att dela ut Årets Beauty till Johanna Nomiey!En podd från Aller Media. Hosted on Acast. See acast.com/privacy for more information.

Allt om outfitsen, makeupen, vinnarna och inte minst ögon-strassen från årets stora galakvällar! Emma och Frida lyfter några av vinnarna på Swedish Beauty Awards, som exempelvis sprayvaxet från Nine Yards, rengörings-balmet från Banila Co och den lite otippade vinnaren av Årets kroppsvård under 200 kronor. Dessutom om nerverna på Elle-galan när de plötsligt hamnade på scenen för att dela ut Årets Beauty till Johanna Nomiey!En podd från Aller Media. Hosted on Acast. See acast.com/privacy for more information.

Votre folle équipe est de retour en très grande forme ce week-end pour 2h30 de rigolades et de bonne humeur ! Au programme : les coups de cœur cinéma d'Alexis, un travail comme les autres dans la chronique sexo d'Adrien, le nouvel album du DJ Tiesto, une (non-)polémique à l'Eurovision, deux jeux à grand suspense et de passionnantes questions autour de l'actualité des derniers jours. Autour de la table : Caroline, Maxime, Gautier, Adrien, Alexis et Alex On se retrouve sur Instagram et TikTok pour les meilleurs moments en vidéo et des infos exclusives sur votre émission. Merci de votre fidélité grandissante, on lit tous vos retours avec grand amour

On commence avec la question du jour : le Conseil constitutionnel va-t-il valider le projet de réforme des retraites ? Ce vendredi 14 avril, en fin de journée, les neuf Sages ont la lourde responsabilité d'annoncer s'ils valident la réforme des retraites et le référendum d'initiative partagée. De cette décision va découler l'avenir du texte et l'application des premières mesures, comme le report de l'âge légal à 64 ans. Adoption ou rejet total du texte, censure partielle… Capital liste les différents scénarios possibles cet après-midi.On enchaîne avec le mot du jour : déclaration de revenus. C'est parti : depuis ce jeudi, vous pouvez compléter votre déclaration de revenus en ligne. Si vous avez plusieurs semaines pour la remplir, ne ratez pas les dates limites sous peine de majoration. Conseils pratiques, simulations, interviews de professionnels… la rédaction de Capital vous accompagne au quotidien pendant cette campagne. Et à compter du mardi 18 avril, nous vous proposons Déclar' et vous, une newsletter uniquement consacrée à la déclaration de revenus.On poursuit avec l‘info pratique. Diagnostics erronés, tarifs excessifs ou encore personnel non qualifié : depuis plusieurs mois, la défiance monte à l'égard des diagnostics de performance énergétique (DPE). Or un mauvais diagnostic peut avoir pour conséquence de faire chuter le prix d'un bien de plusieurs dizaines de milliers d'euros. Agrément, tarif… Capital.fr vous donne les clés pour bien choisir votre diagnostiqueur immobilier et obtenir le résultat le plus fiable possible.On termine avec le chiffre du jour : 200 millions d'euros. C'est l'estimation des retombées économiques du festival de Cannes, qui se tient du 16 au 27 mai. Strass, paillettes et bling-bling… le quatrième plus gros événement médiatique planétaire est une véritable cash-machine. Pour les palaces cannois, par exemple, ce rendez-vous est incontournable : il constitue 15% de leur chiffre d'affaires annuel. La Croisette est aussi un fantastique terrain pour les grandes marques, qui rivalisent d'ingéniosité pour s'assurer une pub mondiale. Découvrez les coulisses en or du festival de Cannes sur notre site.> Réécoutez et abonnez-vous à ce podcast sur vos plateformes favorites (Spotify, Deezer, Apple Podcasts, Google Podcasts, Soundcloud...) ainsi que sur les enceintes connectées Google Home, Amazon Echo et Apple HomePod.> La saga des marques, 21 millions (sur les cryptomonnaies)... retrouvez tous les podcasts de Capital et de Prisma dans notre espace dédié.Vous pouvez consulter notre politique de confidentialité sur https://art19.com/privacy ainsi que la notice de confidentialité de la Californie sur https://art19.com/privacy#do-not-sell-my-info.

