Podcasts about third rock

Paulo knows credit card scammers from the '80s – and it was tough back then with the little “shook shook” machine.We hear from Jean-Claude Van Andrew Tate while Dori channels Living & Loving – but this edition includes hairy men and Benji.Plastic surgery changed The Hoff's life, and Paulo still wants to poo in George Michael's toilet.And finally… was Madonna really in The Breakfast Club? And did Dr. Huxtable cure polio?Jump To:Blue Val-Vet: (00:04:31)Jean-Claude Van Andrew Tate(00:05:59)Chevy Chase in PlayGirl (00:12:23)https://www.cracked.com/article_41915_get-a-load-of-chevy-chases-1980-playgirl-cover.htmlThird Rock from the Sun (00:21:56)Strange Brew (00:34:30)https://www.youtube.com/watch?v=2pacru8ve9k&pp=0gcJCdgAo7VqN5tDGeorge Michael's Infamous Corner (00:42:04)Christopher Atkins Speedo Stuffing Controversy (00:48:33)Two 80s Truths and a Lie (00:51:32)#Val Kilmer, #Jean-Claude Van Damme, #1980s, #Blue Velvet, #Isabella Rossellini, #David Lynch, #Top Gun, #sexual misconduct, #human trafficking, #Romania, #organized crime, #Dory, #That Eddie Show, #nostalgia, #pop culture, #Brown Bag Diet, #Hollywood, #Goldie Hawn, #Playgirl, #multimedia recommendations, #John Lithgow, #Third Rock from the Sun, #David Hasselhoff, #Strange Brew, #Rick Moranis, #Canadian humor, #Oktoberfest, #superpowers, #stuffed spiders, #Madonna, #The Breakfast Club, #new wave synth-pop, #trivia, #Two 80s Truths and a Lie, #Chevy Chase, #pun-filled banter.

During a panel discussion at this year’s Fierce JPM Week—which took place alongside the annual J.P. Morgan Healthcare Conference in San Francisco—industry experts broke down what it takes to pull off a successful biotech IPO in the current market. This week’s episode of The Top Line dives into the discussion, featuring Fierce Biotech’s Gabrielle Masson as moderator, joined by Septerna CEO and co-founder Jeffrey Finer, M.D., Ph.D.; Rapport Therapeutics Chief Financial Officer Troy Ignelzi; Sofinnova Investments General Partner Maha Katabi, Ph.D.; and Morgan Stanley Executive Director Chirag Surti. In their wide-ranging conversation, the industry leaders spoke about the types of biotechs that debuted on the public market in 2024, the keys to success for an effective IPO and what to expect from the market heading into 2025. To learn more about the topics in this episode:   ‘A really rational IPO environment’: What does it takes for a biotech to go public now? 'Own JP Morgan, don't let JP Morgan own you': Biopharma—and Jill Biden—show up for JPM25 Septerna's $288M IPO is another sign of the market warming to biotech investment Third Rock's Rapport reveals upsized $154M IPO This episode is brought to you by Cencora. Learn more at cencora.com/breakthrough.See omnystudio.com/listener for privacy information.

David Sacks is an Emmy and Golden Globe-winning writer and producer, known for his work on iconic shows like The Simpsons and Third Rock from the Sun. But behind the Hollywood accolades lies a profound story of spiritual awakening and introspection. In this episode, we explore his journey from a non-observant Jewish upbringing to becoming a passionate Baal Teshuva, discovering Hashem's presence not through dramatic miracles, but through thoughtful reflection and gratitude.What if everything you believed about your identity was wrong? In this gripping episode, Chana Devorah Mishler, a former Christian pastor, shares her astonishing journey of discovering her hidden Jewish heritage after generations of secrecy. From vivid dreams of an angel to ancestral clues like Ladino phrases and Shabbat traditions, her path is filled with moments of divine intervention, faith, and heart-wrenching revelations. As she reconnects with her Sephardic roots, she faces the challenge of rebuilding her life and faith, while inspiring others with her resilience.This story of self-discovery, spiritual awakening, and unbreakable legacy will leave you questioning what you thought you knew about your own journey and the power of faith.Hear David's podcasts here: https://apple.co/40uUzid Get his son's KOTZK book here: https://bit.ly/4gN4llv Use INSPIRE for 15% OFF + FREE Shipping✬ SPONSORS OF THE EPISODE ✬► Ohr Somayach: Help empower true Jewish identityChanging the world. One Jew at a time. Help Here → https://cmatch.me/osrzk► The Dream Raffle: Win BIG ► Twillory: The Best Gift for MenUse promo code: INSPIRE for $18 OFF→ https://Twillory.com/► BitBean: Industry Leading Enterprise Software for InnovativeLooking to scale your business? Bitbean's custom software solutions optimize operations, automate workflows, and cut employee overhead by 30% or more.Contact Bitbean today for a FREE CONSULTATION→ https://bitbean.link/MeEBlY✬ IN MEMORY OF ✬This episode is in memory of:• Shimon Dovid ben Yaakov Shloima• Miriam Sarah bas Yaakov Moshe✬ Donate and Inspire Millions (Tax-Deductible) ✬Your generous donation enables us at Living Lchaim to share uplifting messages globally, enrich lives, and foster positive change worldwide! Thank you!https://www.LivingLchaim.com/donateOur free call-in-to-listen feature is here:• USA: (605) 477-2100• UK: 0333-366-0154• ISRAEL: 079-579-5088Have a specific question? email us hi@livinglchaim.comWhatsApp us feedback and get first access to episodes:914-222-5513

Chatting With Sherri welcomes actor, improviser and voice artist Jim Meskimen! Jim Meskimen is an accomplished actor, improviser and voice artist whose work has been seen and heard on television, in movies and on stage for many years. He is a veteran of hundreds of TV and radio commercials, for AT&T, IBM, Subaru, Tic-Tacs, Quality Inns Hotels, and many others. He has appeared on series television in Whose Line is it, Anyway?, a British comedy-improv show now seen on Comedy Central, and in a recurring role on The Fresh Prince of Bel Air. Other television credits include Seinfeld, Third Rock from the Sun, Grace Under Fire, Ned and Stacey, Seven Days, Family Matters and To Have and To Hold. Jim's feature film debut was in Ron Howard's The Paper (1993), starring Michael Keaton and Glenn Close. He was featured as a mission controller in the hit Universal movie, Apollo 13 starring Tom Hanks and Kevin Bacon. He recently was seen in the Touchstone pictures comedy The Other Sister directed by Garry Marshall, and in Ed TV directed by Ron Howard. He also completed a featured role in Inherit The Wind for MGM, starring George C. Scott and Jack Lemmon that aired on Showtime and NBC. Jim played officer Who-Lihan in "How the Grinch Stole Christmas" for Director Ron Howard.   

A physician-scientist father shares his heartbreaking story of the death of his daughter who was diagnosed with Tay-Sachs disease and how it motivated him to become the CEO of JScreen to prevent this experience in other families.  Matt Goldstein is a physician-scientist and entrepreneur. He has founded companies, built R&D teams, and led strategy and execution of both pre-clinical research and clinical development. Prior to joining JScreen and Emory University, Matt was a Partner at Related Sciences, a venture creation firm. As an entrepreneur at Third Rock Ventures he spent a decade building and operating Third Rock portfolio companies. He was responsible for building and leading the Immunology program at Tango Therapeutics, the centerpiece of Tango's strategic multi-billion dollar partnership with Gilead Sciences, Inc. He also served as the development head for Tango's lead program which entered the clinic in 1H 2022. Matt was a co-founder of Neon Therapeutics leading Translational Medicine and Early Development through completion of their first clinical study and initial public offering. He is a graduate of Swarthmore College and the MD/PhD program at Stanford University, where he pioneered novel cancer immunotherapies in the lab of Ron Levy, MD. He completed his clinical training in Internal Medicine at Harvard Medical School, Brigham & Women's Hospital. He lives in Boston with his wife, Myra, their second daughter Kaia and son Ezra. His oldest daughter Havi died on January 20th, 2021 of Tay-Sachs disease. A quick update that during the episode Matthew mentioned there are 4,000 genetic counselors in the USA, this number has now surpassed 5,000.   During the episode, Matthew recommends the book Bearing the Unbearable: Love, Loss, and the Heartbreaking Path of Grief by Dr. Joanne Cacciatore.    Check out his wife, Myra's organization, Emotion, which is for grieving individuals to find community and cope with loss.    In our next episode we will chat with Myra about Emotion and her upcoming book, Fifty-Seven Fridays, which consists of memoirs from Matt and Myra, Havi's diagnosis, and how they celebrated her life.    Stay tuned for the next new episode of It Happened To Me! In the meantime, you can listen to our previous episodes on Apple Podcasts, Spotify, streaming on the website, or any other podcast player by searching, “It Happened To Me”.    “It Happened To Me” is created and hosted by Cathy Gildenhorn and Beth Glassman. DNA Today's Kira Dineen is our executive producer and marketing lead. Amanda Andreoli is our associate producer. Ashlyn Enokian is our graphic designer.   See what else we are up to on Twitter, Instagram, Facebook, YouTube and our website, ItHappenedToMePod.com. Questions/inquiries can be sent to ItHappenedToMePod@gmail.com. 

In April 2023, Jane Curtin was our guest for the UAlbany Creative life series to discuss her life and work. You know her from "Third Rock from the Sun." You know her from "Kate & Allie." She won two Emmys for that. And of course, you know her as one of the original Not Ready for Primetime Players on the National Broadcasting Corporation's "Saturday Night Live."

In April 2023, Jane Curtin was our guest for the UAlbany Creative life series to discuss her life and work. You know her from "Third Rock from the Sun." You know her from "Kate & Allie." She won two Emmys for that. And of course, you know her as one of the original Not Ready for Primetime Players on the National Broadcasting Corporation's "Saturday Night Live."

In this podcast episode, we delve into the topic of bad teachers in school, discussing the impact they can have on students' education and well-being. We then shift gears to explore the controversy surrounding major name actors taking voice actors' jobs in the entertainment industry. Lastly, we engage in a conversation about the potential damages that powerful solar flares can cause, from disruptions to technology and communication systems to potential risks for astronauts and satellites. Tune in to this thought-provoking episode for an insightful discussion on these pressing topics. --- Support this podcast: https://podcasters.spotify.com/pod/show/c-minds/support

Today's guest is Aaron Arvey, Director of Machine Learning at Third Rock Ventures. Founded in 2007, Third Rock Ventures push the boundaries of science and technology to make a difference in the lives of patients and their families. By starting with big ideas and fostering collaboration among brilliant people with expertise in science, medicine, business and strategy, Third Rock set out to do more than fund startups, they aim to build sustainable, innovative companies that can transform the lives of patients. Aaron's role at Third Rock is to advance therapeutic and diagnostic R&D with focused hypothesis-driven machine learning. Aaron initially trained as a computer scientist and mathematician, working at the intersection of machine learning theory and algorithm implementation. However, it wasn't until he happened upon molecular biology and the cellular microcosm that he found his passion. Since then, he has been in perpetual awe of the never-ending stream of high-impact scientific opportunities in biotech. In the episode, Aaron discusses: The mission at Third Rock Ventures, His role and responsibilities as the Director of ML, Use cases of the value his team brings to their portfolio companies, Trends that excite him in Biotechnology, Career opportunities with Third Rock Ventures

Happy New Year!... But wait, it's September... Why would we say that? Us Jews have our own calendar that follows the lunar cycle. Based on that and the timing of when we created our calendar in the first place, the Jewish calendar doesn't come close to lining up with that of the secular world. You may also hear horns blow and notice a deficit of apples and honey in your local grocery store. Yes, there's a correlation to the Jewish New Year as well. Why is this an annual ritual of ours? David Sacks, co-founder and Spiritual Leader of the Happy Minyan, world-renowned Torah lecturer, Emmy and Golden Globe award-winning Hollywood writer, and Harvard College graduate, gets behind the microphone to connect the dots behind these common items at the Rosh Hashanah celebration. Chaz Volk, host of Bad Jew, shares his familiarity with these practices but learns about the true meaning of the WHY. Get ready for the high holidays by tuning in with some apples and honey! About David Sacks Born and raised in New York City, David Sacks attended Harvard College, graduating with a degree in Government. While there he began his comedy writing career for the school's humor magazine, The Harvard Lampoon. Upon graduating, David moved to Los Angeles and began writing for television. Among the shows he's worked for are “The Simpsons”, where he won an Emmy Award, and “Third Rock from the Sun” for which he won a Golden Globe Award, “Malcolm in the Middle”, “Murphy Brown”, and “Final Space” on Adult Swim. David is the co-founder and Senior Lecturer of The Happy Minyan of Los Angeles. David is married and raises his family in Beverly Hills, CA. David Sacks gives the weekly Torah podcast “Spiritual Tools for an Outrageous World” and has spoken to enthusiastic crowds, opening the hearts of people across the US, Europe, Israel, and South Africa. His topics range from the meaning of life, to Hollywood's impact on the world, to achieving happiness. Connect with David Sacks www.HappyMinyan.org Whatsapp Group: https://chat.whatsapp.com/DBAv0w4n0TkAnmxjXJmYY1 Connect with Bad Jew: Join our online community HERE: https://linktr.ee/badjew BadJewPod@gmail.com Ig @BadJewPod TikTok @BadJewPod

On this week's episode, Writer/Showrunner Bill Martin (The Unicorn, The Neighborhood, 3rd Rock From The Sun, and many many more) talks about his showbiz career and starting out writing in sketch comedy then eventually transitioning over to scripted. Tune in as he also talks about his experiences working with a writing partner.SHOW NOTESBill Martin's IMDB Page - https://www.imdb.com/name/nm0551979/Free 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/watchlistAUTOGENERATED TRANSCRIPTBill Martin:When we got on board, we just got an overall deal with A, B, C. So we were assignable to this and we thought, this is insane. We'd love the commercials about anybody, but there's no way they're going to put on. So we thought it was just like, we'll help out a pilot, meet some new people, and then we'll do something else. It was shocking to us that they put it on tv.Michael Jamin:Oh, howBill Martin:Interesting. Because it just seems so unlikely, but with anything you do, you know how it is. Once you're given your assignment, you've got to find a way to take pride in it.Michael Jamin:You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, welcome back to Screenwriters. Need to hear this. I got another great guest today Actually. Ordinarily I would never have a sitcom writer who's more successful than me on my show. I out of Insecurity, but I'm doing it today to prove that I'm more magnanimous than he is. And so welcome to the show, bill Martin, whose credits are fricking crazy good and he had so many great credits. I'm going to list some of the great credits and I'm also, maybe I'll throw in some not so great credits to humble you, to keep you humble.Bill Martin:There are plenty of,Michael Jamin:But you started in Living Color and I wanted to talk about that. I love that show. But then she tv, third Rock from the Sun, grounded for Life, and I'm skipping many. Okay, cavemen, the singles table. Hank How to Rock Malibu Country Soul Man, which I believe, I think we met on that and I think you guys beat us out with good reason.Bill Martin:That's what I'm really here for. Revenge.Michael Jamin:Yes. Right, right, right. Living Biblically. We'll talk about that. And the, the unicorn, the neighborhood, the unicorn, which you and your partner created and the neighborhood. Are you guys running that as well, neighborhood or no? We are. You are. Damn. What's it like to be welcome to the show and what's it like to be a working sitcom writer? What's it like working on a network TV show nowadays?Bill Martin:Yeah. Well, I mean, I will point out that it's fantastic and I know that because I've also been a non-working sitcom writer. Plenty. I mean, that's the awful thing about this life we've chosen is that every spring is the panic of, oh my God, am I retired? I just don't know it yet.Michael Jamin:What do you know? Brian Bihar? Do you know who he is?Bill Martin:Yes.Michael Jamin:He said me and he said to me that people in the business are retired seven years before they know it.Bill Martin:Yes.Michael Jamin:I hadn't heard that. I was like, oh God, is the clockBill Martin:Running? I knew that makes perfect sense though. Yeah, yeah.Michael Jamin:But the thing is not even about staffing season anymore now you don't even know when you're not working. You justBill Martin:True. True.Michael Jamin:So what is it like, how is it, honestly, haven't written on a network television show in many years we've been on cable or whatever, streaming. And how has it changed? How has Network changed? More notes, last notes.Bill Martin:That's the weird thing is it has not changed. I mean, we are preserved in Amber. The neighborhood is just the good old days. It's a big writer's room. It's run throughs, it's show nights. It's really almost unreal. When we took the job, we expected it to, COVID obviously jumbled everything up, but once the covid restricted to Lifted, it was like, oh, this is exactly the classic sitcom situation.Michael Jamin:See, one of my fears is that multi cameras will go away because there's so few people still doing it. I mean, do you feel that way?Bill Martin:Yeah, we keep thinking that they're done, but at the same time, people are still watching friends in Seinfeld and there still aren't that many single camera comedies that are that sticky with people. So I'm not sure that they're being given up on yet. I mean, there's pros and cons to them, but I think that kind of warmth that you only have when you're watching an audience show is something that people still crave.Michael Jamin:But I mean in terms of there's so few multi-camera shows being made now, then let's say in 10 or 15 years if they want to make more, who's going to know how to do it?Bill Martin:The breeding pool is, yeah, the breeding pool has shrunk to the point where we'll all be just inbred ligers. Yeah, you're right. Frankly, that's why I'm working because there's not a minor league for it anymore. Yeah, I know N B C and a BBC are trying them. They are developing them, but really right now it's Monday night on c b s and that's about it. So we are fully prepared to just turn off the lights when we leave and that'll be the end. ButMichael Jamin:Now tell me how you broke in, because I think your first creative was living single, I mean not living single, but living color.Bill Martin:Living color andMichael Jamin:Living, which, so there was a sketch show, which huge for the young people. I mean it, Jim Carrey and all these huge stars came out of that, which you couldn't have been imagined back then. It's one of the first shows on Fox. But how did that come to be? How did you get on that?Bill Martin:That was purely a situation where Keenan burned through writers so fast that they were always hiringMichael Jamin:Really.Bill Martin:And we got our first agent and this says 92, and she said, there's openings that in living color. There's always opening today in living color because Kena was demanding and he was hard to work for, but it was a great job. And so we went in and pitched, and I think it was kind of a conveyor belt of new writers coming in there all the time. And we actually managed to stick for the final two years of the show and not get fired, which is a very small club for people who've worked for Keenan, I think.Michael Jamin:And so you put together a sketch packet. How did you even know what to do? I wouldn't know what to do to get hired in a sketch show.Bill Martin:It was write a couple of sketches for existing characters and write a couple of sketches that are new ideas or commercial parodies or something likeMichael Jamin:That. And did any of those ever make it to air?Bill Martin:No, but I think because of how anal my partner Mike Schiff is what we came in with were very thoroughly thought out ideas. I think that's what must have impressed Keenan, was that we didn't come in pulling stuff out of our ass. We were prepared.Michael Jamin:It was such an amazing show. And then you went to she tv, which is interesting. That show was produced. I don't know if it's any interesting for anyone other than me and you, but it was produced by Tamara Rawitz who gave me my first Yes, sheBill Martin:And Tamara was also the producer of In Living Color, where she wentMichael Jamin:There. Oh, I guess I did know that. And she, TV was another sketch show, but it didn't last very long.Bill Martin:Yep. No, I don't even know if they aired all the episodes. It was a summer replacement show when that was still a thing, and it was produced by George Slaughter of Laughin Fame and it felt Laughin vintage even in the mid nineties. It felt a little like a good old fashioned throwback variety show.Michael Jamin:Interesting. Because she went on to produce the Mike and Maddie show, and so she hired me on that and then she jumped ship. I thought she was going to be a big break in, but alright. And then Third Rock on the Sun. I should make it clear we've never even worked together, but you're one of these people. I always felt like one of these days we're going to work together and just never happened. ButBill Martin:Yes. And we also have the Alschuler Krinsky Bridge between us. That's right. Weirdly, they're some of my oldest friends and I've never worked with them either.Michael Jamin:Oh, I didn't know thatBill Martin:Either it's inevitable or we're like the opposite ends of a magnet that can never work together.Michael Jamin:Yeah, right, right.Bill Martin:We'll find out.Michael Jamin:But also, yeah, Abramson Thompson, we worked with him for many years and we great guy. But alright, so then Third Rock from the Sun, another great show. Tell me a little about your experience on that.Bill Martin:Well, those days there were sketch writers and there were sitcom writers and we were sketch guys and we'd written lots of spec sitcoms. We couldn't get a job. We kept working on sketch shows and we had, after she tv, we actually did a House of Buggin in New York, the John Zamo.Michael Jamin:Right. He's great.Bill Martin:That was a blast. It was fun to work in New York, although our producer had to take a brown bag full of cash to some guy in Brooklyn so that we were allowed to film there. So we're kind of in Sketch jail. But Bonnie and Terry Turner, who created she TV then created Third Rock in the Sun. And because they'd come from Saturday Night Live and they'd written movies, they'd kind of done a lot of different things. They didn't have those expectations that you hire, sketch people for sketches and sitcom people for sitcom. So we had a great experience with them on ctv. So we were some of the first people they thought of for Third Rock. So they helped us break out of the sketch jail.Michael Jamin:And did it feel like that? Why does it feel like a sketch jail? It seems fun to me. IBill Martin:Don't know. I think it's just that it took such a specific skillset to just crank out, joke, joke, joke, parody, parody, parody. I think it was just, it may not have been a bad thing. I think it was just because there weren't a lot of people who'd had a track record with it that they were desperate to find you. Yeah, I don't really know. It wasn't fair though.Michael Jamin:I'mBill Martin:Never going back to sketch jail.Michael Jamin:Right. So you don't want to do that ever again. You don't want to write sketches again.Bill Martin:Well, I guess there aren't really any sketch shows left. The sketch shows now I think you should leave is the greatest thing I've ever seen in my life, but it doesn't need me.Michael Jamin:But you don't have, in other words, that craving, we've never done it. I was like, well, I wonder what that been like. ButBill Martin:Yeah, sometimes the idea for a fun parody, it's still hits you every so often and there's just no place for parity other than that. So yeah, I do find myself saying, oh, that's a good idea. I hope Saturday Night Live does thatMichael Jamin:BecauseBill Martin:That's kind of the last game in town,Michael Jamin:But it's a whole new skillset that you had to learn. I mean, what was that jump like to go into scripted narrative to television?Bill Martin:Actually, it was pretty easy just because that's what we set out to do when I met Mike in film school in New York, and we were just cheers fanatics. And so we had written seven or eight sitcom specs before we got that job at a leaving color. So it was all we wanted to do it just that Keller was a job we could get.Michael Jamin:Right.Bill Martin:Interesting.Michael Jamin:We worked with the Stein Kelner who ran Cheers a couple of years. Oh yeah. To me that was so exciting to be, I don't know, because I love Cheers. Cheers was everything. That's why I wanted to be a sit car writer. It was so exciting to be able work. By the way,Bill Martin:Our cheer spec, the plot of it was was a John Henry man versus Machine Cliff Klavin racing a fax machine. That's how long ago it was. SoMichael Jamin:One of the wordsBill Martin:That was a legit idea.Michael Jamin:So he would deliver a letter faster than a fax machine could.Bill Martin:He claimed he could beat a faxMichael Jamin:Machine. That's funny.Bill Martin:The fax machine still took 18 seconds, but it was faster than Cliff.Michael Jamin:That's pretty funny. I like that idea. Oh, well. So then tell me your career. Honestly, you've so many shows way more than we have, so, so then you just jump after Third Rock. How many seasons were you there? You were four Seasons?Bill Martin:Five.Michael Jamin:Five until the end.Bill Martin:Yeah, halfway through our fifth season we left to create Grounded for Life, but it was all at the Car Seat Warner Company, so we didn't really say goodbye. We just moved one building over.Michael Jamin:Now it's so interesting because what was creating that life? Because back then, back then you might leave a hit show to create your own show. I'm not sure you'dBill Martin:Do that to Yeah, no, I think And we didn't know better. And because it was all part of Cari Warner, the risks were low. If it had failed, we could've gone back to Third Rock. I assumeMaybe It felt like we had a net, at least we weren't jumping ship completely. But because at that point, Cy Werner had five or six shows on networks. They owned network comedy, and we thought, and we pitched the show and it sold that, oh, this is easy. You just have an idea. And then Ly Warner puts it on tv. It's great. We were batting a thousand and in very short order, we were batting a hundred and then batting 50. And we realized we had a very skewed idea about how easy the business was at that point.Michael Jamin:And how did you come up with that idea? Walk me through the whole process of,Bill Martin:Well, Mike Schiff, my partner is a bit of a jerk. He's a curmudgeon, he's a grumpy guy, and he was itching to do something different. He didn't want to just do a multicam that hit all the same notes we'd already been hitting for a while. And we went out for lunch one day with our friend Chris Kelly, who ended up writing on the show, and Chris told us a story about taking his daughter to the CAMA dome and having to wait outside the ladies room down those stairs. And it turned into a really horrible, awkward situation. And the story was just hilarious. And we came back from lunch and Mike said, why can't we make a show? That's as much fun as hearing someone tell a great story. And that's kind of the genesis of Third Rock, which was, it was a hybrid back before, the word hybrid was kind of thrown around, but it was a show where you started in the middle, something had happened and someone would say, what's going on here? How did this happen? And you'd go back and tell the story in single Cam. And so it's just a way to make stories more fun to tell, and much, much harder to produce. It was a nightmare because we'd shoot three days of single cam and then two days for the audience. So everybody you worked on, it was gratified by it, but it was hell.Michael Jamin:But did you think about that when you came up with it? Because that would've been on my mind, do I really want to produce this show?Bill Martin:At the time, we thought it was going to be a breeze.Michael Jamin:WeBill Martin:Just didn't know any better. We were young and we'd never run a single cam show before. And the problem also was directors. It was interesting. A lot of Multicam directors had no problem doing the single cam stuff, but then we had single cam directors who were absolutely gobsmacked by the Multicam, the demands, the Multicam.Michael Jamin:Yeah, it's veryBill Martin:Different. It almost killed some of them. DidMichael Jamin:You spend a lot of, how did you divide up time on set? Was it one of you guys on set at all times or what?Bill Martin:Yeah, we'd always thank God we were a partnership because someone would always be on the, we had 12 hour shooting days for the single cam, Monday, Tuesday, Wednesday. And one of us would always be down there, and usually whatever writer had gotten their name on that episode. And then upstairs we were keeping the sausage factory.Michael Jamin:And while the other person's writing the scripts or rewriting whatever, let's say, let's say you're on the set and you come back, what's your involvement with those scripts? If you are not a hundred percent on board at that point, are you, how do you handle that?Bill Martin:Yeah, you're in a partnership that's kind of, if you don't have a lot of trust in the other person, I mean, it could be a disaster. I've heard stories about shows, I don't name them, where the creator would spend the whole day on the set and then come into the writer's room at nine o'clock at night and throw everything out, and you just can't do that. And we would have lots of disagreements, but we also, we still had table reads, so we still had a chance to try things out and fix them. At that point, a lot of single cams weren't even doing table reads. The production demands were so intense that you just had to kind of go with it. But we loved having table reads, nothing like hearing it once and getting that one day to take a whack at it. And we also had hiatus weeks, unlike a lot of single cans. So we do three, but then we'd have a week to decompress and reload, and that made it a lot more doable.Michael Jamin:And how many episodes were you doing in a season? Most of the timeBill Martin:It was crazy. We got a 13 order, but then they asked for six more and then we got a full order. But then Fox canceled us in the middle of the third season. But WB picked us up and added more episodes. So we kind of had this weird staggered thing where it could be as few as 18 as many as 21. And it was crazy.Michael Jamin:I remember back, I haven't done multi-camera in a while, but we were on these multi-camera shows. That's not really true. I did one kind of recently, but towards the end of that long season, if it was like you're up to 20 episodes, you're just exhausted, man, and you're like, oh, how am I going to do another one? But we never ran one. And I think the amount of stress on a showrunner for that, that must've been something else for you guys.Bill Martin:Yeah, it was a lot. But you know what I got to say? The stress of working on a show where the cast is difficult, even if the writing is easy, is much, much more stressful than a show where the cast is great, but the writing is hard. And that's the thing is that for me, I get stressed out, but if I go to stage and the people there are good and they appreciate what you're doing, the stress is always, you can always maintain. Right. It's when you get called to the stage and it's going to be a nightmare and someone's mad, then that's when the stress boils over.Michael Jamin:Right. Because then you've got to do a giant rewrite and there's no time for it. Yeah. Yeah.Bill Martin:We've been pretty lucky on that front. And this was Donor Logan, Kevin Corrigan and Megan Price. They were just great actors and pros and we're thrilled to be there. And if something was wrong, they trusted us. And if something wasn't working, we trusted them. So despite the fact that the workload was grim, it never destroyed us.Michael Jamin:Some people don't realize that. Sometimes you'll get an actor on a show who, who's not that happy to be there, even though you're paying them and they auditioned or whatever, got an offer, they're not happy to be there. So it's odd, but okay. And then Caveman, which is based, that was based on a giant hit commercial, right?Bill Martin:It was a hit commercial and it was a hit show. It was just one of those shows that just America embraced. They loved it. And I think it went five seasons.Michael Jamin:I got to check the numbers there.Bill Martin:I can see your face going, wait, does he?Michael Jamin:I got the wrong show. I'm turning Red.Bill Martin:Oh, yeah.Michael Jamin:But that must've been hard because you guys developed that as well, right?Bill Martin:We did not, actually, that was one where the original directors and the writer of the original commercials developed it, and the studio felt they needed some experienced hands to come in and help. So we were actually brought in during the pilot after it was already mostly cast and on the way to production. So it was kind of a runaway train at that point.Michael Jamin:See, I love hearing stories when other writers were being tortured.Bill Martin:Yes.Michael Jamin:That's what I'm getting at. Yes. So is that what Yeah,Bill Martin:It was torture. And the weird thing was it wasn't, first of all, it wasn't a bad idea, it just that because it was perceived as such a cynical idea, the knives were sharpened for it. So I don't think any of us realized how ready critics would be to hate something that was based on a commercial, because that said, the creative people behind it were all fun and interesting and good. We ended up being friends with all the guys. It wasn't a bad creative situation other than it was a fool's errand. We were being sent into the Lion Stand, and once it got into production, a single cam show with a certain, the visual stylists of the show, the guys who did the commercials really wanted to be sleek and clean and neat looking and modern, like the commercials. And that was a high bar to reach. But add to that, that every single cast member had to be in makeup for four hours before they could shoot. I mean, literally by the end of the second episode, their faces were chafed and red and they were in agony, and they were upset and met. And these were good professional actors. Like Nick Kroll, wonderful, but you can only torture a man's face so many days in a row before they go, oh my God, what's happening? So it was almost reproducible.Michael Jamin:But that's interesting. You said, I think you're exactly right. There's something, it was already labeled with a cynicism of like, oh, okay, it's based on a commercial and therefore it can't be any good. But did you know that when you signed up, could you even possibly have thought about that when you got on board?Bill Martin:Well, when we got on board, we just got an overall deal with A, B, C. So we were assignable to this, and we thought, this is insane. We love the commercials budget, anybody, but there's no way they're going to put this on. Okay. So we thought it was just like, we'll help out a pilot, meet some new people, and then we'll do something else. It was shocking to us that they put it on tv.Michael Jamin:Oh, how interesting.Bill Martin:Because it just seems so unlikely, but with anything you do, you know how it is. Once you're given your assignment, you've got to find a way to take pride in it. You can't blow it off. So we dug in and the pilot had some issues, and the first episode that we ran, we kind of got into shape. It wasn't quite there. And then suddenly the third episode, I said, okay, that's funny. We figured out, and in no small part, Nick Kroll was a secret weapon, but by the time we figured out on episode three how we could make a show that we could be somewhat proud of, after the first episode aired, we were already dead. We were summarily executed, but go to YouTube and watch some of the later episodes of Caveman, which are still illegally out there. And it's actually a pretty funny show, and it's got a great cast. I'm not sure Steve McPherson was in his right mind when he picked it up.Michael Jamin:It's so interesting. I mean, you're absolutely right. No matter what show you're working on, you're going to find something that you love about it. You'll take pride and you'll lean into that. But yeah, you're right, because we did an animated show and for some reason they decided to put a laugh track on the first episode. And I remember yelling, why wouldn't there be a laugh track on an animated who exactly is laughing? Are we going to see the other animated characters in the audience who's laughing and lost that fight? For sure. And we got raked over the coals justifiably. So once you had that stink on you,Bill Martin:Yeah, yeah.Michael Jamin:We fought it. You can't fight. You can't win every fight. What are you going to do?Bill Martin:I don't think you can win any fight, can you?Michael Jamin:I wouldn't know what that's like.We did a show, oh my God. We did a show that was very low budget, and we had a slow mall budget for food. And so I sent the PA to go to the Whole Foods and get me these yogurts that I like that has the fruit on the side. It was a hundred dollars, whatever, just get some yogurt. And we submitted it in, and then we got yelled at by the studio saying, why is this bill from Whole Foods? And I remember saying, well, whatever, it's a hundred dollars. Does it matter where we spend it? And they go, yeah.Bill Martin:Oh no,Michael Jamin:You're not. A Whole Foods kind of show.Bill Martin:This is a Ralph's show.Michael Jamin:This is the Vaughn's Show. Yeah, that was So, yeah, you don't even win that fight, but maybe you wouldn't morph. I don't know. You must be able to win some fights.Bill Martin:Well, it's also one of the things, I think because I'm not an aggressive person, I always start every show with, I'm so lucky to have this. How lucky I got a parking space and a computer. I get to make a TV show. And sometimes I don't realize until I'm doing something I hate, I'll go like, oh, shit, I should have this. Didn't have to be this way.Michael Jamin:SoBill Martin:I think as we've gotten older, we've gotten crunchier, and we'll be a little more blunt about things, but certainly early on it was just like, pinch me. I can't believe you guys are letting me drive the car here. It'sMichael Jamin:Great. Yeah. But that's a big jump because was the first show you ran, was it grounded for Life?Bill Martin:No, the first show we ran was actually House of Bugging because of some weird politics. The showrunners got fired and we got bumped upstairs out of nowhere, and we were in our twenties and didn't know what we were doing, but we were already in Queens and they needed someone to,Michael Jamin:You were in Queens?Bill Martin:Yeah, we were the only ones in QueensMichael Jamin:WhoBill Martin:Could possibly do this job. So when we came back to do Third Rock, we had artificially inflated titles because we'd run House of Buggin. But then during the second season of Third Rock, the Turners tapped us to take over for them. Oh,Michael Jamin:I didn't even know that. I'm sorry. I didn't know that. Was that scary for you running?Bill Martin:You know what? It wasn't because it was the happiest place on earth and curtained. I mean, I hate to be Mr. Aw Shucks show business so fun. But that cast made work such a joy that there was no way it go wrong. Had an amazing writing staff, and the actors were delightful. It felt weirdly easy to do. I mean, we were stressed because we knew that we were being handed a baby and the baby was successful and 20 million people watching the baby every week. So there was certainly some pressure on us, but at the same time, we knew we could do it. And we knew that everybody had our backs with a very nice familial situation.Michael Jamin:It really was. I mean, that show really was, it was a big show. It was one of the shows everyone talked about if you were trying to break into show business, you had a spec for that show. It was a big responsibility. It was an honor to get tapped.Bill Martin:Yeah.Michael Jamin:Yeah. Everyone loved that. Yep. Then, okay, what shows should we talk about more? I don't know. What shows do you want to talk? They're all great. I dunno. Tell me some experiences that you've had. I don't want to go one by one, there's too many.Bill Martin:Yeah. Well, so far the ones you've skipped are good ones to skip. You steer running into caveman, but that's fine.Michael Jamin:I did.Bill Martin:I guess really for me, shows are divided up into the shows we ran and the shows you worked on. And typically, if you're not running a show, there are creative frustrations that you feel because you wish things were different. That said one of the most fantastic experiences of our career was working on trial and error because Jeff Astro of the showrunner and he'd worked for us. So we kind of had that, you got to listen to us a little bit, Jeff, and we helped get John Liko to agree to do it. And at that point, we'd been on a few Multicam that weren't great, and this was a real interesting single cam, fake doc with John, and he was super serialized, like a true crime series. And that was just a blast. And I'm still very proud of that season. We did not work on the second season. They sent it to Canada and shaved off half the staff and it killed Jeff Astro.Michael Jamin:Really? When you say,Bill Martin:Well, was Christian Chen, it was still a great season, but it was not as easy. It was kind of Warner Brothers was trying to cut every corner they could on it. SoMichael Jamin:When you say killed them, they overworked him and cut the staff. Yeah, yeah. People don't realize that I think be brutal. And then of course, the Unicorn, which went two seasons, and that's a big deal. That's really, when I think about it now, it's actually quite a big deal that you got your own show on a network these days when they pick up two shows a year, maybe it's nothing.Bill Martin:No, that was really threading a needle there because we had pitched it all over the place, and it's based on a true story, based on a friend of ours who went through this awful situation where he lost his wife when his kids were young. And we finally sold it c v s on the last day of selling anything. It was like October and Julie Per Worth calls the last second and said, we want to do it. We went, oh, no fucking way. So I mean, it was something that was both a passion project and just endless sadness for us. And so we started doing it and it went back and forth single multi, single, multi. We're trying to find the right guy to play the guy. And we knew, we'd always said, this is a single cam and it's going to be serialized and it should probably be on a streamer because that was when streamers seemed like the promised land, but c b s one, even though their forte was malteses. But then we met Walton Goggins who only came in because one of our producers is Peyton Reed, who's an old college friend of ours, and the guy who inspired the show and he'd worked with Walton on Antman. And so Walton trusted him and he came in for a meeting and Walton is just the greatest guy.Michael Jamin:SoBill Martin:He saw this, he found he had a personal identification with the guy, and once he jumped in, he said, I'll do it. I mean, it's going to be single, obviously, but I'm in. And David Nevins and everybody at CCBs were so thrilled that Walton Goggins wanted to do a sitcom that's like suddenly we were fast tracked and it was all the way onto television.Michael Jamin:Wow. Did you pitch it cool with the title The Unicorn? Because I was like, that's a smart title. I would think that, yeah,Bill Martin:It's funny. It did. And Mike Schiff never liked it.Michael Jamin:Oh really?Bill Martin:By the way, Mike's usually right, and I'm wrong about stuff, but I do like to Lord it over him. I assume he's going to listen to this. He didn't care for it. But it's one of those things, once it leaked out, people said, oh my God, oh my God, that's perfect. And the fact was it had to happened to coincide with a time when unicorns were everywhere. Unicorn kitty pools. And it was the unicorn moment anyway. Yeah,Michael Jamin:Yeah. I remember hearing about it. It was like, ah, damn, I'm surprised you said it took so long to sell. Like damn it, that one sells right away. That's an idea that sells. SoBill Martin:It's interesting.Michael Jamin:Yeah,Bill Martin:We didn't make up the title. It's whatMichael Jamin:I know.Bill Martin:Guys like Grady are known as on Tinder. They check all these magical boxes for what a perfect guy should be.Michael Jamin:Yeah, right. That's such a great, and then after that, the neighborhood which you jumped in, it had already been running for, no, tell me if I'm wrong.Bill Martin:Yes, it had, here's my vindictive tale of revenge. It's not vindictive at all by the way, but we had a pilot with Cedric. We had run his show, the Soul Man on TV Land for a couple of years.Great guy. We had a great time there. And when that ended, he said, let's do another show together. So we pitched out a show that it was his idea and his manager, Eric's idea, to do a show where he's a fire chief. So we pitched it and c b s bought it. We wrote it, it was a single cam, was kind of gritty because we wanted to do something that was hard to produce as usual. And at the end of the day, they didn't want to pick it up. But we were producing with Eric Kaplan, I should me, Aaron Kaplan. And Aaron quickly plucked Cedric out of our pilot and put him in the neighborhood, which was his other pilot. So we were basically just for him, a Cedric delivery system.So we weren't bitter because we knew Jim Reynolds. He's a great guy. And we were happy for everybody except that shit. And there goes our pilot. But it's funny, when we were producing the Unicorn, we were in the neighborhood's offices. It just happened to be that we were having the same line producer, pat Kinlin, who had done Third Rock with us. And Jim was in the midst of the first season of the neighborhood. And it was hard because first seasons are hard. And he was like, oh my God, this is killing me. And I jokingly said, don't worry when you get fired season three, we'll come in and take over. And it seemed hilarious at the time. And what do you know? It happens. And to Jim's credit, he did think it was funny that my smart ass remark had come full circle.Michael Jamin:And what was it like stepping into the show that wasn't yours? I mean, you've, not that you've done it before, but stillBill Martin:It's hard. Yeah, it's hard. And we came in with a whole new people. The feeling was clean slate, let's reboot this. And we had heard from Pat Kinlin the producer, you're going to love it here. It's the happiest set since Third Rock. And I was like going, yeah, yeah, yeah, nice try. But it kind of was, the cast had jelled and the crew was cool, and it was a very happy place. I mean, there had been issues, but we pretty quickly felt at home there. It was nice. And that's why we would love to stay there as long as possible.Michael Jamin:Maybe you will. I mean, well, we'll see what happens to the strike, but maybe you will. I mean, it seems like now they're giving shows a longer, tell me if I'm wrong, networks are giving shows a longer chance because it's too risky almost to not.Bill Martin:Yeah. Yeah. And I think for c b s shows built around someone that people love, said it's hard to recreate that when you have someone who's that warm and magnetic at the center of a show. You're halfway there already and the show is steadily. I mean, obviously all audiences are declining and atomizing all over the place, but it feels like the numbers have defied gravity a little.Michael Jamin:Hey, it's Michael Jamin. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.What's it like now? Because one of the biggest things, you've obviously staffed a million shows and you got to read specs from, you must stick through a pile of specs every season when you're doing this. What are you looking for in new writers?Bill Martin:Yeah, it's funny. For the last 10 years or so, you only read pilots because there aren't any spec shows to write anymore because there aren't any water cooler shows that everybody knows.So I mean, it used to be, and I kind of like it because someone could write a good per enthusiasm that sounded right and had the rhythms, but it might not mean they were capable of a lot of things. It just meant they had created a good version of this very specific thing. Pilots, the writer's whole personality comes out. And I think it's nice to you get a peek into how weird someone is, and we just want people who are different and weird, and you want that array of points of view to be very, you don't want eight Mike Schiffs lock, Lord, help us. And I think it's really just if someone catches you off guard with something you didn't expect to be funny. And people who just write characters, the one thing I hate more than anything, and if your spec starts with single people in an apartment talking about sex, I'm not going to read page two. It's like there's thousands of them, and it's very hard to get anything out of that.Michael Jamin:That's interesting. I've said the opposite. I've said to me, it's easier to read a speck of an existing show. I know the characters, I might know the characters, and it's easier for me to see do they get the voice. But if it's a pilot, it'sBill Martin:Easier. That's the key, Michael. It's too easy.Michael Jamin:But if it's a pilot,Bill Martin:Someone's,Michael Jamin:It's hard for me. Don't make me do more work. If I'm reading, that's the problem. If I'm reading an original pilot sometimes, okay, first I have to remember with the characters, okay, who's this character? What's their relationship? And then I'm like, okay, what's the tone here? It's hard for me to, are they trying to be big or is this just bad writing? You have to figure that out too. No, you're more of thatBill Martin:Mind. It's more work to read a pilot. It is, but I think when someone pops out of a pile, it's a bigger pop when they've created something entertaining whole cloth.Michael Jamin:Right. Well, that's true. That's true. AndBill Martin:Also for Multicam, s, jokes matter, but for single cams, you need a couple of people who write jokes. But also then it's a lot about story and character. And I think it's harder to get that from sitcom specs. It's easier to get that from something that's personal to somebody.Michael Jamin:Do you have a preference as to what you want a single or multi?Bill Martin:The artist in me wants to do single. The person who has to wake up and go to work and then get home and be happy, likes multi,Michael Jamin:But the Multicam, the hours are worse,Bill Martin:Is so great.Michael Jamin:Wait, multi. If you're doing a rewrite on a multi-camera after a network run through, you might be there at all midnight or whatever.Bill Martin:Never.Michael Jamin:Never. You always have good,Bill Martin:Well, no, by the way, yes, you're right. But on the neighborhood, I don't think we had dinner three or four times. There is, and that's not because we're so fantastic. It's because the show works. If a Multicam works, the hours are great. If a Multicam doesn't work, then you're right. If the run through is so bad that you're reworking the story. And we've been there too, and we had even Third Rock early on, we had some late nights. But in the ideal world, when a Multicam is working, it's the best job in the world, and Sedric knows what he wants. He's also approving the stories. He's approving the pitches early on. So we're not taking something to the table that he's not invested in. So I think, and if he were an ogre or had bad taste, it would be terrible. But the combination of him trusting us and us trusting him has made it a really sweet gig.Michael Jamin:So you'll pitch him, okay, I'm curious how it works. You'll start breaking a story. You won't get too far. Maybe you'll have some act breaks and then you'll bring it to Cedric. But you won't do more than that. You won't do more work than that. Right.Bill Martin:You never know when he'll say, and sometimes he does that thing too, where he'll go like, no, I don't know about that. How about that? Instead like, oh, okay, that fine. That's easy to do. He's great at having that natural story sense of what his character would do.Michael Jamin:Now, did you ever pitch him or anybody else? This is my fear. You pitch them, here's a great story idea for you. And they go, oh yeah, they love it. And then you go take it to the room and you go, I don't know how to break this.Bill Martin:Yes,Michael Jamin:I thought I know how to break it, but I don't how to break it.Bill Martin:That is what I would do if I didn't have a super anal partner. But Mike, and we know we still have those times, but once I have an idea, I'm good to go, Hey, look at this great idea. Let's go. But Mike's only like, I need to stare this for a day. So we say we give Cedric ideas early in the process, but the fact is we send them through the ship Aron 8,000 beforeMichael Jamin:TheBill Martin:Upgrade, they get out of the room.Michael Jamin:And so I'm just curious. So it's a couple of you may spend, let's say two or three days on a story idea and then bring it to him.Bill Martin:Yeah. I mean, some are easy, some are one day, some we will break five different times and still get it wrong. And the six time will do it. I mean, we work hard and Lord knows when we go back into production and we're going to have a three minute pre-production period, we're going to be fucked. But last season we had eight weeks. It was plenty of time to find our rhythm there,Michael Jamin:Right then. Okay. Then after that, you still got a picture to the studio and then the network, and they can still say no or to you saying, well, Cedric really likes this.Bill Martin:Yes, we do. And the thing is, it's not just Cedric, it's also Wendy Trilling who used to be the head of CCB ss. And she is cool, and she's smart, and she's not afraid to hurt our feelings, which I love about her Eted, her trust her. So in a weird way, by the time the network sees it, they know Wendy likes it. And if Wendy and Cedric like it, they tend to say, in fact, at a certain point, we said, can we stop doing outlines and go, we have a very detailed story document. Can we just go to script? And they'll say, okay. So that also helped us that they would trust that process.Michael Jamin:Yeah, that's actually, it's a big advantage that Wendy's producer in the show because yeah, she knows what the network wants. They trust her. And so it's almost like it almost removes an obstacle in the future. You get it out of the way. Now that's interesting.Bill Martin:And also, it's something that we want to do, and Wendy has signed off on it. It's like, we don't have to be dick's. We can say, I know, but let's see it on its feet because everybody over here likes it. It usually works for us.Michael Jamin:And are they bringing audiences back now? How does it work?Bill Martin:They started to, the problem we had last year was they did the whole season before we got there, block and shoot, because they had no choice. And it frankly made everybody a little relaxed because it was very easy lifestyle. And the fact is, when you have an audience that's basically crew and extras, it's easy to not go hard for the laughs on the other side when you have Tashina Arnold and Cedric, the Entertainer, and Max and Beth, these are people who swing for the fence every time. So I honestly don't think you can tell they weren't doing it for audience because they're selling it so hard in a great way. So last season we still did block blockage shoot, and we kept saying, the audience is going to be back any second. We're about to go back to audiences. But it was working. WhatMichael Jamin:Do you do? So now that you're on strike, what is it like for you now on strike when you don't have these creative muscles to flex? What, are you craving anything? Or are you doing anything on the side, a novel or something?Bill Martin:No, I mean, I think me and Mike are revisiting things that we had to put aside and doing brain work on them, because we don't want to waste this time completely. But early on, early on, it had been a long time since we had an off season where we knew we had a job to go back to. Third Rock was like that, and Grounded was like that. But it's been years since we had a non panicky off season. And this finally, we had a pickup. This was like, ah, I'm going to go on vacation, A real vacation. And that vacation turned into the strike, but I was like going, it's a strike, but still, we're going back. It's September. And it just gradually dawned on me like, oh, this is really hurting the show. So I've kind of been in denial that I needed to worry.I mean, all signs are that when the strike is over at whatever, we are going to go back to work. And people still want the show, and Cedric's still ready to go, but it takes some of the fun out of it, obviously. And I shouldn't be complaining because we're still in such an ideal position. The last strike, we had to walk off the set on cavemen and let other people edit the show and completely divorce ourselves from that. We've been killing ourselves on and getting force majeure out of a deal. I mean, it just destroyed our career completely. This is a much less terrifying strike, even though it's plenty terrifying.Michael Jamin:It's so interesting because howBill Martin:About you? I mean, are you able to function creatively? Are youMichael Jamin:Retaining yourBill Martin:Wife?Michael Jamin:No. Well, I have definitely both, but I have a book that I'm writing on the side, so that's my little passion project that keeps me entertained writing and performing it. But in terms of, it's interesting that you still panic about that next job. And for me, it feels like, wow, I guess I stopped panicking a long time ago. I don't know why, but you're so successful and you always get that next job and don't know.Bill Martin:That's how it looks. I'm looks,Michael Jamin:I'm looking at your I M D V page. It definitely looks that way,Bill Martin:Yes. But it's a lot of times where we were falling off the building and grabbed onto the ledge with our fingernails, and we took a lot of jobs that were under our quote just to keep working. We've had our feast and famine. Certainly I M D B looks chock full of stuff, butMichael Jamin:We've taken jobs who always, I mean, plenty of jobs under our quote. I mean, it's just like, while it's that unemployment, so you take the job, yeah.Bill Martin:After you take three jobs in a row under your quote, it's no longer a quote.Michael Jamin:Well, I remember on that first one, I was like, we have a quote. We have no anonymous quotes anymore, so why is it a quote? What's going on here? But yeah, it's so interesting that you still have that feeling looking at, for me, from where I stand, wow, the grass is really green where UI guys are. So it's interesting. Well,Bill Martin:I hope I'm relaxing now. I finally got my kids out of college, so this was my first year without tuition payments.Michael Jamin:Interesting.Bill Martin:In 25.Michael Jamin:What are they going to do now? Are they going to get in Hollywood in theBill Martin:Business? Nope. Nope. None of them are interested. I mean, one of them in particular certainly should be, he's hilarious. But the thought of putting himself out there creatively in a business that has no easy way in anymore, I think he just is very happy to be a barista, not put himself out there because it's nerve wracking. And I get it.Michael Jamin:How do you see most people, the new people that you're working with, the young kids, how are they breaking in then?Bill Martin:Yeah, I don't know. That's the scary thing about this tipping point we're at right now is when I hear stories about young writers who make a year out of four mini rooms on shows that they've even heard of. I mean, the fact is that the business has become so diffuse that those clear paths, pa, writer, assistant writer's room, job, those are so few and far between now. I can't figure it out. People aren't going through these main arteries. They're going through these weird tiny capillaries to weird things.Michael Jamin:Right?Bill Martin:Pretty good analogy.Michael Jamin:I love it. You should be a doctor. But don't ask, would they show up? I mean, you have a staff and you don't ask 'em where the script has somehow got on your desk to an agent or a manager, and you're like, okay, you're hired, basically.Bill Martin:But the thing is, on the neighborhood, it's quite a few standups,And it's a few people that we know and trust from years of working with them and a couple of young people who were writer assistants who are knocking on doors. But it's funny because we had so many people in place, it wasn't like we were out beating the bushes for new voices that were coming out of nowhere. But I'm sure that's true in a lot of places. It's just that when you're at a C B S studio show that's already running, it's kind of like that old fashioned machinery that's feeding you. These writers is already there.Michael Jamin:Yeah. Yeah. It's so interesting because I don't know, I'm not sure how people are doing it. We gave a talk at, I think at L M U, and there's a young woman, and she just made a hit podcast, and then that got her discovered. It was like a scripted podcast. I was like, oh, tell me about that. Interesting. So do you have advice then for people listening, words,Bill Martin:Encouragement? Last night, I was giving advice to this year's crop of interns from the U N C Chapel Hill, which is where I went to college. In fact, look, there it is. And I had to apologize because I said, look, here's the traditional way in. If you want to get in the writer's room, become a pa. And I also admit that that way of getting into the business may disappear. And if you have other creative outlet, if you can do a great podcast, if you put stuff up on YouTube or you have TikTok, there's a lot of ways to express your comic voice that aren't writing sitcom specs and waiting for your turn in the writer's room as a dinosaur. I'm not really the perfect person to ask,Michael Jamin:But I think you're right. It's about put the creative energy out there, stop begging for work, start making your own opportunities, and probably good things. Good things may come your way, I guess. Right?Bill Martin:Hopefully. And I also would like to think as the strike goes on, people will periodically say, why doesn't someone do what Charlie Chaplin did? Do United Artists start a creator, talent driven production? And I do feel like when I listen to a great podcast like Valley Heat, which we were talking about before we went on, you realize there are ways to create an entire world for a show for no money. And in my mind, valley Heat, everyone should listen to this thing.Michael Jamin:Yeah, listen to it. TheyBill Martin:Should just take that, put it on camera, it's ready to go. I mean, it's a show that is fully developed that no one owns a piece of. And I guess that would be what my hope is, that if we don't like working within the system with these jerks, if you're young and have that energy, make something. Yeah. And who knows? I mean,Michael Jamin:See, we agree on that. We didn't agree on spec versus original pilots, but we agree on this.Bill Martin:That turned into a pretty ugly fight.Michael Jamin:It was contentious.Bill Martin:But that's the kind of heat that I think gets these podcasts to catch on.Michael Jamin:I think so. But also as you're learning your craft, you're getting better at it. And I don't know. I see it happening. I see people making a name for themselves. I was on the picket line, I think it was at Disney, and I ran into this guy. He was on my podcast, and he recognized me, and he was a joke writer on Kimmo. I go, how did you get that job? He goes, well, I was just tweeting Day and Jokes. I like doing it. And after about a year or two, they found me and they hired me. Good for you. But he was putting the work out. He was doing the work and getting better, and that's how he got hired. SoBill Martin:GoodMichael Jamin:For him.Bill Martin:And it's been, I guess, shit, my dad says was the original tweet becomes a show, andMichael Jamin:We all rolled eyesBill Martin:That from the caveman syndrome of cynicism about how are you tuning it Twitter into a show? But if you're funny, people will find you.Michael Jamin:Yeah. But like I said, I remember that happening, really? Is this how it works now? But they were just at the forefront and yeah, that's how it works now.Bill Martin:Yeah. Yeah.Michael Jamin:Damn right. I'm always late to the trend. So Interesting. And I guess before I wrap up, what is it like for you working? People want to know, working with a writing partner, how does that dynamic work with you guys?Bill Martin:Well, there aren't a lot of writing partnerships that last this long. I mean, you guys and Al and Krinsky, there's a few. And I think for me, it's having that yin yang thing. I'm not a worrier, I'm not detail oriented. I don't tend to stress out, and Mike does, and I only really want to do half the job of running a show. Luckily, he can do the other half. So I mean, I think a lot of partnerships are based on people having the same sense of humor and just getting along, and that's great. But for me and Mike, we don't actually get along all that great, but we do agree on what's funny and we respect each other and it makes the job doable.Michael Jamin:Wait, you said you don't get along that great?Bill Martin:Well, we get along great, but I mean, one of us is a drunk pot smoking redneck from Florida who doesn't give a shit. And the other's an incredibly neurotic, buttoned up Jewish guy from the priest side. The only thing we have in common is Cheers and Albert Brooks.Michael Jamin:But you met in school, right? In film school,Bill Martin:Yes.Michael Jamin:Right.Bill Martin:Yeah. We just met because he was the only person in our writing class first year who I thought was funny. And so we just kind of found each other because we're the two guys writing comedy in that big screenwriting workshop.Michael Jamin:And you leapt into each other's arms. Yeah.Bill Martin:Yes.Michael Jamin:It's so interesting. But it is so funny when you said about it, you only want to do half the job of a showrunner. Yeah, it's a lot of work. It's a big job. That's something my partner and I say all the time, I don't really want to make this decision. Can you make it? It's a lot of work.Bill Martin:Yes.Michael Jamin:And a lot of times we'll punt it to even a hair and makeup. Well, what do you guys think? All right. You guys seem to got a good handle on what the wardrobe should be that you do it. Yeah. SoBill Martin:Interesting. I'm always very happy to let someone else do that.Michael Jamin:Yeah,Bill Martin:We do take turns firing people. That's the one awful, horrible thing. We haven't done it a lot. But the last guyMichael Jamin:Are talking about writers or other people.Bill Martin:Anything. Anybody. Yeah.Michael Jamin:Interesting. Because when we were on set on a single camera show, if one of us has to run onto the stage to give the actor a note or the director a note, it's always like, you do it. You do it. I don't want to, how many times am I going to go on set and tell them they're doing it wrong? Can't you tell them they're doing it wrong? I don't want to be that guy all the time. Yeah.Bill Martin:We had a great run for several years where whenever we would get a pickup, I'd be on stage and get to announce it, and every timeMichael Jamin:We Good news gotBill Martin:Our order cut, Mike would be on stage and it was hilarious. I was the hero with the, and it was killing him. It was happening over and over again, just by God smiling onMichael Jamin:Me. Oh, that's so funny. That's freaking great. We did an episode, I think it was Andrew shoot me, we're writing a script and I was adamant that this joke was going to work, and Seever it was like, I don't even get it right. And I'm like, no, this joke is great. You have no idea what you're talking about. And so we take the descrip, I guess it got to the table somehow, and at the table we hit this joke, nothing, and the room's just silent. And I just start busting out laughing. I was like, oh my God, I can't believe how wrong I was. And I'm laughing at her wrong. And then afterwards, everyone's looking at Seabert. They're like, assuming it's his joke because I'm laughing at him and now I'm laughing even more pushing him under the bus. But yeah, there's that. But yeah, there's always, I guess I feel like maybe you feel the same way. If he comes up with a line, great. That's one last line I got to come up with. You know what I'm saying? It's mine now. Anyway, so yeah,Bill Martin:For me, the great thing about writing teams is, well, you're a single writer. You turn on a draft. When a team turns in a draft, it's a third draft because you've already fought it and it just makes things better. I mean, everybody has their partners. It just may not be there, someone they write with, but when you take it to the table or you take it to the writer's room, everyone's going to get a whack at it anyway. But for me, I think it just makes that initial idea, everything has to kind of, you beat things back and forth and you find 'em out and you end up with better drafts.Michael Jamin:Yeah, I totally agree. I always see that with writing teams. Their scripts just tend to be a little tighter. Just somehow they're a little tighter. They've already fought it, fought over it. So yeah. That's interesting. Well, bill Martin, thank you so much for doing this. This is a real pleasure. Honestly, it is an honor to have you on this and talk about your experience as a showrunner and a creator of really great television and yeah, it really is an honor. Thank you.Bill Martin:This has been great for my self-esteem. I don't normally talk about myself a lot, but man, I come off great.Michael Jamin:You certainly do. I'll fix that in editing. I'll ask these questions then put a long dead pause before you answer. People are like, what's wrong with this guy? Why is he taking so long to answer? But thank you again so much. Anything you want to promote or plug other than your shows orBill Martin:Watch Season six of the Neighborhood when it comes on sometime in 2024? Yes.Michael Jamin:Hopefully that's sad. Yeah, that is sad. Well, thank you again so much. Alright, everyone, another great episode. I have to say of my podcast screenwriters, need to hear this. Keep following me and keep writing more. Good stuff coming. Thank you. Again,Phil Hudson:This has been an episode of Screenwriters. Need to Hear This with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five-star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music, by Ken Joseph. Until next time, keep writing. I.