Depuis le début des mobilisations contre la réforme des retraites, de nombreux cortèges de syndicats descendent dans la rue. Un se démarque des autres par son ambiance : c'est le pink bloc. Un cortège LGBTQI+ mené par les Inverti-es, un nouveau collectif qui souhaite politiser davantage les minorités sexuelles et de genre. Le pink bloc donne de la voix pour dénoncer une réforme des retraites néfaste selon ses membres pour la communauté LGBTQI+. Discriminée à l'emploi et marginalisée, elle serait plus sujette aux carrières hachées.  Un reportage de Colombe Serrand.  Avec Thierry Shaffauser, syndicaliste au STRASS, Natacha Chetcuti-Osorovitz, sociologue et anthropologue, Raphaël Gérard : député Renaissance et vice-président du groupe d'études contre les discriminations LGBTQI+ à l'assemblée. Sur le Fil est le podcast quotidien de l'AFP. Vous avez des commentaires ? Ecrivez-nous à podcast@afp.com ou sur notre compte Instagram. Vous pouvez aussi nous envoyer une note vocale par Whatsapp au + 33 6 79 77 38 45.  Si vous aimez, abonnez-vous, parlez de nous autour de vous et laissez-nous plein d'étoiles sur votre plateforme de podcasts préférée pour mieux faire connaître notre programme !  

#43 - "Mut und Klarheit" - mit Nina Strass-Wasserlof

Cet été, on rediffuse les 10 épisodes préférés d'Emmanuel ! Dans cet épisode de Splash, Emmanuel Martin se penche sur l'épineuse question de l'ubérisation du travail du sexe. Peut-on le comparer aux autres secteurs d'activité bouleversés par cette nouvelle économie ? Quels sont ses effets sur les conditions de travail sur les travailleur.euses du sexe ? Et si l'on remonte plus loin, comment cette branche d'activité a-t-elle été bouleversée par l'arrivée d'internet ?Pour répondre à ces questions, Emmanuel Martin a échangé avec Pierre Brasseur, sociologue post-doctorant à l'INSERM et Beverly Ruby, travailleuse du sexe et membre du Strass, le Syndicat du travail du sexe. Splash est une émission de Nouvelles Écoutes. Elle est présentée et écrite par Emmanuel Martin, produite et réalisée par Marine Raut-Guillerme, coordonnée par Mathilde Jonin, mixée par Adrien Beccaria à l'Arrière-Boutique StudioVous pouvez consulter notre politique de confidentialité sur https://art19.com/privacy ainsi que la notice de confidentialité de la Californie sur https://art19.com/privacy#do-not-sell-my-info.