It's Miles' birthday and we're here to celebrate it with a thematic episode of Casual Trek. And you know what? It's also Charlie's birthday, so we're going to celebrate both hosts with a special episode dedicated to some of the most memorable Mileses and Charlies in Star Trek! Miles O'Brien is a fantastic member of not one but two crews in Star Trek and we'll get to see both those incarnations here, with The Wounded bringing us some reminders of O'Brien's military history. He also gets into some engineering hijinks helping out a lizard man in Captive Pursuit. Charlie X is a complete dirtbag and we're better off only having the one episode with him in. We do get to see the Enterprise's gym and some sick moves from Kirk as he proves how much better he is than this 29 year old teenage boy. 16:03 TNG: The Wounded 37:52 TOS: Charlie X 1:09:36 DS9: Captive Pursuit Talking points include: Charlie Brown, Miles “Tails” Prower, The Hitchhiker's Guide to the Galaxy, My Adventures with Superman, Deep Kandor Lore, Smallville, Ultraman Blazar, People Just Do Nothing, Zammo and his Smack Habit, MASH, Dan Dare, The Beatles, Doctor Who, X-Men (Chuck Austen era), close-up magic (the hobby of creeps), The Twilight Zone, Third Rock from the Sun, Dawson's Creek, Marvel's The Beyonder, Zapp Brannigan, the sad legacy of D-Ream, Glee, Charlie Can't Tell Bryan Adams Tracks Apart, Q Anon Anonymous' episode on Jim Caveziel, V, having a lovely walk to Lewes, . Oh, and occasionally Star Trek. Pedant's Corner: Sadly Bryan Adams didn't do any more movie songs for swashbuckling 90's movies. O'Brien is a verb now. Translation guide: “The Nick” = jail Casual Trek is by Charlie Etheridge-Nunn and Miles Reid-Lobatto Music by Alfred Etheridge-Nunn Casual Trek is a part of the Nerd & Tie Network Miles' Blog

News On The Flipside voice artist actor,Jim Meskimen The Goodwin's well be Joining us later in the program JIM MESKIMEN Actor, Improviser & Voice Artist – Biography Jim Meskimen is an accomplished actor, improviser and voice artist whose work has been seen and heard on television, in movies and on stage for many years. He is a veteran of hundreds of TV and radio commercials, for AT&T, IBM, Subaru, Tic-Tacs, Quality Inns Hotels, and many others. From 1987 through 1992 he was the spokesman for Skaggs Alpha Beta grocery stores for which he improvised commercials that garnered a collection of prestigious advertising awards. He acted as spokesman in commercials for TGI Friday's Restaurants, Belz Factory Outlet World, Ivory Liquid Soap. Tristate Megabucks, and CVS Drugstores. Currently he can be seen in improvised commercials for Kash 'n Karry stores in Florida, Schnuck's grocery stores in St. Louis, Ames department stores in New Hampshire and Luby's Cafeterias. He has appeared on series television in Whose Line is it, Anyway?, a British comedy-improv show now seen on Comedy Central, and in a recurring role on The Fresh Prince of Bel Air. Other television credits include Seinfeld, Third Rock from the Sun, Grace Under Fire, Ned and Stacey, Seven Days, Family Matters and To Have and To Hold. Jim's feature film debut was in Ron Howard's The Paper (1993), starring Michael Keaton and Glenn Close. He was featured as a mission controller in the hit Universal movie, Apollo 13 starring Tom Hanks and Kevin Bacon. He recently was seen in the Touchstone pictures comedy The Other Sister directed by Garry Marshall, and in Ed TV directed by Ron Howard. He also completed a featured role in Inherit The Wind for MGM, starring George C. Scott and Jack Lemmon that aired on Showtime and NBC. Jim played officer Who-Lihan in "How the Grinch Stole Christmas" for Director Ron Howard. Jim is represented theatrically by William Bartoli at BBA Talent. Jim Meskimen studied theater and art all his early life and graduated from the University of California, Santa Cruz with a Bachelor's Degree in fine art after working extensively in oil painting, drawing and lithography, while also working in the theater. During his years as an art student, he traveledd several times to Galicia, Spain to study realist oil painting with the world renowned artist Miguel Arguello, with whom he apprenticed. Returning to the States he worked in the field of animation as a character designer for Rankin/Bass Productions while pursuing his career as an actor, designing for the TV shows Thundercats and Silverhawks. Meskimen credits L. Ron Hubbard and his best-selling book, Dianetics for his success. "In 1982 I read Dianetics and started to apply the information I learned in the book to every aspect of my life which I was dissatisfied with," says Meskimen, "The result has been a steady growth of personal, artistic and financial success which never would have happened had I not applied what I had learned from Mr. Hubbard. Dianetics put me back in control of my life... permanently." He has gone on to record and direct several of L. Ron Hubbard's fiction works on cassette tapes for Bridge Publications. Jim Meskimen grew up in a theatrical family; his sister Ellen is an improvisational actress and singer who for two seasons wrote for NBC's Veronica's Closet and now writes for Friends, his late father, Freeman, was an actor and director, and his mother is Golden Globe and Emmy nominated actress Marion Ross of TV's Happy Days and the critically acclaimed Brooklyn Bridge. Jim performed improvisational theater with the award-winning ensemble Interplay, under the artistic direction of Tamara Wilcox-Smith for 13 years. He and his wife Tamra Meskimen have been fixtures in the improvisation theater community in New York and Los Angeles and currently perform with The Really Spontaneous Theatre Company. They live in Los Angeles. Find out more at: www.AppliedSilliness.com https://www.appliedsilliness.com/about/jim/resume.html

News On The Flipside voice artist actor,Jim Meskimen The Goodwin's well be Joining us later in the program JIM MESKIMEN Actor, Improviser & Voice Artist – Biography Jim Meskimen is an accomplished actor, improviser and voice artist whose work has been seen and heard on television, in movies and on stage for many years. He is a veteran of hundreds of TV and radio commercials, for AT&T, IBM, Subaru, Tic-Tacs, Quality Inns Hotels, and many others. From 1987 through 1992 he was the spokesman for Skaggs Alpha Beta grocery stores for which he improvised commercials that garnered a collection of prestigious advertising awards. He acted as spokesman in commercials for TGI Friday's Restaurants, Belz Factory Outlet World, Ivory Liquid Soap. Tristate Megabucks, and CVS Drugstores. Currently he can be seen in improvised commercials for Kash 'n Karry stores in Florida, Schnuck's grocery stores in St. Louis, Ames department stores in New Hampshire and Luby's Cafeterias. He has appeared on series television in Whose Line is it, Anyway?, a British comedy-improv show now seen on Comedy Central, and in a recurring role on The Fresh Prince of Bel Air. Other television credits include Seinfeld, Third Rock from the Sun, Grace Under Fire, Ned and Stacey, Seven Days, Family Matters and To Have and To Hold. Jim's feature film debut was in Ron Howard's The Paper (1993), starring Michael Keaton and Glenn Close. He was featured as a mission controller in the hit Universal movie, Apollo 13 starring Tom Hanks and Kevin Bacon. He recently was seen in the Touchstone pictures comedy The Other Sister directed by Garry Marshall, and in Ed TV directed by Ron Howard. He also completed a featured role in Inherit The Wind for MGM, starring George C. Scott and Jack Lemmon that aired on Showtime and NBC. Jim played officer Who-Lihan in "How the Grinch Stole Christmas" for Director Ron Howard. Jim is represented theatrically by William Bartoli at BBA Talent. Jim Meskimen studied theater and art all his early life and graduated from the University of California, Santa Cruz with a Bachelor's Degree in fine art after working extensively in oil painting, drawing and lithography, while also working in the theater. During his years as an art student, he traveledd several times to Galicia, Spain to study realist oil painting with the world renowned artist Miguel Arguello, with whom he apprenticed. Returning to the States he worked in the field of animation as a character designer for Rankin/Bass Productions while pursuing his career as an actor, designing for the TV shows Thundercats and Silverhawks. Meskimen credits L. Ron Hubbard and his best-selling book, Dianetics for his success. "In 1982 I read Dianetics and started to apply the information I learned in the book to every aspect of my life which I was dissatisfied with," says Meskimen, "The result has been a steady growth of personal, artistic and financial success which never would have happened had I not applied what I had learned from Mr. Hubbard. Dianetics put me back in control of my life... permanently." He has gone on to record and direct several of L. Ron Hubbard's fiction works on cassette tapes for Bridge Publications. Jim Meskimen grew up in a theatrical family; his sister Ellen is an improvisational actress and singer who for two seasons wrote for NBC's Veronica's Closet and now writes for Friends, his late father, Freeman, was an actor and director, and his mother is Golden Globe e and his wife Tamra Meskimen have been fixtures in the improvisation theater community in New York and Los Angeles and currently perform with The Really Spontaneous Theatre Company. They live in Los Angeles. Find out more at: www.AppliedSilliness.com https://www.appliedsilliness.com/about/jim/resume.html

Artist, Author and Actor Leigh J. McCloskey will join me in The Locher Room to look back at his acting career that spans four decades.Leigh is known to daytime audiences for his roles on Santa Barbara (Ethan Asher), General Hospital (Damian Smith), The Young and the Restless (Dr. Kurt Costner) and One Life to Live (Drake Faraday).In addition to his daytime TV roles, he starred in three primetime series, the hit show Dallas where he played Mitch Cooper for two seasons and returned to the show as a guest star numerous times. Leigh also appeared in several feature films, including Inferno, directed by the Italian master of the macabre, Dario Argento. He starred in the popular cult classic, Bermuda Depths, and many others.Leigh guest starred on numerous primetime shows including, Bones, Third Rock from the Sun, Star Trek Voyager and Deep Space Nine to name a few. He also starred in a number of made for television movies, including playing Kris Kristopherson's son in Troubleshooters: Trapped Beneath the Earth, Terror in the Shadows with Genie Francis, Accidental Meeting with Linda Grey and two of the highest rated TV films ever, Dawn: Portrait of a Teenage Runaway and Alexander: The Other Side of Dawn (in which he played the title character).Leigh was also the spokesman for the Max Factor fragrance California for Men working with Jaclyn Smith and Jane Seymour. His last theater performance was in 2006 playing the role of Trigorin in The Seagull by Anton Chekov, at the Odyssey Theatre.Don't miss the chance to catch up with Leigh in The Locher Room.Original Airdate: 7/6/2022

This week's show is a doosey! Fat people petition for more room on a plane. Good luck with that. Governor Whitmer of Michigan wastes time, paper and ink signing a gun control bill that wouldn't have prevented the MSU shooting a couple months back. There is a new "Biofire" gun on the market that only shoots for people who's biometrics are logged into the gun... what could go wrong there? That is just the tip of the iceberg! Follow the show on all the social medias @doaeshow Follow Dylan on Twitter at Twitter.com/dylanliles https://podcasters.spotify.com/pod/show/defenders-live/support https://mammothnation.com/#DefendersLIVE Sign up at MammothNation.com and us the code DEFENDERS to say 30%! Like, Share, Follow, Comment and Leave A Review Everywhere You Find This Show! --- Support this podcast: https://podcasters.spotify.com/pod/show/defenders-live/support

Why is it important to be Jewish if you are Jewish? And do some just "do" Jewish? How do you add meaning and intention to your identity? Simpsons writer, "Street Rabbi", and time traveler David Sacks joins Chaz Volk to discuss the act of being Jewish, how to do it, and what it means to add a certain level of depth to your identity. About David Sacks Born and raised in New York City, David Sacks attended Harvard College, graduating with a degree in Government. While there he began his comedy writing career for the school's humor magazine, The Harvard Lampoon. Upon graduating, David moved to Los Angeles and began writing for television. Among the shows he's worked for are “The Simpsons”, where he won an Emmy Award, and “Third Rock from the Sun” for which he won a Golden Globe Award, “Malcolm in the Middle”, “Murphy Brown”, and “Final Space” on Adult Swim. David is the co-founder and Senior Lecturer of The Happy Minyan of Los Angeles. David is married and raises his family in Beverly Hills, CA. David Sacks gives the weekly Torah podcast “Spiritual Tools for an Outrageous World” and has spoken to enthusiastic crowds, opening the hearts of people across the US, Europe, Israel, and South Africa. His topics range from the meaning of life, to Hollywood's impact on the world, to achieving happiness. Connect with David Sacks www.LivingWithGod.org Connect with Bad Jew: Join our online community HERE: https://linktr.ee/badjew BadJewPod@gmail.com Ig @BadJewPod TikTok @BadJewPod

Is  "Third Rock from the Sun" by Joe Diffie the most ambitious song in country music? Matt and Drew discuss. To listen to the full show, visit ForgottenCountryRadioShow.com.

The restrained pendulum from the last episode swings fully the other way as we examine Joe Diffie's audacious 1994 hit, "Third Rock from the Sun".  Diffie's vocals take center stage in another E blues romp, but what are the links in this chain that Melton thinks don't quite hold together?

This week on Bingewatch...(02:00) Steve Carell kidnaps his therapist to cure him of his serial killer ways in The Patient on Disney Plus.(05:27) Creepy crime drama Three Pinesb starring Alfred Molina and Rossif Sutherland on Prime Video.(10:37) Sci-Fi comedy We Are Not Alone - think Third Rock from the Sun made by Dave.(14:49) Hugh Laurie and his hapless space team are back in Avenue 5 season 2.Follow Bingewatch on all major podcast players or VISIT THE OFFICIAL BINGEWATCH WEBSITE for your weekly rundown of the best bingeworthy shows across Netflix, Prime Video, Disney+ and more.Remember to subscribe and share wherever you get podcasts, and leave a 5 star review on Apple Podcasts, Podchaser and Goodpods.You can also stay in touch with the team via Twitter and tell us what you're binge-watching.AND if you like Bingewatch but you're looking for a specific review, check out BITESIZE BINGEWATCH, our brand new sister show making it easier to get the bits you want!And thanks to our supporters at Manscaped, you can get 20% OFF all Manscaped orders + Free Shipping with promo code BINGEWATCH - click here!

The following music was used for this media project:Music: Big Eyes  by Rafael KruxFree download: https://filmmusic.io/song/5306-big-eyesLicense (CC BY 4.0): https://filmmusic.io/standard-licenseArtist website: https://www.orchestralis.net/If you're ready to make a podcast, make your podcast better or collaborate in another way, contact us at makemypod@fytepro.com

Friends, I'm on a mission to show you the real person behind your favorite sitcoms (Cheers, Friends, Frasier, Will and Grace, The Mary Tyler Moore Show, Rhoda, The Bob Newhart Show, Third Rock from the Sun, the list goes on...). I think I succeeded! This is NOT the same interview you'll hear on other podcasts. You'll hear the backstory and inside scoop in today's intro. Then you get to know the man behind the icon. Send me your feedback! reallyfamouspodcast@gmail.com Buy Jim's book, Directed by James Burrows at my Amazon shop: https://amzn.to/3qQYQK8 Listen to my first talk with Jim: https://really-famous.com/now/jim-burrows Watch Jim and me on YouTube: https://www.youtube.com/channel/UCbR3_S40FqVaWfKhYOTneSQ?sub_confirmation=1 Watch Jim and me on Facebook Watch: https://www.facebook.com/karamayerrobinson/  Join my special insider's group: http://eepurl.com/dnbUWL Shop through my Amazon storefront (hey, thanks!): https://www.amazon.com/shop/reallyfamous Check out my new sizzle reel: https://really-famous.com/kmr-reel Follow me on social media to see behind-the-scene pics of Jim and me and get my backstories with more of my fabulous celebrity guests: Instagram https://www.instagram.com/karamayerrobinson/  Facebook https://www.facebook.com/karamayerrobinson/  Twitter https://twitter.com/kara1to1    Celebrity interview by Kara Mayer Robinson Music: Take a Chance by Kevin MacLeod - Incompetech - Creative Commons    

This week, Andy, Dan, Nam and Tyler are joined by Sasha Rosser for a very special episode.  All our guests have tv credits. try not 2 cum.

This week Ken welcomes actor Jeremy Licht (Valerie, Twilight Zone: The Movie) to the show. Ken and Jeremy discuss sweltering heat, art imitating life, riding a giant lobster in the snow in the Macy's Thanksgiving Day Parade, being a life long LA kid, disturbing your children by showing them TV movies where your character dies, being the kind of made for TV movies, Twilight Zone: The Movie, doing commercials, growing up in a solid Nuclear family, how being on a sitcom is as close to a 9 to 5 job as it gets as an actor, Valerie, The Hogan Family, 110 episodes over five and a half seasons, shooting at Lorimar, Family Matters, Miller Boyett, Our House, Full House, Chad Allan, getting pranked by Jason Bateman on TV's Bloopers and Practical Jokes, having a surrogate family on set, going from being the oldest to the younger brother at work, Danny Ponce, staying in touch with the cast, the rhythm of jokes, set up and punch line, learning how to sitcom, Josh Taylor, getting a speeding ticket as a teen, dealing with the National Inquirer, fan magazines, fan contests, evil publicists, working with Joe Dante, auditioning for Spielberg, E.T., Billy Mumy, not watching the original "It's a Good Life", Kevin McCarthy, loving Third Rock from the Sun, knowing the technical aspects of shooting, having James Woods and Sally Struthers playing your parents, Hal Linden, John Ritter, Sally Field, William Hurt, the intimacy of acting, holding for laughs, having a day job, auditioning now vs in the 80s, All the Way Home, live TV, working on the short film "Seat 23B", working with your wife, directing "Here to There", making TV via Zoom, and being able to say no to things.