Lana de Rey, rarement artiste à ses débuts n'a autant déchainé de passions, entre adorateurs transis et haters déchainés. Sortie vainqueure de cette bataille rangée après avoir encaissé tous les coups, elle est aujourd'hui juchée sur l'autel des popstars, fière et désinvolte, baroque et hors du temps, élégante et languide, prisonnière malgré elle de ce personnage qu'elle s'est créé, au glamour de pacotille et à la vacuité qui guette.. Artiste : Lana del Rey. Genre musical : Pop. Époque : de 2005 à aujourd'hui. De 1 à 10, probabilité que tu connaisses : je dirais 9 et des brouettes. Numéro de l'épisode : 90Pour l'écouter, c'est par ici si tu utilises Apple Podcasts, ici si tu utilises Deezer, ici si tu utilises Spotify ou encore ici si tu utilises Podcast Addict. Une autre plateforme ? Elles sont toutes sur le site web du podcast. Pour me contacter, pour me dire que tu as adoré (ou pas du tout mais j'y crois pas) ou encore me suggérer un artiste pour le prochain épisode, écris-moi à contact@lavoixdessillons.com Gros Naze te souhaite une très bonne écoute. On se retrouve dans un prochain numéro de La Voix des Sillons, en attendant café et à la messe !Pour soutenir gratuitement le podcast :1. Abonne-toi2. Laisse-moi un avis et 5 étoiles sur Apple Podcasts, ou Spotify et Podcast Addict3. Partage ton épisode préféré à 3 personnes autour de toiEt pour le soutenir pas gratuitement :Alimenter ce podcast prend beaucoup de temps, sans compter les coûts induits. Alors, si tu prends du plaisir à écouter ces chroniques, si tu te marres, si tu apprends des choses, si tu découvres de nouveaux artistes, aide-moi à continuer, tout apport sera le bienvenu. Rendez-vous sur Tipeee ou Paypal.Tu peux aussi suivre la sortie des prochains épisodes sur mon site internet, sur ma page Facebook et sur mon compte Instagram. Notre politique de confidentialité GDPR a été mise à jour le 8 août 2022. Visitez acast.com/privacy pour plus d'informations.

Jean Smullen, Annette Freeman, and Esther McCarthy all joined Sean Moncrieff for this week's movies and booze with thanks to Marks and Spencer. This week's wines are listed below all with thanks to Marks and Spencer. 2020 Allram Grüner Veltliner, Strass, (Kamptal DAC) €23.00 Stockists: Blackrock Cellar, Co Dublin; Drinkstore, Dublin 8; D-Six Off Licence, Harold's Cross; McHugh's Off-Licence Artane & Malahide Road; Nectar Wines, Sandyford; Pinto Wines, Drumcondra and The Wine Pair, Lr Clanbrassil St, Dublin 1. 2020 Jurtschitsch Zweigelt €22.95 Stockists: Ely Wine Store Maynooth & www.elywinebar.ie; Eleven Deli, Greystones; Wine Pair, Dublin 8 and Quintessential Wines, Drogheda