We've come to the end of our analysis of the Dark Knight Trilogy with The Dark Knight Rises. Can this one live up to the awesomeness that the previous two movies were? Where does this movie work and where does it not? Let's dig in and talk about how this trilogy ends. ----more---- Transcript Welcome to Nerd Heaven. I'm Adam David Collings, the author of Jewel of The Stars. And I am a nerd.   This is episode 94 of the podcast.   Today we're talking about the movie The Dark Knight Rises.   The description on IMDB reads Eight years after the Joker's reign of anarchy, Batman, with the help of the enigmatic Catwoman, is forced from his exile to save Gotham City from the brutal guerrilla terrorist Bane.   The screenplay was written by Jonathan Nolan and Christpher Nolan The story was by Christopher Nolan and David S. Goyer. It was directed by Christopher Nolan And it first released on the 16th of July 2012.   Once again, I hired this on DVD when it came out, and only saw it once. But I own the complete trilogy on Blu-ray now.   The movie starts with Commissioner Gordon praising Harvey Dent at his funeral. Doing just what Batman told him to do. As hard as that is for him.    That ties us into the end of the previous movie. Then we're straight to the new plot.   It's a hostage situation. Bane is introduced as a mercenary. A masked man. It's a terrifying interrogation, the way they're threatening these people, but not actually killing them.   He wants to know, who is Bane? This guy is looking for him.   It turns out one of them IS Bane. Now my first introduction to Bane was the game Batman Arkham Asylum. In that game, he's this big monstrous creature powered by the venom serum. Basically DC's answer to the Hulk.   When I heard Bane was going to be the primary villain of this movie I was surprised. How can a big mutated monster fit in with this serious realistic Batman?  I was surprised to see when he appeared, that he was just some bloke, but he's got this weird metal mask around his mouth.   No explanation is given for this odd facial decoration when he's introduced. But he does say that nobody cared about him until he put on the mask. And I have to say, his voice doesn't at all match what I would expect to hear coming out of someone who looks like this.   He's got this happy-go-lucky English accent. Sounds like it could be quite high-pitched but it's distorted by the mask.   Without any explanation, this mask is just really distracting and odd.   Bane crashes the plane. He's stealing blood from one of their bodies. This is all a pretty impressive sequence to look at, but it's very disorienting. Who are all these people? What do they mean to each other?  None of it is clear.   Bane Leaves one of his own behind, so a body can be found in the wreckage. And the guy doesn't even object. What hold does he have over them they'd so readily die for him? Spoiler alert - we'll never find out.   Even after seeing the whole movie, looking back it still wasn't entirely clear what this scene was all about? They abduct Doctor Pavel and fake his death. That'll be important later. But what's with the blood?   Back in Gotham, we learn about Harvey Dent day. A new public holiday.  The city has undergone a historic turnaround. Gotham is without organised crime. For the first time in forever. A real difference has been made. It's nice to know that Bruce was right. Gotham has been rehabilitated. He's proven Ra's Al Ghul wrong.   There's some talking about repealing the dent act, which gave police the power to act, but no real details on what they meant. And some talking about how Batman murdered Dent.   Gordon hates playing along with all of this. But what can he do? When he says he has a speech, telling the truth about Dent, but now is not the time, I think he means the real truth. Maybe one day he can tell the real truth and clear Batman's name. But not today. The peace is too fragile. Too new.   Things are not going well for Gordon. His wife and kids left him. The mayor wants to get rid of him. He was a war hero, but this is peacetime. I feel really sorry for him. The last movie destroyed his marriage. Between faking his own death - letting his wife think he'd died, and their son nearly dying, I can see how it ended. It really sucks.   So we're seeing a very different world than that of the first two movies. But let's not assume it's all gonna stay happy and nice. There'd be no movie then.   Batman might be on the run, but Bruce Wayne isn't. He doesn't have to be. Nobody knows Bruce is Batman. But Bruce is living as a recluse. His new beard speaks volumes. He needs a cane to walk. It's not entirely clear why this is. But he's not faking this. He really does have trouble walking.   The maid is stealing his mother's pearls.   And the maid is, of course, not a maid, but a cat burglar. Selina Kyle. And here's yet another example of Hollywood star casting  I would never have thought of, but I like Anne Hathaway in this role. She does a decent job of it. I think at this point, she was still stepping out of the shadow cast by The Princess Diaries. Although she had already played Agent 99 in the remake of Get Smart, which I found surprisingly good.   Wayne Manor has been rebuilt. Bruce can now operate back in the original bat cave. But it's a lot more developed.    Selina likes the pearls. She won't sell them, but what she wanted was Bruce's fingerprints.    Alfred is worried about Bruce. He hung up the cape but he never began a new life. He's not living. He's just waiting. But he's still grieving the loss of Rachel.   Alfred tells his cafe story, which is important and will be paid off wonderfully later on. When Bruce was away, travelling the world, learning how to fight criminals, Alfred hoped he'd never come back. Why? Because he wanted Bruce to find his happy ending, and live a life free of the wounds of his childhood. Alfred would go on holiday to Florence every year. He'd go to a particular cafe. Every time he'd fantasise that he'd look across and see Bruce with a wife, maybe a couple of kids. Neither would speak to each other, but they'd both know that he'd made it. That he was happy. He never wanted Bruce to come back to Gotham. There was nothing here for him but pain and tragedy. Alfred wanted something more for him than that. And he still does.   Next, we meet an idealistic young cop named Blake. He'll be a pretty important character in this movie, but it won't be clear why for some time. He's played by Joseph Gordon Levitt, who is most famous for the teenage-bodied alien in the sci-fi sitcom Third Rock from the sun. But he really sells his performance as an adult cop in a serious drama.   Selina meets a guy named Stryver.  Selina got the prints for THIS guy. Stryver is gonna kill Selina, but she's well prepared. In a lot of ways, like Batman. She puts on a good act to appear an innocent bystander to cops.   But Blake is on the case.   Thugs capture Gordon and bring him to Bane. There is a connection between Bane and Stryver.   Blake comes to see Bruce. In relation to Harvey's murder. But starts telling him the story of Bane.  He needs Batman's help. Does Blake know Bruce is Batman? Blake tells the story of his own tragic childhood. He's an orphan too. Bruce Wayne Billionaire orphan was a hero to those kids.   It was never really clear to me how or when Blake discovered that Bruce is Batman, but it also seems pretty clear that at this point, he DOES know. And he believes Batman was innocent of Harvey's crimes.   I guess Bruce's injuries are from his time as Batman. That would seem logical. But Batman didn't seem this banged up at the end of Dark Knight.   Bruce meets with Gordon in a ski mask as Batman. Gordon says Batman needs to return. He is still needed. Bruce is not convinced Batman exists anymore.   Bruce finds Selina at a charity party. This is a masquerade and Selina has chosen a black mask and cat ears. This is the closest to a cat costume we'll get to see her in. It's a realistic take that works in the context of this trilogy. Although she'll kinda continue to wear it again later in the movie for some reason, which doesn't seem to fit. Honestly, I'd probably have been okay if this was the only scene where we saw her wear it.   This party is also where we meet Miranda Tate, a bright young woman who has business dealings with Bruce, and is very interested in his clean energy reactor, which he's never put into production.   Selina ended up a thief because she did what she had to. But once you start there,  they'll never let you do what you want to. You get stuck in a life of crime. Does that excuse her actions? It certainly gives us a little more sympathy for her as a character. I suspect this is a common story in the real world. Nobody grows up thinking “I really wanna be a criminal”. She says “There's no fresh start in today's world.” And it's starting to look like a fresh start might just be something she'd be interested in, if it were possible.   In the meantime, she sees herself as a robin hood figure   Selina threatens a coming storm that may bring down the rich in Gotham. And then she steals Bruce's sports car.   Wayne Enterprises not doing well financially. Bruce put all his money into the clean energy project, but won't turn it on for some reason. But you can bet he does have a reason. Miranda supports the project and doesn't understand why he won't follow through.   Lucious has some gadgets to show Bruce, even though he says he's retired. It's some kind of aircraft. Bruce is using a device to help him walk and even kick.   We learn a little about Bane. There's a prison pit where prisoners are sent to suffer and die,  in another part of the world. Bane came from that prison. He was born and raised in hell on earth. He was trained by Ra's al Ghul. But excommunicated from the league of shadows. Apparently he was too extreme for Ra's. And that's gotta be a bad thing.   Alfred thinks Gotham needs Bruce, not Batman. He's not afraid Batman will fail. He's afraid that he WANTS to fail. He's a shadow of who he was. Physically and mentally.   So Bayne and his goons break into the stock exchange. There's no cash here. So what's his plan? It's an online theft. They don't stay long. And they leave with hostages   Bruce wears the batman suit for the first time in ages. He arrives on the bike that was once part of the tumbler.   This is more dangerous for him than ever because the police think he is a murderer. They won't hesitate to take him down.   This proves to be a real problem - because the cops are more interested in catching Batman than they are dealing with Bane and Co. Good for Bane.   Putting aside the question of whether the bike was originally part of the bridging vehicle, it continues to do some pretty cool stuff in this movie. The way the wheels rotate and allow quick direction changes is a lot of fun to watch.   But then all reality goes out the window when we see this movie's version of the batwing, which is basically a full-on spaceship. I mean, I like it, but it doesn't fit this series very well. And they don't even try to explain it. The batmobile was introduced in a way that made sense in this world, in Batman Begins. No attempt was made to do likewise with the Batwing in this movie. I found that pretty disappointing.   Selina is after a program that will clear her name. A clean slate. It erases your identity from every database on earth. It literally makes you disappear. So her desire to escape her life of crime and have a fresh start is quite genuine. But the guy claims it doesn't exist.   Batman rescues Selina from Bane's people.   Selina sold Bruce's fingerprints to Daggart, who Stryver works for, for that program. She hasn't been paid, so you can imagine how she's feeling.   Alfred is really not keen on Bruce trying to be Batman again. He's gonna get himself killed. He used to want a life beyond Batman, but with Rachael's death, that's not possible. He can't move on. And that's when Alfred decides to finally tell Bruce about Rachael's letter. It's a very powerful character scene. And this choice hurts both of them very deeply. Alfred has just sacrificed his relationship with Bruce in an attempt to keep Bruce alive. A painful representation of what love is all about. Brilliant scene. Sadly, that means we won't see any more of Alfred until near the end of the movie.   Now we find out what Bane and Daggart were up to. They've effectively bankrupted Bruce and acquired Wayne Industries. Bruce's main concern is applied sciences, but Lucious has done a good job of keeping that off the books and safe. As he should have.   But they do have his energy project.   Bruce shows the reactor to Miranda. The reason he never put the reactor into active use is because some Russians found a way to weaponise similar technology. In particular, Doctor Pavel from the plane at the beginning. The risk was too great for Bruce.   He's putting Miranda in charge of the company, in charge of the reactor. “Keep it safe and hidden. If it becomes too dangerous, she's to flood it.” Bruce has been officially kicked out of his own company. His father's legacy.   Bane kills Daggett and takes over, calling himself a necessary evil. That's kind of how the League of Shadows see themselves, right?   Bruce wants to recruit Selina to help find Bane. He offers her the fresh start. Claims it does exist. Bruce acquired it to keep it out of the wrong hands. He may be willing to let Selina use it, but he needs to trust her first. When he tells her that they're letting him keep the house, Selina makes a very interesting point. “You don't even go broke like the rest of us.” And that's very interesting. When super rich people go broke, they tend to still have resources behind them. A former billionaire is not going to find himself living on the street begging for food, like a normal person might when they lose everything. It's all relative. And I find that fascinating.   It reminds me of Alastair in the British comedy show As Time Goes By. When he said he was broke, what he really meant was he was down to his last million.   Bruce and Miranda get intimate. That seems to have come out of nowhere.   It turns out Batman couldn't trust Selina. She's done a deal with Bane, delivering Batman to him. Bane knows who Batman is as well. Selina overhears so she knows too   Now in some ways, Bane is a very similar character to Doomsday.  Doomsday is good for one thing. Killing Superman. So if you're gonna put Doomsday in your movie, you'd better be willing to have him Kill Superman.   In a similar way, Bane is famous for breaking Batman's back. That's his purpose. It doesn't mean you can't do other things with the character, of course, but Bane's inclusion is something of a promise.   I'm not as familiar with this incident from the comics as I'd like to be. I am in the process of binging the important Batman comics from the 80s and 90s, but I'm not up to Knightfall yet. Looking forward to it, though. Bane says something I find fascinating. “Peace has cost you strength. Victory has defeated you.” By winning peace in this city, Batman has not kept up his training. His physical conditioning. That has made him weak. His great victory has become his defeat.   Bane claims to BE the league of shadows. Fulfilling Ra's Al Ghul's destiny.   “You merely adopted the dark, '' he says. “I was born in it, moulded by it. I didn't see the sun until I was a man.”   Bane has found applied sciences. He has all of batman's tech And then he does it.  He brake's Batman's back.  In a shot that looks very reminiscent of the comic.   I think Selina is already realising that she made a mistake. She's on the run, not from the police, but from bane. When Blake says he can offer her protection, she just gives him this look, and Blake kinda shrugs, as if to say, okay, maybe we can't protect you from someone like that.   Selina honestly tells him she's not sure if Bruce is dead or alive.   He is alive, but barely. Bruce doesn't fear death - he longs for it. Bane has taken Bruce to the prison where he grew up. Underground and dark. The tunnel is open. You can see the sky. But climbing is impossible. That impossible hope is what tortures people's minds.   Bruce has to watch on a TV screen as Bane destroys Gotham.   Bane seems to be the only one to ever have escaped from this hole. He was born in there, and he escaped as a child.   And he's found the reactor. The board are coerced into turning it on for him.   Bane's first move is to detonate explosives he's buried in concrete all over the city. The visuals of the football field slowly collapsing looked amazing.   There are some similarities between Bane's plan and Ra's al Ghul's. Isolate the island in the middle of Gotham and then use some advanced technology to destroy people.   Most of the city's cops are in the tunnels under the city. Except for Blake.   At this point, most first-time viewers are probably surprised by how big a role Blake has in this movie, and wondering why he's in here.   It seems Doctor Pavel is the only person in the world capable of disarming the reactor bomb. After confirming this, Bane murders Pavel in front of the entire stadium.   Now we see a little of The Joker's theatricality come into play. This is going to be a game. One of the people in the crowd has the detonator.  It's not clear at this point, whether this is somebody working for Bane, or if the person doesn't actually know they're the one. Perhaps something innocuous they'll do will set off the bomb. This could have been explained better.   I feel like the writing in this movie isn't up to the same level as the previous two. Ra's al Ghul had a clear goal and motive. The Joker was completely insane, but even he had a clear motive and goal - as crazy as it was. But I can't get a reading on Bane. He says he's giving Gotham back to the people. What exactly does that mean? Gotham is finally at peace, better than it's been in decades. What does he think he's liberating them from? But does he actually care? Of course not. He sees himself as carrying the torch of the League of Shadows. He wants to destroy Gotham. But why? Batman has succeeded in proving that Al Ghul's extreme measures were not necessary. Gotham has been rehabilitated. So ….. What's it all about?   Interesting to see a bunch of tumblers, in their original cammo colours driving through the city streets.   Bane tells the city the truth about Harvey Dent, reading from the stolen speech Gordon planned to one day deliver. He's raging against the corruption of the Gotham police. Now in fairness, much of their current peace has been built on a lie. But the criminals locked in that prison are still criminals. Justice HAS been served. So what is to be gained by letting chaos reign and releasing all those dangerous criminals back out into the street? Maybe Bane wants to watch the city tear itself apart, but he can just set off the bomb.   It seems to me that Bane is his own brand of crazy, but a much less interesting version of crazy than we saw last time with The Joker.   The people of the city seem to be taking up Bane's cause and rioting. I find that extraordinary.  So Blake points out some of the criminals have been denied parole due to the Dent Act. Well….that's a potential moral issue. But it's not a well-defined one. We just don't have enough information to make a fully informed opinion. The justice system is supposed to punish the guilty, but also preserve certain rights and freedoms that they still have as human beings. But this was an act of legislation. It was a law. We don't understand the subtleties and details of that law, but the police had the legal right to keep those criminals locked up, regardless of whether Harvey Dent was a nice bloke or not. Whether what the law allowed them to do was morally right is a completely different question.   And now for the people of Gotham to want to let all those dangerous criminals out to roam the streets, and string up the cops. I'm losing all sympathy for them. The thing is, I'd be quite interested in a story that genuinely looked at the moral issues of a police force doing something a little dubious to protect the city from the special class of criminal we see in Gotham. Get some real interesting shades of grey going on so you have something to discuss. Except I don't think this movie does it at all well. It doesn't delve in and explore any of that. It's all brushed over so briefly that it becomes meaningless and there's nothing to talk about.   We cut back to Bruce and we get a little more backstory about Bane. How he came to be born down there in that pit. I don't know what country this is supposed to be, but you want to talk about corrupt justice systems mistreating the freedoms of its prisoners. This is where you look. Apparently, young Bane was attacked by other prisoners during a plague. One of the prisoners was a doctor. He tried to fix Bane's face, but his fumbling efforts left Bane in perpetual agony, and the mask on his face holds back the pain somehow. Um……..okay.   So they're trying to fix Bruce's back. A broken back doesn't necessarily mean death. My wife suffered a broken vertebra in her back from a roller-skating injury as a teenager. It's something she's lived with all of her life. The muscles learn to adapt. But Bruce is in a pretty bad way. He's got vertebrae sticking out. It's believable that Bruce could get back into physical shape again someday, but it's gonna be a very long and slow recovery.   Bruce hallucinates that Ra's Al Ghul is there with him. He surmises that Ra's was the mercenary whose wife was thrown into the pit. Ra's is Bane's father. This is reasonable speculation, but Ra's isn't really there alive to confirm it. This is all in Bruce's head. So maybe Bruce is right, and maybe Bruce is wrong. But we're expected to believe that it's true - at least that Ra's al Ghul was the mercenary, and the child's mother was his lover. But the only reason Batman, or the audience, knows this, is because Bruce learned it in a dream.   At this point I'm left wondering how long exactly is this siege taking? For Bruce to recover and build himself up to the physical strength to climb out of the pit, realistically, I'd think he'd need a year. He was in much worse shape than my wife, and she lost the better part of a school year to her injury. But it feels like the stuff in Gotham is just taking place over a few hours, or maybe a few days.   Blake actually gives us a number. It's been 3 months. 3 months those cops have been trapped underground. So much about this movie just isn't ringing true. Wouldn't the federal government have done something about this after all that time? An entire city under siege?   Lucious gives us some more bad news. The fuel cell in the reactor is deteriorating over time. In 23 days it'll go off, regardless of whether the trigger man pushes the button. If he could get his hands on the core he could put it back in the reactor and stabilise it.   After a few failed escape attempts, the prison doctor gives Bruce some psychological advice. Not being afraid of death doesn't make you strong. It makes you weak. Fear of death is necessary. It's what makes you go that extra mile and do what should be impossible. Because if you don't you die. So he advises Bruce to do the climb the way the child did. Without the rope. I don't know if this is good advice or not, but in a way it kind of makes sense. Bruce is not fully committing. Because somewhere deep down, he knows if he misses, the rope will save him. Without that safety net, he simply HAS to make the jump. So his body and mind will be more willing to do what is needed. It's all mental. Makes some form of sense. But if he fails - he can't try again. It's a gamble I wouldn't make. But Bruce would.   It's a genuinely triumphant moment when he climbs out to freedom.   We get another cameo from Doctor Crane, also known as the scarecrow. He's trying people in Bane's dodgy court.   When Gordon goes to recruit one of his cops to help, we learn a little more about the situation. The government has apparently done a deal with Bane. The details of which, we don't know. Seems unlikely.   This is a weird setting. It's almost post-apocalyptic. The cop says Gordon doesn't know whether the bomb will go off tomorrow, except … he does. Why doesn't he tell him about the time decay?   So Wayne has arrived and recruited Selina to help him. He still sees something good in her. Is that naive? Maybe. But part of being a literary hero is looking for the good in people. Gordon has been captured by the goons and is being forced out on the ice, even though he would prefer to be shot than play along with the charade.   Bruce lights his symbol in flames on the side of a building, because he knows the power of a symbol to give people hope is an important weapon in this fight. Batman can't save the city alone. That will take good people to stand up.   Blake and Selina are gonna lead people out of the city to safety while Batman leads an army against Bane.   Selina is still ultimately selfish, but she wants Bruce to come with her. There's an inkling of something between them, at least from her side. She makes the point that he doesn't owe these people anything more. He's given them everything. And she may be right. Maybe they don't even deserve him anymore. But true heroism gives what is undeserved. And as he ominously points out, he hasn't given them everything. Not yet.   It really does look like a war. The cops all lined up in their uniforms, facing off against the crowd of Bane's thugs.   A big battle like this is a pretty epic way to finish off the trilogy, I'll grant them that.   So big surprise, Miranda is the child of Ra's al Ghul, not Bane. She's working with him and she has the trigger. Bane was her protector. I'm not sure this really works.  Did she really know about the reactor before Bruce told her? Because Bane seemed to. I dunno.   Also, this calls into question a lot of the backstory we thought we knew about Bane. So…has he actually been in that pit since childhood? Did he grow up there? Was the whole story about the doctor messing up his facial surgery so he needed the mask to keep the pain at bay true or not? We're just left feeling a little bewildered.   Fortunately, Gordon has managed to block the detonator, so it doesn't explode at once. Selina has finally decided to have a change of heart and help Bruce.   Miranda has flooded the reactor so there's no way to prevent the bomb from exploding anymore.   The only thing that can be done now is to fly it away from the city. A suicide mission. Batman is quick to sign up for that with his batwing. Now he really will have given everything.   Gordon wants to know Batman's identity, not because he ever cared, but because people should know who gave his life for them. Bruce subtly tells him who he is by relating an experience from his childhood.   When this movie was soon to come out, I remember saying to a workmate of mine that I suspected Batman would die in the third movie, sacrificing himself for others. My reasoning was that it had been confirmed the series would be a trilogy. This would be the end. And Batman dying just seemed a fitting end that would fit the tone of the series.   So I felt kind of gratified when I saw exactly that play out. Of course, it's not over yet.   It's fitting that Bruce's funeral is attended by Gordon, Lucious, Blake, and Alfred. The people who knew who he was. I'm curious what kind of cover story they came up with for Bruce's death. I don't think Gordon revealed Batman's identity publicly, because when asked about who saved the city, he simply says “The batman.” But with all the death and destruction, it shouldn't be too hard for Gordon and Blake to explain it.   Poor Alfred. He's so heartbroken. He blames himself. He feels he let down Thomas and Martha Wayne.   Blake has thrown in his badge. I think the inability to adapt of the officers that wouldn't let him escape with the kids has hardened him to the rigid structure of the force.   I got pretty emotional at the reading of Bruce's will. He's left everything to Alfred, the man who raised him, who was as much a father to him as Thomas was. And Wayne manor is to be used to care for the city's orphans.   So we learn that Blake's real name is Robin. Bruce has left him information to find the batcave, in case he wants to continue Batman's work.   So that's why Blake's story was so important to this movie. He is…this universe's equivalent of Robin. In the comics, Robin was just a code name given to a number of people. Dick Grayson, Json Todd, Tim Drake, Stephanie Brown, and Damien Wayne. In this version, Robin was the guy's real name. It's little more than a nod to the concept, but it kinda fits this interpretation.   And that brings us to that last scene. We learn with Lucious that the Batwing's autopilot was fixed after all. So Bruce Might have survived.   Then we see Alfred taking a trip to that cafe. The one where he used to fantasise about seeing Bruce happy and okay. He looks up, and there he is. Bruce is sitting at a table with Selina. They nod to each other and Alfred leaves. All is okay now. It seems that the clean slate program has given both Bruce and Selina a fresh start.   This is a powerful scene. It pays off the earlier scene so beautifully. It shows that Bruce and  Selina have made a happy new life together, but most importantly, it provides reconciliation between Bruce and Alfred. Forgiveness. A promise that they are still family.   It's a wonderful way to end the movie.   As for Bruce and Selina, I love that they end up together. There is always an aspect of attraction and tension between Batman and Catwoman. But this movie didn't do enough to establish that. They kiss shortly before he dies, for no real reason. And that's it. I think It would have worked better if they'd established a little more between them earlier in the movie, maybe instead of with Miranda. The sex with Miranda did nothing other than to make her betrayal sting a little worse, but honestly, I don't that was needed. Miranda's betrayal would have been just as powerful whether they'd had sex together or not.   So … how can I sum up this movie? I derive some enjoyment from watching it, and I'll probably watch it again some day. But in terms of quality, it's not even in the same league as Batman Begins or The Dark Knight. This one has a reputation for not being as good, and I do think they dropped the ball. I can't help but wonder if it was rushed. It seemed like they needed a little more time to revise the script. I was going to say that a longer runtime might have helped it as well, but I was surprised to look up and learn that this movie was actually the longest in the trilogy.   I found myself really having to concentrate to fully get my head around this one. I had a similar experience with The Dark Knight, but that was because there was so much going on. But all those pieces fit together beautifully like a jigsaw puzzle. It was meticulously put together. There was a lot less going on with this one, but the pieces didn't seem to fit together quite as well, and some of the pieces were missing.   So what do I like about it? It's got some really cool visuals. The effects and the camera work are beautiful to look at. I liked Blake's character. I liked Batman's sacrifice and his new secret life. That whole last scene is beautiful. I liked Anne Hathaway's portrayal of Selina Kyle, though as I said I felt they could have done more with her and Batman. I liked that they tried to tie this in a lot to Batman Begins, to round off the trilogy and make it feel whole and complete. But I don't think they really succeeded in doing that effectively. And I like the whole Bane breaking Batman's back thing, and I liked Bruce's journey of getting himself back on his feet and out of that prison - although the timing doesn't really work.   So that's a decent list of positives.   This was as good as the average superhero movie, but a bit of a disappointment when compared to Batman Begins and The Dark Knight.   Ultimately, though, this trilogy has held up really well for me. The awesomeness of the first two more than makes up for the shortcomings of the third. This trilogy changed the way Superhero movies were made. At least for a time. It showed that Superheroes really could be taken seriously as dramatic characters. And it laid the foundations for the Snyder universe that I love and adore so much.   I've enjoyed covering these movies. I hope you've enjoyed my thoughts on them. Next time, we start a whole new adventure. We're going to be covering all ten episodes of Star Trek Continues. It's gonna be a lot of fun, so I hope you'll join me for that.   Until then, have a great two weeks Live long and prosper. Make it so.

Ryan O'Quinn is from a small town in Virginia but moved to L.A. after graduating college. Since then, he has had a wild ride in the film business being on shows from JAG and Third Rock from the Sun to Beverly Hills 90210 and Alias. He now is the president of Damascus Road Productions, producing powerful and moving movies and documentaries. An amazing interview, you don't want to miss out! --- Support this podcast: https://anchor.fm/goodlifeconversations/support

John Lithgow is legend of the stage, television and big screen.He made his theatre debut back in the 1970s and has gone on to star in the likes of Third Rock from the Sun, The Crown and Terms of Endearment.He's earned six Emmys, two Golden Globes, two Tony awards and been nominated for two Oscars and four Grammys.Now, he's back on screen with another legend, Jeff Bridges, in the spy thriller The Old Man.That's coming to Disney plus tomorrow.John Lithgow joined Mike Hosking.LISTEN ABOVE See omnystudio.com/listener for privacy information.

Crohn's approval, new VC round, direct offerings, and potential asset sales. Find out more athttps://LifeScienceTodayPodcast.comStory ReferencesAbbVieThird RockScholar RockKyowa Kirin About the ShowLife Science Today is your source for stories, insights, and trends across the life science industry. Expect weekly highlights about new technologies, pharmaceutical mergers and acquisitions, news about the moves of venture capital and private equity, and how the stock market responds to biotech IPOs. Life Science Today also explores trends around clinical research, including the evolving patterns that determine how drugs and therapies are developed and approved. It's news, with a dash of perspective, focused on the life science industry. 

Paul Vato interviews his old friend from Chicago, actor and award winning improv coach, Bill Chot, an American actor and comedian best known for his role as Mr. Laritate on the Disney Channel series Wizards of Waverly Place. Bill is not only a wealth of information when it comes to improv comedy he is also very generous with his motivational and profound wisdom.Bill Chott is an American actor and comedian and is best known for his role as Mr. Laritate on the Disney Channel series Wizards of Waverly Place. Film roles include performances in Galaxy Quest, Dude Where's My Car, Brainwarp, Dante's Inferno, Wild Girls Gone, Dancing at the Blue Iguana and The Ringer. Bill's television appearances include Third Rock from the Sun, Freaks and Geeks, Popular, ER, Crossballs, Weekends at the DL, CSI, Wizards of Waverly Place, It's Always Sunny in Philadelphia, She Spies, Young Sheldon, This Is Us, and Monk. Visit TheImprovTrick.com to connect with Bill Chott. Paul Vato is an on camera and voice actor, improvisor, podcaster and entrepreneur. Connect with Paul Vato: PaulVato.com • VATO.tv • y.at/

This week is our first episode of rerun forensics, which is a brand new type of YUH format where we pick a classic television episode of a favorite show and dissect, analyze and discuss. As time permits, we may even take a swing at a show's ultimate cause of death, but the main focus will be on the specific installment we have selected. The shows will be loaded with short bios and fun facts about the actors that made the show possible. It may change as time goes by, depending on feedback and the observations of the panel. But Aaron Tango Lisa and Phil hope you enjoy the show! Please let us know if there's something you'd like us to add or some thing that doesn't work, and thanks for listening! S1. Ep. 8 “Third Rock from the Sun - Love and Honor and Dick” - Original air date: Feb 27, 1996 Watch this episode on Pluto TV https://pluto.tv/en/on-demand/series/3rd-rock-from-the-sun/season/1/episode/body-and-soul-and-dick-1-8?utm_medium=ossearch&utm_source=google Video excerpt from this podcast https://vm.tiktok.com/ZTdgSdPKX/ Yeah Uh Huh on TikTok https://www.tiktok.com/@yeahuhhuhpod Yeah Uh Huh on Facebook https://facebook.com/YeahUhHuhPod Yeah Uh Huh on Twitter https://twitter.com/YeahUhHuhPod Yeah Uh Huh on Spotify https://open.spotify.com/show/7pS9l716ljEQLeMMxwihoS?si=27bd15fb26ed46aa Yeah Uh Huh on Apple Podcasts https://podcasts.apple.com/us/podcast/yeah-uh-huh/id1565097611 Yeah Uh Huh Website: https://yeah-uh-huh.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lisa-huey/message

Joseph Gordon-Levitt really, really wants you to understand how little you need Hollywood to be an artist. “If you want to pursue a career, that's great. Do, that too,” he says. “But don't let that interfere with the real pursuit. The real pursuit is your creative pursuit, and it's one that happens inside of yourself.” The Emmy-winning actor/creator digs deep into the artistic process in this episode of “In the Envelope,” which touches on everything from the joys of editing to the complex lessons you can learn from your IMDB page. A consistent creative force for three decades and counting, Gordon-Levitt got his start in Robert Redford's “A River Runs Through It,” followed shortly afterward by six seasons of the sitcom “Third Rock from the Sun.” Since then, he's appeared in blockbusters like “Inception” and “The Dark Knight Rises,” game-changing rom-coms like “500 Days of Summer,” and TV dramas like his latest project, Showtime's “Super Pumped: The Battle for Uber.” --- Backstage has been the #1 resource for actors and talent-seekers for 60 years. In the Envelope, Backstage's podcast, features intimate, in-depth conversations with today's most noteworthy film, television, and theater actors and creators. This is your guide to every aspect of acting, from voiceover and commercial work to casting directors, agents, and more. Full of both know-how and inspiration, In the Envelope airs weekly to cover everything from practical advice on navigating the industry, to how your favorite projects are made, to personal stories of success and failure alike. Join host Vinnie Mancuso, senior editor at Backstage, for this guide on how to live the creative life from those who are doing it every day: https://bit.ly/2OMryWQ Follow Backstage and In the Envelope on social media: - https://www.facebook.com/backstage - https://www.twitter.com/backstage - https://www.twitter.com/intheenvelope - https://www.instagram.com/backstagecast Looking to get cast? Subscribe here: www.backstage.com/subscribe Browse Backstage casting listings: https://bit.ly/3mth68e Check out our community-driven virtual programming, The Slate: https://bit.ly/2WDNXf0 Backstage stands in solidarity with the Black Lives Matter movement: https://bit.ly/3cuMBt5 Special thanks to... - Host: Vinnie Mancuso - Producer: Jamie Muffett - Social media: Katie Minard, Karen Jenkins - Design: Mark Stinson, Caitlin Watkins - Additional support: Kasey Howe, Samantha Sherlock, Benjamin Lindsay, Oriella St. Louis