 Pour le commun des mortels, elle est une fille à papa qui a grandi dans une bulle de champagne - et a un jour écrit les mémoires de son chien. Et c'est vrai. Paris Hilton, c'est cette fille issue d'une dynastie, au physique de Barbie et à la voix nasillarde, qui a surgi dans la jet set à 18 ans et qui est devenu un phénomène médiatique mondial, la pionnière de la téléréalité, à laquelle personne n'est resté insensible. On la connaît tous, on a tous un jour vu un épisode de The Simple Life, on a tous vu un jour une photo d'elle en mini robe entièrement strassée derrière des platines à Ibiza. Mais un documentaire diffusé en 2020 vient soudain craqueler cette image de poupée trash. Paris Hilton y lève le voile sur son intimité, ses névroses et aussi sur le drame qu'elle a subi adolescente dans une école de redressement. Entre les lignes, on comprend qu'au fond, Paris Hilton n'a plus très envie d'être Paris Hilton. Qu'elle aimerait pouvoir parler normalement (sa voix est plutôt grave, en réalité), marcher normalement, et sortir de ce conte de fées qui a viré au chemin de croix.     Dans cet épisode de Scandales, la journaliste Marion Galy-Ramounot replonge dans la bling vie de Paris Hilton et se demande qui se cache derrière le masque de la première des influenceuses. Comment elle est devenue une femme d'affaire hors normes ? Et dans quelle mesure elle continue d'exister médiatiquement aujourd'hui, dans une société qui réclame pourtant toujours plus d'authenticité et de transparence ?   À son micro se succèdent :   - Alexandra Dean, journaliste américaine et réalisatrice du documentaire This is Paris   - Constance Grady, journaliste américaine et auteure d'un dossier sur les mœurs des années 90-2000, The Purity chronicles, dont un focus sur Paris Hilton, pour le média d'opinion Vox  - Raul Quiroz, fan et ami de Paris Hilton  Scandales est un podcast de Madame Figaro, écrit et présenté par Marion Galy-Ramounot, et produit par Lucile Rousseau-Garcia. Marie Salah a participé à l'écriture et à la production de cet épisode. Thomas Rozes en a fait la réalisation et le mix sur une musique composée par Jean Thévenin. Océane Ciuni est la responsable éditoriale de Scandales, un podcast produit par Louie Créative, l'agence de contenus audios de Louie Média.   