In a day and age when it feels like there are drugs for everything—from restless legs to toenail fungus to stage fright—it's strange the drug industry has almost completely ignored one of our most important organs: our ears. Given that 15 percent of people in the U.S. report at least some level of hearing loss, you'd think drug makers would be doing more to figure out how they can help. Well, now there's at least one company that is. Cambridge, Massachusetts-based Decibel Therapeutics went public in 2021 to help raise money to fund its research on ways to treat a specific form of deafness caused by a rare genetic mutation. Decibel is testing a gene therapy that would be administered only to cells in the inner ear and would provide patients with a correct, working copy of the otoferlin gene, which is inactive in about 10 percent of kids born with auditory neuropathy. Harry's guest this week is Decibel's CEO Laurence Reid, who explains how the company's research is going, and how Decibel hopes to make up for all those decades when the pharmaceutical business had basically zero help to offer for people with hearing loss.Please rate and review The Harry Glorikian Show on Apple Podcasts! Here's how to do that from an iPhone, iPad, or iPod touch:1. Open the Podcasts app on your iPhone, iPad, or Mac. 2. Navigate to The Harry Glorikian Show podcast. You can find it by searching for it or selecting it from your library. Just note that you'll have to go to the series page which shows all the episodes, not just the page for a single episode.3. Scroll down to find the subhead titled "Ratings & Reviews."4. Under one of the highlighted reviews, select "Write a Review."5. Next, select a star rating at the top — you have the option of choosing between one and five stars. 6. Using the text box at the top, write a title for your review. Then, in the lower text box, write your review. Your review can be up to 300 words long.7. Once you've finished, select "Send" or "Save" in the top-right corner. 8. If you've never left a podcast review before, enter a nickname. Your nickname will be displayed next to any reviews you leave from here on out. 9. After selecting a nickname, tap OK. Your review may not be immediately visible.That's it! Thanks so much.TranscriptHarry Glorikian: Hello. I'm Harry Glorikian, and this is The Harry Glorikian Show, where we explore how technology is changing everything we know about healthcare.These days, it feels like there's a medicine for almost everything.There are drugs to calm your restless legs. There are drugs to treat fungal infections under your toenails or fingernails. There are even drugs to calm down performers who suffer from stage fright.So it feels odd that the drug industry has almost completely ignored one of our most important organs: our ears.15 percent of people in the U.S. report at least some level of hearing loss, so you'd think drug makers would be doing more to figure out how they can help.Well, now there's at least one company that is. It's a six-year-old company based in Cambridge, Massachusetts called Decibel Therapeutics.Decibel went public in 2021 to help raise money to fund its research on ways to treat a specific form of deafness caused by a rare genetic mutation. It turns out that in about 10 percent of children who are born with auditory neuropathy, the problem is a mutation in the gene for a protein called otoferlin.It's involved in the formation of tiny bubbles or vesicles that carry neurotransmitters across the synapses between the inner hair cells that pick up sound and auditory neurons in the brain.Decibel is testing a gene therapy that would be administered only to cells in the inner ear and would provide patients with a correct, working copy of the otoferlin gene.Otoferlin wasn't even discovered until 1999. So the fact that there's a drug company working to correct mutations in the gene for the protein is a great example of how genomics is enabling big advances in medicine.My guest today is Decibel's CEO Laurence Reid.And in our conversation he explained how the company's work is coming along, and how Decibel hopes to make up for all those decades when the pharmaceutical business had basically zero help to offer for people with hearing loss.Harry Glorikian: Laurence, welcome to the show. It's great to have you here.Laurence Reid: Yeah. Hey, good morning, Harry. Great to see you again. Thank you. Thanks very much for the opportunity to join you. I'm looking forward to it.Harry Glorikian: Yeah, I mean, we've known each other for, my God. I remember. Like, I want to go back in time to Warp or one of those companies way back when you were there.Laurence Reid: Like ten or 15 years ago, I think I think we're both compressing our compressing our memories. I think it was a while before that. But, you know, you've been a student of personalized medicine, of course, a leader. Those ideas and I know a lot of those ideas for me started at least personally when I was at Millennium. And I think we were pretty you know, there was a lot of fantastic thinking that some of what was ahead of where we really were technologically. But I think that's when you and I first met. So, no, it's great to reconnect.Harry Glorikian: Yeah. And now you're CEO of a company called Decibel, which is ironic because I remember when the company literally was coming out, they called me to help them think through diagnostics.Laurence Reid: Oh, interesting. I wasn't aware of that. Yeah, the company got incubated at Third Rock and got launched in 2016. So we're about six years old now. And, you know, we believe that the time is is now for sort of molecular innovation coming to hearing loss. And I'd love to talk more about that. But the diagnosis remains, there's an interesting, there's almost a dichotomy because at least in the in the Western world, we put our babies religiously through a hearing test within 24, 48, 96 hours of being born. And then and then beyond that, like we sort of like almost, we don't quite ignore it, that would be unfair, but the caliber of follow up care, never mind when you're our kind of ages, is really poor. So we're like we're really good out of the gate. And then after that and part of that is diagnosis. I mean, we think a lot about it, which, you know, you would love, is trying to think about improved molecular diagnostics, particularly with respect to the genetic components of hearing loss. So love to talk more about that.Harry Glorikian: Yeah. I mean, you know, you were talking to Kevin Davies on on another show. I mean, I think you mentioned you said something like "Hearing is a backwater of the pharmaceutical industry." And most of the focus is is what I would call a device, not necessarily a drug. So, you know, if we let's I mean, starting there, where do you see or how do you see that changing? And, you know, how have genomic tools and and these things made a difference in the direction that we're going. And I think that's what Decibel was sort of formed around, if I remember correctly.Laurence Reid: Yeah, no, you're exactly right. But those are, those are the central questions. So where we are today is there are, so, so, both. And we think about both hearing loss and balance disorders, because they're both mediated by evolutionarily related organs that sit inside inside the inner ear. And, you know, the hearing loss afflicts literally hundreds of millions of people around the globe at all ages. It can come on, you can whether it's congenital or it's sort of later in life or noise induced. So it's a massive unmet need. And, you know, and there are no approved therapies. So it's it's a field of medicine today that is that is completely served, to the degree it is served, by assistive devices, namely hearing aids and then cochlear implants. And there are no approved therapies. And I think the pharmaceutical industry has been really, is just not invested in the field at all. Astellas works with our friends at Frequency and has been committed and a couple of other big companies have sort of dabbled and then and then exited. Translation has been has been a challenge. We should talk about that preclinical work not really replicating once you get to you know, human beings. And so it's been a quite a difficult field for for many years. And and so the pharmaceutical industry has really not dived in and, you know, in Third Rock was really incubating decibel which is how they how they start companies. It was one of their ones that was was a slow burn.Laurence Reid: And they had they looked at assets out of one or two pharmaceutical companies and were really trying to get their heads around, is the time really now. And they they pulled the trigger in 2016 and went into it with a belief that that molecular innovation was coming and is coming and that that would that would give rise to therapies. So here we are six years later. And the playing field, as I like to say, is really, you know, dominated by small companies. We like to think about Decibel as a leader there, but there are other companies doing fine science, but they're small companies. And but that's going to change. It has to change. And it's going to be exciting from many aspects. When it changes, it affects how you build a company, when pharmaceutical companies are sort of watching, but they're not committed and they're not they're certainly not investing yet. But I think that's going to change. And I think we're going to see it change, I don't know, in the next couple of years. And I think 5 to 10 years from now, all the major pharmaceutical companies would have to be playing in this because, you know, there's the aging component, there's the cognitive health later in life. You could talk more about the specifics of why hearing is so important to our existence as human beings. And that's really not just a quality of life issue. And that's going to change. To have that happen.Harry Glorikian: That's why I was going to I was going to say I mean, I think if I remember correctly and it was fascinating to me when I went into Decibel, like, you know, when it was first getting started and how it was having conversations, it was like the number of people that are losing, you know, certain parts of their hearing earlier in life because of all the headphones and how loud they listen to things and so forth, was staggering. And then the economic impact of that was even more staggering. And so you would think that it's not just the pharma industry that would be interested, but anybody that—-like I've got my AirPods in now. So I mean, Apple should be interested.Laurence Reid: Those guys, those guys are working around the field. Bose, of course, a fine Massachusetts company with some of the best sound equipment. They've been investing in the hearing aid technology field for in recent years and have just launched a new generation of technology under that umbrella and come out with some pretty sophisticated marketing, trying to really get people to think about the quality of their hearing and why it's important. And so, as you say, so new people coming at it despite perhaps their contributions to it. And so, you know, so I think I think that's really very, very interesting. And but it is now devices, as you say. It's devices. So today, you know, a lot of it is treated nominally with hearing aids and then for very severe forms, particularly in in in young kids, but in adults as well. There's a technology which has been around for about 20 years now, known as a cochlear implant, where you have a surgical implantation of a very sophisticated device into your cochlea. And essentially it essentially hard wires, really a microphone directly to the onto the auditory nerve.Laurence Reid: And so there's a device inside your head and then there's a detection device that is visible outside. But both of these we view as assistive devices. And I mean, with some of the things that we're thinking about for molecular therapies, you know, we really think we can be disease modifying. And the devices are, they're an attempt to sort of palliate, effectively, the manifestations of hearing loss. They don't work 24/7 because they can't and kids in particular hate wearing them. But, you know, our parents hate wearing them as well, particularly the hearing aids. And so the compliance is very poor. But I think more importantly, they can only be so effective, and particularly if you're very severely deaf, the difference between that status and, you know, what the kid next to you in the classroom is hearing and picking up and how that's affecting their development is really massive and to me is one of the big drivers certainly why I got excited about the field personally.Harry Glorikian: Oh yeah. I mean, you know, if you're in a crowded restaurant and you can't hear the person across from you, there's all of a sudden it changes the entire dynamics of what's going on. I mean, that you know, that said, I think if my wife could implant a microphone that was directly wired into my brain, she would probably take advantage of that to make sure I hear everything.Laurence Reid: And hard wired up straight into her larynx. And then then everything would be would be beautifully aligned. Yeah, I know. It's really interesting. So my beloved mother is 84 and you have a one on one conversation with her and it's fine. You know, it's absolutely it's completely normal, like you and I chatting or talking to a 20 year old. But you put her in a crowded restaurant and it's very hard for her to participate at all. And so it's a really interesting. So on one level that's trivial, right? It's a night out in a restaurant. But it's indicative of the challenge. So I always think most easily comes to me with thinking about congenital deafness and then deafness or loss of hearing in in older people. But that restaurant is sort of an analog for in the case of the older people losing, you know, we talk a lot about connection, losing connection with their loved ones or their coworkers or their family. And, you know, hearing loss is the number one risk factor in cognitive decline later in life. And nobody is suggesting it's necessarily causative. But that loss of connectivity clearly in some way is contributing to, you know, to a cognitive decline. And I think that's really the way to think about it. For me, I think about hearing loss as why, why does it matter? And it's not because I think it's, if you haven't dealt with it, you probably think about it in terms of a social discourse. But actually why it really matters is the impact on, I use the phrase cognitive health, which is probably not a phrase of professional would use. It's really how is your overall ability to interact with people, to process information and and to share it? And if you're disconnected, it's clearly contributing to that lack of of of interaction and ability to, you know, to have discourse with our with our with our families. And so you see that. Pivoting to loss of interactions later in life. And then for a kid.Harry Glorikian: And how it affects the economy. I mean, if you're not going out to dinner or you're not or you don't hear everything at work or things like that, I think the impact is is dramatic. But you know how many I know you guys are working on different therapeutic approaches to solve this problem. So, you know. How many different forms of deafness right now, or maybe balance disorders, are monogenic or or caused by mutations of a single gene that, say, we can get in there and do something about it, because I think that's where you guys are starting.Laurence Reid: That's where we're starting. And that's exactly the right way to think about it. So let me let me step back and then I'll answer your specific question. So the strategy that we've taken and other people have different views of this is really that the most robust understanding in 2022 of the molecular etiology of any form of hearing loss is, is that it's driven by overtly by monogenic conditions. So two mutated genes inherited from mom and dad that good old recessive genetics and that therefore we're able to understand precisely what's causing it and we're able to understand the impact of that of a child born with bi-allelic mutations in the otoferlin gene for example. And and the promise of gene therapy is the ultimate to put back a a functioning copy of the gene very early in life and put a child back to a physiological state of of hearing that mimics the kid down the street. And that's and that's the ambition. And what we think will that will enable is both these modifying treatments, maybe even cures for for those sections of the population. But it'll teach us about how to do gene therapy safely in the ear. We think the ear is a wonderful organ in which to do gene therapy. We should probably talk about that in a moment.Harry Glorikian: Yeah, absolutely.Laurence Reid: But that over time, the Holy Grail. So as you get into the bigger populations, it's a classic, you know, genetics and environment, viruses, noise, lots of chemicals or lots of things  that damage areas over the course of life. And we just naturally lose the sensory hair cells in areas over the course of life. Everybody approximately linearly is losing that, that sensitive and that sensitivity. So eventually you hit a threshold and we all suffer from some form of hearing loss or balance, you know, lack of equilibrium as we get to be a little bit older and. For for many different causes. So the Holy Grail is can we really have regenerative medicines that regenerate the sensory the sensory hair cells, as they're called, in the inner ear, potentially as a treatment for hearing loss or balance disorders. And so the way we think about this is our strategy is really to to start with the monogenic forms of hearing loss have a chance for very clear diagnosis, driving, very precise clinical trials, driving potentially therapies that are directly addressing mechanism and with very high potential molecular upside. And to build from there into a pipeline of gene therapies that will start to go into broader populations, populations of much older people, and that will be gene therapies that are regenerative medicine. So that's our sort of long term vision of how this will how this will evolve. But it's starting with the monogenic conditions which which are which are rare diseases, orphan diseases by all definitions. And I think for the reasons that rare diseases have been such an intellectual driver of our industry in the past 20 to 30 years, is because you can link mechanism and etiology and a potential molecular cure in a very linear fashion. But it teaches you so much about how to manipulate an organ and how to develop therapies that eventually will treat broader populations.Harry Glorikian: Yeah. Laurence, you need to move faster, because I think I went to one too many rock concerts when I was younger. And, you know, I could tell you that.Laurence Reid: I had friends, when I was in high school who were who were into certain, you know, I hated heavy metal when I was a kid, but I had friends and they would come back and they'd been to a concert and they'd they'd stuck their head inside the speaker and they they couldn't hear for like a day or two. And I, I think back to those I worry about where those guys are now because they're hearing I'm sure they're otherwise.Harry Glorikian: Yeah. I mean, when you're when you're when your ear is ringing like a day afterwards, you probably recognized that was probably, it was a lot of fun at the time. But you pay for it later. But but stepping back, though, even if we were able to match every form of deafness to a specific genetic cause. Right. Very few infants or children get the kind of tests that would be needed. Like how widely available are these genetic tests for the hearing neuropathies today or.Laurence Reid: Oh, it's. I'm sorry. Go ahead.Harry Glorikian: No, no, no, go ahead. Because that would be my first question.Laurence Reid: It's the minority. And so by definition and I appreciate you've worked and thought a lot about this over the last years. You know, good diagnosis is is gating to everything that can follow. And so part of our broader I mean, at some level actually even step back from molecular diagnosis, which I know is where you'd want to go, that just overall how we manage hearing how is is almost rudimentary compared to how we think about about our eyes for example. And just I had my annual physical a couple of days ago and and a new physician and and the doctor was like, oh, you know, you go and get your eyes tested on, on an annual basis and which I do. And we talked about all the the good things that are cutting edge, you know, ophthalmologists does these days to look at your optic health. And then I was like, you know, the real question you should be asking me is, when did I get my hearing tested? And but when did you last get. We just we just it just doesn't it's just not part of adult health care in a routine way unless you get really I mean, my wife and I joke about it occasionally. I'm like, oh, well, let's go together and get our hearing tested.Laurence Reid: Not that, not that it's at all funny, it's not. It's a serious issue, but it's just not part of routine health care for helping adults think about about how how they manage their health. So. So we sort of we start with a, a broader set of educational issues. And then and then we dive down pretty quickly into how do we educate people about about the need and potential power of molecular diagnostics for children who, when we begin to figure out that they're hearing is developing, you know, in the early either days or early years of their life and as as in in the developed world, most children have a basic hearing test, you know, within hours of being born, literally, often while they're still in the hospital. And it's like, you know, in many, many places they catch them while mom is still, you know, literally in the hospital and and they do a basic hearing test so we can catch a lot of it like that. If it if you start if the hearing degenerates after that, it is still very challenging for that to get properly understood and picked up and diagnosed and managed even in, you know, developed cities and, you know, in the United States.Laurence Reid: And the the ability to to reflex to molecular testing is is very variable. If you talk to our our audiology team, it starts to be very dependent on which city do you live in and what's the ability? I mean, we're sort of privileged in Boston, Mass Eye and Ear is obviously one of the world's leading hospitals. But but how do you get from a an early "Yeah there's an issue here" to any form of molecular. What that path looks like of your pediatrician driving you to real audiological analysis, driving you to a molecular diagnosis. It's a pretty fraught path. You think about it in in in cities like Boston. Fair enough. And aren't we privileged to live here? We're lucky to live here from that perspective, but it's very heterogeneous. And so part of our work is really we have a collaboration with our friends at Invitae, part of which is trying to just it's almost educational. It's offering a free genetic testing service for important genes related to your hearing health. But part of the purpose is, is educational, really.Harry Glorikian: Yeah. Yeah, I was going to I was going to ask about that. I mean, in making it available, I mean, this is somewhat of a crusade, right, to educate people and get them on board, right. Because if you just don't know what's available, you may not think about it for your child. And if a parent knows they can help their child, I think most parents would go out of their way to do something positive. But just for everybody who's on the phone, you know, can you walk us through an example of, let's say, a single gene mutation can cause deafness? I mean, maybe you can concentrate on the example of, I think it's otoferlin, if I'm saying correctly, which you know, basically, if I've understood it correctly, it's the formation of the synaptic vesicles that carry neurotransmitters across the synapse, which is very, very tiny. And if the hair pulls away just enough, you start losing that ability to hear at that level because the chemical can't jump across to make that connection, which is, I think what's happening to me as I get older.Laurence Reid: Yeah. Very good. Yeah. And I'd love to talk about otoferlin. So otoferlin is our first program where we and other people are thinking about this as well. Our friends are also are working hard on this problem as well. But it's the vanguard program for Decibel and the field in terms of gene therapy for modern forms of hearing loss. And so obviously, we we know the gene that causes this particular subset of severe hearing loss. The children are born profoundly deaf. They really have almost no no signaling capability whatsoever. Despite that, when you study their ears and when you look at animal animal genetic models of the condition, the ear, functionally, structurally appears to be normally constituted. So what you see start with a belief that we may be able to instate normal hearing in these people by in these children, by, by by providing a a wild type, a normal copy of the gene. And there are other forms of of genetic hearing loss where by the time the kids are born, the children are born, their ear has not developed properly, structurally and functionally. And I think that's a much harder problem and may be impossible to to solve postnatally. So so as we think about areas where we think we can have an impact with the first generations, we're looking for clear genetics. We're looking for an ear that appears to develop normally and in which we therefore have the chance to instate normal hearing. Otoferlin is a calcium sensor and it functions at the interface between the hair cells in the cochlea, the inner hair cells, as they're called, which are the cells that transduce... Sound is effectively a mechanical signal. It comes to us as a sound wave, and it disturbs structures and eventually molecular structures inside your inner ear and creates a molecular signal that is transmitted by the hair cell through the synapse. As you say, to the auditory nodes, there's a direct interface between these cells that are that are detecting the sound wave into the into the auditory nerve. And if you lack otoferlin your calcium sensing functionality and that synapse is not present and and there's essentially no signal. So we measure this with something called an auditory brainstem response, which is a test you could run in a human or an animal. And there essentially it's a flat line, which from a from a restoration of a normal signal, it's a really excellent clinical endpoint because we're going to, we hope, instate, a signal, a quantitative signal with quantitative richness as well, that we're going to be able to measure relatively early after we administer our therapy. But the children have this is what we call an auditory neuropathy. They have no ability to signal from the cell into the brain. And as I say, the structures appeared to be intact. And what we know is that in an animal, if you create an animal model of this genetic animal model, that we can go into that now with DB-OTO, as we call it, which is which is a adeno associated virus vector to to basically deliver a normal form of the gene. And we can do that within weeks of this mouse being born. But interestingly, we could also go to those animals as long as a year after they're born, which which for a small furry animal is is about half of their life.Laurence Reid: So it's a big piece of their life. And and we can go in we can intervene at that at that one year point and still rescue the phenotype. So the is structurally intact. And when we provide the signaling molecule, we fairly quickly instate a normal signal. So that's that's exciting. Right. And A), it's a fantastic signal to measure in an animal. B) it gives us a lot of optimism that if we can get the gene to the right cells and get it turned on, then decent chance to to to solve to solve the signalling problem. So that's sort of our reason to believe. And actually maybe the last component, and then I'll breathe, is we think the ear is, is a fantastic place for gene therapy broadly because your inner ear is this tiny enclosed compartment. So we need a surgical route to get there, but we can then go directly to the site where one is trying to elicit a molecular effect and deposit a tiny amount of drug compared to what's required -- three or four orders of magnitude less drug than is required for systemic gene therapy -- directly at the site where we're looking to elicit the biological effect. And then almost none of it leaks out into the into the systemic circulation. So the ear, we think, is a fantastic order or organ for gene therapy, and we think we know some great genes to go after us, our first generation.Harry Glorikian: Yeah. I mean, you know, whenever if if people have followed any type of gene therapy, like the eye has been in optimal place to sort of start with. And so, you know, I think you guys are learning from what has been done in ophthalmology to sort of transition this to the ear, which, you know, I always say to people like we always start on the outside because it's a lot easier and then we then we figure out how to go deeper in because it's a lot harder. But, you know, what kind of results are you seeing so far when you transfer genes into, maybe nonhuman primates.Laurence Reid: Yeah. Yeah. No. So we've just in the last year or two, transitioned from rodent studies to non-human primates. You are correct that the characteristics of the ear that make us so excited about the possibility here, a lot of them are very much learning from why the eye has been really such a primary site of our efforts in gene therapy in the last ten years or so. And so as we move from small animals to larger animals to human beings, we start with, as I mentioned, genetic rodent models that we can knock genes out in the mouse that replicate the human genetics. The ear, it turns out, is it is evolutionarily highly conserved. So the the ear of a rodent is a lot smaller than than your ear in my ear. But structurally and molecularly and cellularly it's very analogous. And we can come back to your point about genomics and how it's opened up our understanding of these cells. But nonetheless, the basic structure and physiology is highly conserved from from lower mammals to to higher mammals. So so we start with genetic models that we can manipulate the genome and create what we believe is a pretty interesting analog rodent analog of the human condition. We don't have genetic models in non-human primates, so we end up doing studies in non-human primates where we we we mimic exactly the surgical procedure by which we will access the inner ear, and then we end up either using a surrogate marker, GFP, or we end up detecting the human otoferln, in the non-human primate, which is quite hard.Laurence Reid: But we've sort of figured out how to do that now. And really what you're looking at is, is, is really is efficiency of the delivery and expression process. And then when you can't measure a fixing of the genetic burden and so at Decibel, we spend a lot of time using our genomics platform to really be able to define molecular control of our gene therapy. So we're really trying to express the transgene selectively in the cell types where nature intended it to function. So, you know, calcium sensor in the wrong in the wrong cell type one might fear, and we have data that suggests, that that may be a problem. So Decibel is really invested very significantly in sophisticated molecular control of our gene therapies. And so when we do the experimentation in the non-human primate we're looking at, are we getting good delivery throughout the cochlea? Are we getting good infectivity throughout the cochlea and then expression of basically a surrogate marker? Because we we can't change the physiology of a of a normal non-human primate. So it's really all about about surgery, delivery expression. And then obviously you then got a stable transgene expression, it turns out, rises over the over the weeks and months after after after the transduction. And so we're measuring that. And that's going to play ultimately into clinical trial design, both in terms of safety and an end points that will measure in human being. [musical interlude]Harry Glorikian: Let's pause the conversation for a minute to talk about one small but important thing you can do, to help keep the podcast going. And that's leave a rating and a review for the show on Apple Podcasts.All you have to do is open the Apple Podcasts app on your smartphone, search for The Harry Glorikian Show, and scroll down to the Ratings & Reviews section. Tap the stars to rate the show, and then tap the link that says Write a Review to leave your comments. It'll only take a minute, but you'll be doing a lot to help other listeners discover the show.And one more thing. If you like the interviews we do here on the show I know you'll like my new book, The Future You: How Artificial Intelligence Can Help You Get Healthier, Stress Less, and Live Longer.It's a friendly and accessible tour of all the ways today's information technologies are helping us diagnose diseases faster, treat them more precisely, and create personalized diet and exercise programs to prevent them in the first place.The book is now available in print and ebook formats. Just go to Amazon or Barnes & Noble and search for The Future You by Harry Glorikian.And now, back to the show.[musical interlude] Harry Glorikian: I would assume that some level of spatial genomics, the new technologies that are out there, must be hugely helpful to see the different cell types, where they are and what type they are. And you know is actually lighting up and changing versus what you don't want to light up and change. So yeah. So I had a great interview with Resolve on their system, which I think is going to be the next frontier, because what you're saying is, what cell type, where it is, and did I make the change in the exact one that I wanted?Laurence Reid: That's exactly right. So my my colleagues, long before I was here, invested in building a platform that we think is still, we have a database of over 3 million molecular profiles of the cells of the inner ear, which we think is a unique asset. And basically applying the tools of single cell genomics, which is the ability at the level of individual cells in the organ of an individual animal to analyze comprehensive gene expression. And so what we've been able to do, and I think this is part of just changing our attitude to how do we understand the cells of the inner ear and therefore how can we think about manipulating them pharmacologically to open up the field? And so we have a complete molecular characterization of, there are about 30 or so important cells in the inner ear and there's two or three subsets of those cells, starting with the cells that I talked about that are probably the critical therapeutic targets. And so we have a detailed molecular understanding of the composition of the level of gene expression of each of these different cell types. And we look at them a lot as they as they as they differentiate and form in a natural process, because we think that holds the answer ultimately to regenerating them as part of this next part of our strategy. But it's also taught us about how individual cells control gene expression. And I mean, otoferlin is expressed essentially in an adult animal only in the so-called inner hair cells. And that's what we then aim to replicate with our gene therapy. And so we've been able to take our genomics platform to define genetic regulatory elements that drive our trans genes in our gene therapies to express selectively in the most important cell type where you need it and not elsewhere. We know from our animal studies that that has a beneficial impact on on on the therapy and that the durability of the therapy. So that's our overall molecular goal, but it leverages this platform of single cell genomics.Harry Glorikian: So I've seen company presentations. Like you guys are, you know, you intend to initiate a phase one, clinical trial of of DB-OTO. I mean, how is that going? I mean, what are the big technical or medical barriers, where you're thinking about testing gene therapy? Like, I mean, you know, where are you guys in all that?Laurence Reid: Yeah. So so we what we've and I'm going to be precise as a public company, I need to be careful with my disclosures. So apologies in advance. But what we said is that we'll initiate will file an IND or a CTA in Europe this year and and move into our first in human study this year. And so we're in the you know, we're deep in all the almost classical, you know, pre-IND work of making material and, you know, and testing it in, in the final, you know, GMP tox studies and making material of a caliber that'll that'll go into human beings, which is very exciting. And that's, you know, that's that's what we're working on. Those are the two sort of basic barriers. I mean, we have published and talk publicly about a lot of our animal data, what I sort of recited a few minutes ago, small animals to large animals. I think we understand the basic pharmacology and now it's okay, scale up, make the material for human being, you know, GMP material for human beings, test the material, you know, in more prolonged formal toxicology studies, you know, and move it into human beings so that that work is ongoing. The other part that's really fascinating that you would appreciate is, you know, in a rare disease like this, a lot of very interesting discussions about about what's the exact patient cadre in which one starts a clinical trial.Laurence Reid: And we spend a lot of time building relationships with with clinicians, particularly in Europe, but also in the US, who really invested in understanding the genetic basis of of children in their region with genetic forms of auditory neuropathy. And we have a fantastic collaboration with our colleagues in Madrid at the Roman y Cajal, who have a database that is essentially all of the all of the known diagnoses of otoferlin deficiency in Spain. And so they've done so we have been able to help them do a lot of natural history work. What is what is the progression of the condition and how do we find these kids? And so we ultimately not necessarily immediately, but the ultimate goal is to treat children very early in life. These kids are now once they're diagnosed, they would get a cochlear implant really probably around the end of their first year of life. It used to be more like two, but that age has come down from a medical perspective. Being born profoundly deaf is the phrase is is a neurodevelopmental emergency. And I talked a lot about about old people. But for a kid, the the or a baby, the issue is that hearing lack of hearing impacts that their initial social interactions that their generation of language skills and their ability there and that and that feeds into their cognitive development.Laurence Reid: So there's a there's a whole set of emotional interactions that are happening very early in life. And of course, with so much cognitive development going on and the hearing is, is the absolute gate to a lot of that happening. And so it's widely, widely agreed that this phrase, a neurodevelopmental emergency, is what physicians use. So so ultimately, we need to be treating these kids in the first year or two of their life. And you know, how soon we'll get there remains to be seen. And it is an ongoing discussion. But that's that's where that's where ideally we would end up. While at the same time, as I said, we know we can intervene in animals later in their lives. So we're optimistic that we're going to be able to take adolescents and and children beyond the first year or two of life and still be able to have a positive impact on them. Well, that's the vision for sort of the broader applicability, not just in a newborn baby.Harry Glorikian: Yeah. I mean, you know, I mean, a child's, you know, the neuroplasticity or how easily that their brain or their system adapts and changes. I could see, you know, the drug having a much more profound effect in that population. I mean, in older people, I like to believe that we still have neuroplasticity, because I'm constantly evolving and changing. But, you know, I also sometimes think we're sort of stuck and maybe maybe don't have. But, you know, the human body is an amazing machine. But, you know, it brings me like one of the biggest themes on this show is like data, data, data and how that intersects biology. And, you know, what you're talking about is identifying the right sets of data, the right patients to have this work done on so that you can achieve a level of success. We all know that if you pick the wrong patients. Like you're utterly almost doomed for failure, or you're going to have an effect that you really didn't want to have. So how much of of Decibel's work or approach is is rooted in "Here's the data, here's the patient." How much are you guys using that to drive every decision that you're making?Laurence Reid: It's a it's a really great question, actually. And the answer is a lot. In fact, as I think about Decibel and where I think the team that my predecessor built, Steve Holtzman, who of course, you know, is really, really exceptional, is is effectively translation in its broadest sense. Right. I think what differentiates Decibel is an outstanding understanding of the biology of the inner ear and that we've invested in in turning that into a genomic molecular understanding of every cell type. But it's then, okay, who's my patient? What, their molecular profile. And how do I link that back, feed that back into my discovery process? What are my animal models look like and how am I looking forward, you know, into ultimately into a clinical trial? And with people suffering from from congenital hearing loss age, which we try and intervene, becomes a big variable, as you're suggesting. And so, you know, if you're in the pharmaceutical R&D, it's like, okay, that's translational medicine he's talking about. And and it is I just think we do it really well. And it's really the essence of the scientific core of Decibel is linking our molecular work in the cells of the inner ear to a fantastic understanding of the patients, their individual phenotypes and how we look to bridge that gap between preclinical research and the clinic. And the the the truth is, I mean, there are no approved therapies and there hasn't been a lot of work, as I said, up front.Laurence Reid: But but it's not like we're we're complete, we're not we're not going to be the first people either to do a gene therapy in the ear, nor to try and develop a therapy. But the translation has been really poor. And I think that our ability to understand the mechanistic pharmacology, preclinical and clinically and then be confident that that was going to work in a human being has been really poor. And obviously genetics from a simplistic perspective is a fantastic way to bridge that gap. Right. We know which gene we're trying to fix. And therefore, is the ear able to be fixed in a child of one two years old? And can we get the gene there safely and effectively and turn it on in the right place? Right. But those are problems that you can break down and solve and you can analyze them in smaller animals and larger animals. Whereas I think historically, the preclinical data, how do you validate it in a human being or do we really know those mechanisms are going to work in a human being? Well, the outcomes have shown us that we didn't have all the understandings of that. And I think you look back on it and the ability to translate has been has been weak. And that's why the genetics is is so appealing as a formative place to to start and try and build a pipeline of therapeutics, at least in our opinion.Harry Glorikian: Yeah. It's funny because we're always coming back to this genetic part of it. And I remember like somebody saying to me way back, No, it wasn't that long ago, relatively speaking, but why would you want to sequence anything? Right? And now it's like it's the cornerstone of everything we're doing. Yeah, but. But you guys have another drug, right?Laurence Reid: We do.Harry Glorikian: That prevents ototoxicity, right. Damage to the inner ear.Laurence Reid: Yep.Harry Glorikian: And it's that's one of the most common side effects of chemotherapeutic drugs like cisplatin. I mean, for those people that are listening, right, these little hairs, it's the same thing as like maybe the hair on your head.Laurence Reid: Please don't go there. It confuses people.Harry Glorikian: But essentially, you've got a drug that you're working on this in this space.Laurence Reid: Yes, we do. So firstly, how are you just upset because of our relative quantity of hair here. The hair cells in your hair are very different than the hair cells on top of your head or other parts of your body. Their role is to transducer signals on the inside of your cochlea into the brain. So but the cisplatin based chemotherapy is still very, very commonly used around around the world and is quite efficacious in certain types of tumors. It's widely used, for example, in testicular cancer, just one example. And it comes but it comes with a couple of of fairly severe toxicities, one of which is it kills the hair cells in your ear. And it also damages their interactions with the nervous system. And earlier in Decibel's life when we were sort of using our biological thinking before we. That's what I would say when we started as a biology company and we explored different molecular molecular modalities as the right way to treat it. And now we are significantly focused on gene therapy. As we've been talking about, this program was home grown and we're pretty excited about it despite our core investment in gene therapy now. And what we have is a proprietary formulation of a molecule of sodium sulfate, which is a natural metabolite, and it chemically inactivates cisplatin. And so we actually administer this by an injection into the middle ear and then the active ingredient leaches into the inner ear. And we administer that about 3 hours or so in advance of the Cisplatin IV, so that by the time the cisplatin gets to the ear, the inner ear is already bathed in sodium sulfate. And so and then you have a chemical reaction in situ inactivates the cisplatin.Laurence Reid: And you know, it's interesting because some people don't find that very sort of biotech sexy, but it's actually an incredibly elegant way to to to stop the side effects of a molecule that has multiple, multiple molecular forms of damage that are probably being imposed on different cell types. So solving that biologically or biochemically is a very hard, diverse problem, whereas solving it chemically in situ we think is is very powerful. The principle to give some credit was validated by a company called Fennec, but they have an IV administration and they are constantly fighting between achieving good things in. As you might imagine, preventing against that toxicity without inhibiting the efficacy of the drug. And it's correct. And that's that is a very and they hopefully eventually will get approval for a fairly narrow pediatric population because it's been very hard to sort of thread the needle of can I protect without inhibiting the efficacy? Now if you go directly to the organ where the damage is being done, local administration of a proprietary formulation, so it sits in the ear, it's there in advance. Essentially, none of it leaches out into the circulation. So we have, we believe, negligible risk of inhibiting in any way the cancer benefit of the circulating cisplatin. So we're achieving a local protection and we're looking where we will be reporting some human proof of concept data. We've said in the first half of this year. So pretty excited about that, actually.Harry Glorikian: Yeah. I mean, you know, I don't need sexy. I just need something to, like, work, right? I mean, sexy is nice, but, you know, if it's working, it's working sometimes, you know.Laurence Reid: Right. So, so not not to compare protection of hearing against protection from people who are going to die of cancer. But it's an interesting example of where hearing health or ear health gets neglected. So in the context, you know, cisplatin is used in many cases with what people refer to as an intent to cure and so people can get cured. Young men, I think the cure rate is something like 95%. So you're talking about a young man, maybe 20 years old. He's going to live for 100 years, right? Maybe more. Maybe more. And nowadays and so the the importance of protecting his hearing at that age. And there are female cancers as well. But his hearing at that age for his long term health is incredibly important. But it gets it gets, unsurprisingly, neglected because the focus is on is on the cancer, which is which is understandable. But but we think that there's a really important opportunity to, you know, to provide a better overall solution for for those people that's going to have an incredible impact later in their life as their hearing would be naturally degenerating anyway. And and I think because of the the understandable stress when you're going through chemotherapy, you know, worrying about the hearing decrement, is it's just not top of mind. And so we've got some awareness. We've got some work to do to increase awareness there and hoping that some of our animal data might replicate in human beings because we think this could be fairly effective and really hopefully get it into the minds of oncology physicians. Is the goal that you should be thinking about this. You're trying to cure this patient. You're trying to whether it's a woman with ovarian cancer in her fifties or a young man with testicular cancer, they're going to live for decades to come. And we think it's important that they're hearing health is protected and we can help you do that potentially in a very powerful, rather simple way, actually.Harry Glorikian: So. I'm going to assume and you can correct me if I'm wrong, that if this gets through sooner than the gene therapy and can generate some revenue in the short term, you can then utilize that revenue to continue to fund the gene therapy programs.Laurence Reid: We're all always looking for money to do this, right, Harry?Harry Glorikian: So, unfortunately, that's the business we're in.Laurence Reid: That's the nature of the beast. Certainly, after we have our data in hand on the proof of concept, we'll be looking for an FDA interaction to define the path to registration, which we think could be relatively efficient. We have, you know, the medicine that effectively becomes an oncology supportive care medicine. It needs to be administered probably in the chemotherapy suite right in advance of a patient receiving their chemotherapy. So it needs to be marketed to an oncologist with a lot of education in the audiology community so that they're leaning on their oncology colleagues to you need to do this and you need to think about this as you're putting your patient through through chemotherapy. Ultimately, I think that that marketing to the oncologists, I don't think that's what's going to do that in itself. We're going to eventually bring a partner partner in to do that who is a specialist in marketing to the oncology community. And we want to be involved in rethinking about making sure that the ideological education and understanding is transferred into the cancer into the cancer world. And so that's that's a commercial strategy and structure that will will put together, you know, potentially starting when the data is in hand, but certainly some time between now and approval of the drug.Harry Glorikian: Well, Laurence, you know, I can only wish you the greatest success because and working in older people would be great, because I'm sure that I'm going to need this at some point, and some of my friends may also need it. But it was great to catch up with you. Great to talk. You know, I hope, you know, it's not as many years past again before we we get a chance to connect. So great to have you on the show.Laurence Reid: Thanks, Harry. I really appreciate it. And hopefully I've been able to provide some of the color and why we're so excited and think we're opening up a new area of therapy here for people with hearing loss and balance disorders beyond that. So really appreciate the opportunity. Thanks very much and great to see you.Harry Glorikian: Thank you.Harry Glorikian: That's it for this week's episode. You can find a full transcript of this episode as well as the full archive of episodes of The Harry Glorikian Show and MoneyBall Medicine at our website. Just go to glorikian.com and click on the tab Podcasts.I'd like to thank our listeners for boosting The Harry Glorikian Show into the top three percent of global podcasts.If you want to be sure to get every new episode of the show automatically, be sure to open Apple Podcasts or your favorite podcast player and hit follow or subscribe. Don't forget to leave us a rating and review on Apple Podcasts. And we always love to hear from listeners on Twitter, where you can find me at hglorikian.Thanks for listening, stay healthy, and be sure to tune in two weeks from now for our next interview.