Dans ce dixième épisode de SOUS/CONDITION, nous avons le plaisir d'accueillir Giovanna Rincon pour parler de la santé des personnes trans. Le sujet nous semble particulièrement important à aborder sous le prisme des inégalités sociales de santé (ISS). L'accès à la santé et aux droits des  personnes trans met en lumière les effets combinés des rapports sociaux de domination sur la production des ISS. Giovanna Rincon est l'une des figures majeures des luttes pour les droits des personnes trans en France. Elle est co-fondatrice et directrice de l'association Acceptess-T, co-porte-parole de la Fédération Trans et Intersexes et vice-présidente du COREVIH Île-de-France.  Elle est également co-porte parole du STRASS, le syndicat du travail sexuel. 

TRS 4786 -- // Fatboy Slim // ------------------------------------------------ All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here (that goes for audio or images) please contact us immediately by email: set@trip-records.com and I WILL REMOVE THE EPISODE OR ARTWORK IMMEDIATELY! ---------------- ► Are You a Dj? Send Your Video or Dj Set: http://www.trip-records.com/Sets/index.html  ► Subscribe to Trip Records Sets: http://www.youtube.com/c/TripRecordsSets  ----- Send Your Demo, Trip Records is looking for you ! (Send us a private Soundcloud link) ► demo@trip-records.com ----- Link Podcast ► https://podcasts.apple.com/it/podcast/trip-records-sets/id1176106514   

TRS 4786 -- // Fatboy Slim //------------------------------------------------All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here (that goes for audio or images) please contact us immediately by email: set@trip-records.com and I WILL REMOVE THE EPISODE OR ARTWORK IMMEDIATELY!----------------► Are You a Dj? Send Your Video or Dj Set: http://www.trip-records.com/Sets/index.html ► Subscribe to Trip Records Sets: http://www.youtube.com/c/TripRecordsSets -----Send Your Demo, Trip Records is looking for you ! (Send us a private Soundcloud link)► demo@trip-records.com-----Link Podcast► https://podcasts.apple.com/it/podcast/trip-records-sets/id1176106514 See acast.com/privacy for privacy and opt-out information.

Cette semaine dans Quoi de Meuf, nous laissons la place à un invité ! Il s'agit d'Emmanuel Martin, animateur du podcast d'économie Splash, produit par Nouvelles Écoutes. Et parce que nous avons pensé que le sujet du jour pouvait intéresser les auditeurices de Quoi de Meuf, nous voulions le partager avec vous. Dans cet épisode de Splash, Emmanuel Martin se penche sur l'épineuse question de l'ubérisation du travail du sexe. Peut-on le comparer aux autres secteurs d'activité bouleversés par cette nouvelle économie ? Quels sont ses effets sur les conditions de travail sur les travailleur.euses du sexe ? Et si l'on remonte plus loin, comment cette branche d'activité a-t-elle été bouleversée par l'arrivée d'internet ?Pour répondre à ces questions, Emmanuel Martin a échangé avec Pierre Brasseur, sociologue post-doctorant à l'INSERM et Beverly Ruby, travailleuse du sexe et membre du Strass, le Syndicat du travail du sexe.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dans cet épisode de Splash, Emmanuel Martin se penche sur l'épineuse question de l'ubérisation du travail du sexe. Peut-on le comparer aux autres secteurs d'activité bouleversés par cette nouvelle économie ? Quels sont ses effets sur les conditions de travail sur les travailleur.euses du sexe ? Et si l'on remonte plus loin, comment cette branche d'activité a-t-elle été bouleversée par l'arrivée d'internet ?Pour répondre à ces questions, Emmanuel Martin a échangé avec Pierre Brasseur, sociologue post-doctorant à l'INSERM et Beverly Ruby, travailleuse du sexe et membre du Strass, le Syndicat du travail du sexe. Splash est une émission de Nouvelles Écoutes. Elle est présentée et écrite par Emmanuel Martin, produite et réalisée par Marine Raut-Guillerme, coordonnée par Mathilde Jonin, mixée par Adrien Beccaria à l'Arrière-Boutique StudioSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Willkommen zurück bei "Endlich normale Leute" eurem Podcast-Zirkuszelt voller kleiner und großer Überraschungen. Hier werden investigative Fragen gestellt wie, welches Öl benutzen eigentlich Stripper:innen und wie normal sind Jeans mit Strass? Seid dabei wenn die Reisegruppe Syphilis mit der RB von der DB ASAP zum JGA fährt und Kommissar Reiners seinen neuesten Fall in Dortmund bearbeitet. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/Endlich_normale_Leute

Gomitas de pelo generando trenzas, trenzas cosidas, face Strass, color artificial en el pelo, flecos, clean make up y cowboy hat fueron algunos iconos de este festival.

C'est l'histoire d'un dancing familial dans la petite ville de Kirrwiller devenu le troisième plus grand cabaret de France après le Moulin-Rouge et le Lido : le Royal Palace, connu dans l'Europe entière. Derrière cette réussite, il y a Pierre Meyer, un ancien cuisinier qui a repris le music-hall de ses parents, encore sidéré de voir où il est arrivé. Sur scène, Alla Samorodska, une Ukrainienne de 35 ans, dirige la troupe en véritable capitaine jusqu'au jour du spectacle.

♥ Tu étais le seul qui n'a pas abandonné jusqu'à ce qu'il ait conquis mon cœur et la chose la plus mignonne de toutes est que tu continues à le faire tous les jours. Joyeuse Saint-Valentin, mon amour! ♥ A tes côtés je me sens la femme la plus heureuse du monde et je me rends compte que mon cœur était rempli d'un amour pour toi qui grandit et s'approfondit. Félicitations pour notre journée! ♥ Toi seul as le pouvoir de me faire sentir que je peux flotter dans les airs et avec chacun de tes baisers tu me fais toucher le ciel. Joyeuse Saint-Valentin 2022, ma vie! ♥ Cette journée est parfaite pour te montrer à quel point je t'aime, être à tes côtés et te rendre si heureux. Profitons d'une belle Saint-Valentin! " ♥ Si nos chemins se croisent par coïncidence ce n'est pas grave, je sais juste que je t'aime de toute la force de mon cœur et que je t'aimerai pour toujours. L'amour. Le grand, le vrai, celui avec un grand A. L'amour qui transcende, secoue, désarçonne et transporte. Cet amour véritable qui, depuis toujours, a nourri les artistes, de l'écrivain(e) au peintre, du/de la cinéaste au/à la musicien(ne). Et bien que personne ne remette son existence en cause, la notion du « vrai amour » reste ardue à définir. Car rien n'est plus personnel que le sentiment amoureux. Dans ce contexte, difficile donc de vous donner une signification de l'amour vrai, claire et objective. À la place, voici la définition - très personnelle - d'hommes et de femmes qui l'ont expérimenté. L'amour vrai et sincère, qui résiste au temps Pour Emma, architecte bordelaise, le vrai amour, c'est celui qui résiste au temps. Celui qui ne s'explique pas, mais qui chamboule tout sur son passage. « J'ai vécu une relation en pointillé pendant toute ma vingtaine. Lorsque je l'ai rencontré, j'étais en couple. J'ai eu une aventure avec lui, ai sérieusement songé à quitter mon compagnon de l'époque mais suis finalement restée, par crainte de faire une erreur. J'ai coupé les ponts et nous nous sommes retrouvés deux ans plus tard. Cette fois-ci les rôles s'étaient inversés : j'étais célibataire, il était en couple. La situation s'est répétée, puis c'est lui qui a, cette fois-ci, coupé les ponts. Puis, deux ans plus tard, l'histoire se répète à nouveau. Nous sommes alors tous les deux en couple. Il me propose de tout quitter pour partir avec lui. J'ai très sérieusement songé à le suivre, mais je n'ai pas eu le courage de renoncer à mon quotidien, mon confort. Il est aujourd'hui marié. Malgré tout, une partie de moi ne peut s'empêcher de penser qu'on finira un jour par se (re)trouver. Entre nous, c'est un amour qui ne s'explique pas, qui résiste au temps, à l'absence de l'autre. Et qui est toujours aussi fort quand on se retrouve, même après des années de silence. » Le véritable amour existe Marta, institutrice de 36 ans, estime que le vrai amour, c'est celui qui tient bon face aux difficultés de la vie. https://lesen.amazon.de/kp/embed?asin=B07DHTHDGG&preview=newtab&linkCode=kpe&ref_=cm_sw_r_kb_dp_9HM6ACQRTCMNYG4324V3&tag=storeup09-20 ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ https://linktr.ee/jacksonlibon ------------------------------------------------------------------------------------------------- #facebook #instagram #amour #couple #couplegoals #famille #relation #doudou #TotalEnergiesAFCON2022 #TeamTunisia #CAN2021 $BTC $ETH #cryptocurrency  #Bitcoin #Ethereum #Avalanche#altcoins #Crypto #NFTs #Avalanche #innovation #CryptocurrencyNews #cashback #YieldFarming #TotalEnergiesAFCON2021 #TeamMali #TUNMLI #teamegypt #afcon2021 #TeamCameroon #youtube #twitter #tiktok #love #reeĺs #shorts #instagood #follow #like #ouy #oyu #babyshark #lilnasx #girl #happybirthday #movie #olive #garden #menu #deviance #autotrader #trading #khan #academy #carter #carguru #ancestry #accords #abc #news #bts #cbs #huru bluebook #socialmedia #whatsapp #music #google #photography #memes #marketing #india #followforfollowback #likeforlikes #a #insta #fashion #k #trending #digitalmarketing #covid #o #snapchat #socialmediamarketing #bhfyp

„Gedankenschrott“ nennt Ulli Engelbrecht seine Überlegungen hinsichtlich der Lebensgefühle und Klangwelten der 1970er und 1980er Jahre. Und den kramt er nur zu gerne aus den Tiefen seines Hirns, um all die angestauten Ereignisse, Erlebnisse und Eindrücke rund um die Rock- und Popmusik abzufahren – ob in Büchern oder bei seinen Lesungen. Entscheidende Erlebnisse nie ohne Musik Der erste Kuss, die erste Liebe – einschneidende Ereignisse im Leben sind in der Regel mit Musik verbunden. Für Ulli war der erste beeindruckende Popsong seines Lebens Penny Lane von den Beatles. Dieser Song regte die Fantasie beim Lego-Spiel an und förderte früh und nachhaltig sein Interesse an jeglicher Tonkunst zwischen Polydor-Schlagerparaden und Klassik, zwischen Beat und Hardrock, zwischen Pop und Jazzrock. Zwischen Lesebühne und Öffentlichkeitsarbeit Ulli Engelbrecht ist gebürtig aus Bochum, war gemeinsam mit Klaus Märkert und Juckel Henke Mitbegründer der Lesebühne "LIO - Lesen im Oveney" und lebt als multifunktionaler Öffentlichkeitsarbeiter, Autor, Vorleser, bekennender Nostalgieexperte und notorischer Schallplattenhörer mal in Bochum und mal in Hamburg. Vinylschallplatten sind heute noch erste Wahl Nach wie vor hört er Musik am liebsten in Form von Schallplatten, die er hin und wieder auch mehrfach kauft, damit er „die mit den Kratzern und dem Knacks aber bei Jazz und Klassik die gleiche dann ohne Nebengeräusche“ hören kann. Dabei macht seine Plattensammlung vor kaum einem Genre Halt. Lediglich „Hip-Hop und Rap“ sind nicht so sehr sein Ding. Die Top Ten der 70er und 80er Ulli liebt Rory Gallagher, Led Zeppelin, Vicky Leandros und Kate Bush. Im Podcast wollten wir wissen, welche drei unbedingten Hörtipps er für die 70er sowie für die 80er Jahre empfehlen kann. Das Ergebnis mag verwundern. Wie war das also damals, als man noch Schallplatten in der Hörkabine der Stadtbibliothek hören konnte? Status Quo, Black Sabbath oder Dire Straits? Das Lebensgefühl entschied. Von Ulli Engelbrecht sind bisher folgende Bücher erschienen: - Rock Around The Tannenbaum (BOD 2021) - Mir brennen die Schläfen (BOD 2019) - Mehr als nur ein dummes rundes Ding (BOD 2014) - Samtcord, Strass & Soundgewitter (BOD 2009) - In Zusammenarbeit mit Jürgen Boebers-Süßmann: - Skandal im Sperrbezirk" (Klartext, 1998) - "Licht aus - Spot an!" (Fischer-Taschenbuch 1996), - "Licht aus - Spot an!" (Klartext, 1995), allesamt vergriffen. Weitere Info: www.ulli-engelbrecht.de

Alois Rainer betreibt in Strass im Zillertal das traditionsreiche Gasthaus Post. Neben dieser Aufgabe ist Alois Rainer Funktionär der Wirtschaftkammer Tirol in der Sparte Tourismus und Freizeitwirtschaft. Wir sprechen mit ihm in einem kontroversiellen Gespräch über die verpflichtende Herkunftskennzeichnung von Lebensmitteln in Österreich.

Mein heutiger Gast ist ein Tausendsassa der Musik wurde in Krems an der Donau geboren und wohnt mittlerweile in Strass im Strassertal. Neben klassischer Posaune hat er sogar Popgesang studiert, jeweils mit Schwerpunkt Komposition. Beide Studiengänge, die er an der Universität für Musik und darstellende Kunst Wien belegt hat, schloss er sogar mit Auszeichnung ab. Er spielt und singt nicht nur in dem Bläserensemble Federspielt, sondern komponiert für dieses und u.a. noch für Sinfonieorchester, Blasorchester, verschiedenste Ensembles, Film- und Fernsehmusiken und Popmusik.www.matthiaswernermusic.com@matthias_werner_musicwww.patreon.com/andyschreck@andyschreck.deHier wollt noch mehr News -> dann den Newsletter abonnieren:https://bit.ly/3EnZCUpHier findet ihr alle Hörtipps:https://open.spotify.com/playlist/1iqJJBHixBrAAnTuBqWMXg?si=50ac0fcee6564279Hier das Video zu den Blue Devils:https://www.youtube.com/watch?v=2EDIDCdy5Es

durée : 00:02:34 - Accès privé France Bleu Paris - Réserves de musées, coulisses, souterrains parisiens... Avec Murielle Giordan, les journées du patrimoine ont lieu tous les jours ! Du 6 au 10 septembre, c'est le Moulin Rouge qui est mis à l'honneur dans Accès Privé.

[FORMAT ÉTÉ]On reste en 2021 avec Joanna et son titre « Sur ton corps ».Au programme : De la sensualité, un texte langoureux, et le duo Leolulu en pleine forme…Pour plus de contenu exclusif et chaud comme la braise, viens suivre le N'importe cul sur InstagramSi tu es curieuse·x... Sur ton corpsLe clip version censurée sur YoutubeLe clip version non censurée sur PornhubLes paroles de la chansonAutres sources citéesLe clip "Beurette de luxe" de Lorenzo où apparaît Joanna en 2016La chanson "Fireworks" de Columbine dans laquelle Joanna participeSon intervention dans le Planète Rap de ColumbineLe clip "Séduction" de Joanna et "Démons" en featuring avec LaylowLe clip "Sensualité" d'Axelle RedLe compte Instagram et le site officiel de LeoLuluLe site du STRASS, le syndicat du travail sexuel en FranceLa version soft du clip "Selfie" de Vald avec Ian Scott et Nikita BellucciCréditsCréé et animé par Mina et Jade. Produit par Mauvaises Ondes. Générique par Jade. Musique de Stefano Mastronardi. Illustration d'Amandine Jonniaux. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Recent trials in sarcoma sought to determine the impact of neoadjuvant therapies and histologic/genomically specific treatments. Valerie Grignol, MD, Gabriel R. Tinoco Suarez, MD, and Alessandro Gronchi, MD, FSSO, discuss the following recent trials will. The EORTC-62902:STRASS trial evaluated the impact of neoadjuvant radiotherapy for retroperitoneal sarcoma on abdominal recurrence-free survival. A study by the Italian, Spanish, French and Polish Sarcoma groups sought to determine if histology-tailored neoadjuvant chemotherapy was superior to standard anthracycline plus ifosfamide for high-risk extremity and trunk soft tissue sarcoma for disease-free and overall survival. The NAVIGATOR study evaluated the PDGFRA inhibitor avapritinib and its activity in D842V-mutant gastrointestinal stromal tumors. Lastly the INVICTUS study evaluated the impact of further line therapy ripretinib, a switch-control tyrosine kinase inhibitor, on progression-free survival in advanced gastrointestinal stromal tumors. Valerie Grignol, MD - Member, SSO Sarcoma Disease Site Work Group, Assistant Professor of Surgery, The Ohio State University Gabriel R. Tinoco Suarez, MD - Medical Oncologist and Clinical Assistant Professor - Division of Medical Oncology at The Ohio State University Alessandro Gronchi, MD, FSSO - Chair Sarcoma Service - Department of Surgery; Fondazione IRCCS Istituto Nazionale dei Tumori (Milan, Italy)

Influenceuse, Makeup Artiste, maman, femme, épouse... Charlene Beauty mène une vie à 100 à l'heure. Dans cet épisode, elle nous parle de son quotidien, au rythme trépidant, qui la rend heureuse. "Ma communauté me demande comment je fais pour tout gérer..." Originaire de la région parisienne, Charlene arrive dans le Chablais il y a quelques années. Depuis ce temps, elle s'est profondément attachée à sa terre d'adoption. Il y a 3 ans, cette passionnée de "beauté", de paillettes, de mode, décide de lancer sa chaîne YouTube. Le début d'une aventure qui va la faire devenir "influenceuse" et qui va même la conduire jusqu'à la TV, sur M6. Puisqu'une journée se limite à 24h, Charlène démarre très tôt, dès 5h du matin, pour pouvoir à la fois gérer sa vie de famille, traverser le Lac, travailler à Lausanne, re-traverser le Lac, entretenir le lien avec sa communauté, produire des contenus pour ses réseaux sociaux et prendre du temps pour soi... "Ma fille rigole, elle regarde ce que je fais, elle se fout de moi." Le métier d'influenceuse, de Youtubeuse fait rêver. Charlene Beauty  nous explique ce qu'il en coûte pour y arriver et met en garde la jeune  génération qui a tendance à idéaliser un univers très exigeant, très  dur et extremement chronophage. Rencontre avec une personnalité au tempérament de feu, une chablaisienne qui mène sa vie comme elle l'entend et qui balaie les critiques d'un revers de main. Bonne écoute. Notes de l'épisode :  La chaine YouTube de Charlene_beauty Le compte Instagram de Charlene_beauty Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.