This week's episode will have you slapping your knee and laughing out loud as our crew discusses how humor is used across the science fiction universe.  We talk about our favorite films and television shows, our favorite moments of humor in sci-fi, and work through a checklist of sci-fi films and shows that fans might love to add to their own watchlists! Join us as we joke around and talk seriously about what makes us laugh in the sci-fi universe. Email us your thoughts and comments - we may even mention you on a future episode: bigscifipodcast@gmail.com. Buy Adeena's book here: https://www.amazon.com/dp/B0951DLMPF Read her blog here: https://adeenamignogna.com/klingon-interview-lawrence-m-schoen-part-1/ Listen to Cris Fox's podcast here: https://open.spotify.com/show/01BPcZVq2CqKYUCzMx7Nbj And here: https://podcasts.apple.com/us/podcast/yelling-about-star-trek/id1550774800 Listen to Brian's original music here: https://www.reverbnation.com/briantdonahue/ Listen to Brian's other podcast "The Pursuit Friends Network Podcast" here: https://open.spotify.com/show/2AzoQ2ugYhWH5khTTiq3Pj And here: https://podcasts.apple.com/us/podcast/pursuit-friends-network-podcast/id1587392027 All music used for this podcast was written, performed, recorded, and produced by Brian Donahue https://www.almostanauthor.com/the-difference-between-comedy-humor/ TV shows/series Third Rock from the Sun Alf American Dad Small Wonder Futurama Orville Resident Alien Rick & Morty Star Trek: Lower Decks Space Force Chuck (2007-2012) Mork & Mindy (1978-1982) The Middleman (2008) Red Dwarf Invader Zim Space Ghost: Coast to Coast Other Space ( https://watchdust.com/otherspace ) Mystery Science Theatre 3000 Lego Star Wars A link about some of the above: https://www.flicks.com.au/features/forget-space-force-heres-the-9-best-sci-fi-comedy-series-of-all-time/ Movies Hitchhiker's Guide to the Galaxy (also a TV show) Galaxy Quest Family Guy Star Wars Trilogy (is this considered a movie or show for this purpose?) Spaceballs Men In Black Guardians of the Galaxy Back to the Future Young Frankenstein Wall-E Home Idiocracy Bill and Ted's Excellent Adventure Short Circuit Mars Attacks Paul (with Simon Pegg) The World's End (with Simon Pegg) The Man with Two Brains (Steve Martin) Monsters vs Aliens Free Guy Coneheads Megamind Robots Sleeper Buckaroo Bonzai Honey I Shrunk the Kids Little Shop of Horrors

This week's episode will have you slapping your knee and laughing out loud as our crew discusses how humor is used across the science fiction universe.  We talk about our favorite films and television shows, our favorite moments of humor in sci-fi, and work through a checklist of sci-fi films and shows that fans might love to add to their own watchlists! Join us as we joke around and talk seriously about what makes us laugh in the sci-fi universe. Email us your thoughts and comments - we may even mention you on a future episode: bigscifipodcast@gmail.com. Buy Adeena's book here: https://www.amazon.com/dp/B0951DLMPF Read her blog here: https://adeenamignogna.com/klingon-interview-lawrence-m-schoen-part-1/ Listen to Cris Fox's podcast here: https://open.spotify.com/show/01BPcZVq2CqKYUCzMx7Nbj And here: https://podcasts.apple.com/us/podcast/yelling-about-star-trek/id1550774800 Listen to Brian's original music here: https://www.reverbnation.com/briantdonahue/ Listen to Brian's other podcast "The Pursuit Friends Network Podcast" here: https://open.spotify.com/show/2AzoQ2ugYhWH5khTTiq3Pj And here: https://podcasts.apple.com/us/podcast/pursuit-friends-network-podcast/id1587392027 All music used for this podcast was written, performed, recorded, and produced by Brian Donahue https://www.almostanauthor.com/the-difference-between-comedy-humor/ TV shows/series Third Rock from the Sun Alf American Dad Small Wonder Futurama Orville Resident Alien Rick & Morty Star Trek: Lower Decks Space Force Chuck (2007-2012) Mork & Mindy (1978-1982) The Middleman (2008) Red Dwarf Invader Zim Space Ghost: Coast to Coast Other Space ( https://watchdust.com/otherspace ) Mystery Science Theatre 3000 Lego Star Wars A link about some of the above: https://www.flicks.com.au/features/forget-space-force-heres-the-9-best-sci-fi-comedy-series-of-all-time/ Movies Hitchhiker's Guide to the Galaxy (also a TV show) Galaxy Quest Family Guy Star Wars Trilogy (is this considered a movie or show for this purpose?) Spaceballs Men In Black Guardians of the Galaxy Back to the Future Young Frankenstein Wall-E Home Idiocracy Bill and Ted's Excellent Adventure Short Circuit Mars Attacks Paul (with Simon Pegg) The World's End (with Simon Pegg) The Man with Two Brains (Steve Martin) Monsters vs Aliens Free Guy Coneheads Megamind Robots Sleeper Buckaroo Bonzai Honey I Shrunk the Kids Little Shop of Horrors

This is the first episode in a series on joy as we interview various guests who are known for their ability to bring joy to others! Stay tuned for future episodes as we prepare for the holiday of Purim with great guest and Purim classes. David Sacks gives the weekly Torah podcast “Spiritual Tools for an Outrageous World” and has spoken to enthusiastic crowds, opening the hearts of people across the US, Europe, Israel and South Africa. His topics range from the meaning of life, to Hollywood's impact on the world, to achieving happiness. Born and raised in New York City, David Sacks attended Harvard College, graduating with a degree in Government. While there he began his comedy writing career for the school's humor magazine, The Harvard Lampoon. Upon graduating, David moved to Los Angeles and began writing for television. Among the shows he's worked for are “The Simpsons”, where he won an Emmy Award, and “Third Rock from the Sun” for which he won a Golden Globe Award, “Malcolm in the Middle”, and “Final Space” on Adult Swim. David is the co founder and Senior Lecturer of The Happy Minyan of Los Angeles. David is married and raises his family in Beverly Hills, CA. This podcast is a project of The Lev Experience. To support the podcast please consider donating at Levx.org, picking up a copy of Rabbi Shlomo Buxbaum's book "The Four Elements of an Empowered Life", and, most importantly, subscribing and sharing the podcast with others.

In this episode of The ohmTown Daily News Show, it is February 10th, 2022 (Day 41 of 2022), and discussed are links from around the Internet. As usual, about 20 articles are discussed across the various categories that ohmTown's Gatherer aggregates news into. From technology to business to society, ODNS has it covered. Be sure to stop by the Twitch link below between 6PM and 7PM Eastern for news and discussion. Articles discussed in this episode are: https://www.ohmtown.com/groups/smacktalk/f/d/factory-contamination-ruins-6-5-million-terabytes-of-flash-storage-prices-may-rise/ (factory-contamination-ruins-6-5-million-terabytes-of-flash-storage-prices-may-rise) https://www.ohmtown.com/groups/mobble/f/d/scientists-unveil-most-accurate-virtual-representation-of-the-universe/ (scientists-unveil-most-accurate-virtual-representation-of-the-universe) https://www.ohmtown.com/groups/the-word-in-tech/f/d/tesla-recalls-579000-cars-and-suv-over-boombox-safety-violations/ (tesla-recalls-579000-cars-and-suv-over-boombox-safety-violations) https://www.ohmtown.com/groups/hatchideas/f/d/us-inflation-hits-highest-level-in-40-years-in-january-as-prices-rise-7-5-from-2021/ (us-inflation-hits-highest-level-in-40-years-in-january-as-prices-rise-7-5-from-2021) https://www.ohmtown.com/groups/stockmarketeers/f/d/big-spender-for-the-ultimate-super-bowl-experience-be-prepared-to-spend-100000-lodging-not-included/ (big-spender-for-the-ultimate-super-bowl-experience-be-prepared-to-spend-100000-lodging-not-included) https://www.ohmtown.com/groups/stockmarketeers/f/d/economic-report-u-s-jobless-claims-fall-for-third-straight-week/ (economic-report-u-s-jobless-claims-fall-for-third-straight-week) https://www.ohmtown.com/groups/stockmarketeers/f/d/futures-movers-oil-builds-on-gains-scored-after-inventory-drop/ (futures-movers-oil-builds-on-gains-scored-after-inventory-drop) https://www.ohmtown.com/groups/the-continuity-report/f/d/peacocks-bel-air-fights-to-take-the-tv-throne/ (peacocks-bel-air-fights-to-take-the-tv-throne) https://www.ohmtown.com/groups/band-to-bezel/f/d/a-love-letter-to-watches/ (a-love-letter-to-watches) https://www.ohmtown.com/groups/the-word-in-tech/f/d/a-third-world-may-be-orbiting-around-our-closest-neighboring-star/ (a-third-world-may-be-orbiting-around-our-closest-neighboring-star) https://www.ohmtown.com/groups/warcrafters/f/d/hearthstone-streamer-alliestrasza-and-family-cuffed-during-mid-broadcast-swatting/ (hearthstone-streamer-alliestrasza-and-family-cuffed-during-mid-broadcast-swatting) https://www.ohmtown.com/groups/beadbaby/f/d/polymer-clay-pendant-silk-screening-tutorial-how-metallic-and-crystal-components-are-added/ (polymer-clay-pendant-silk-screening-tutorial-how-metallic-and-crystal-components-are-added) https://www.ohmtown.com/groups/ofthegrape/f/d/heres-how-to-winterize-your-favorite-summer-cocktails/ (heres-how-to-winterize-your-favorite-summer-cocktails) https://www.ohmtown.com/groups/the-continuity-report/f/d/twitter-grows-to-217-million-daily-users-in-q4-income-falls-but-tops-estimates/ (twitter-grows-to-217-million-daily-users-in-q4-income-falls-but-tops-estimates) https://www.ohmtown.com/groups/tabletopknights/f/d/roguevania-sidescroller-getsufumaden-undying-moon-now-available-for-nintendo-switch-version-1-0-launches-on-february-17-for-steam/ (roguevania-sidescroller-getsufumaden-undying-moon-now-available-for-nintendo-switch-version-1-0-launches-on-february-17-for-steam) https://www.ohmtown.com/groups/distillerist/f/d/billy-walker-creates-lum-reek-10yo-blended-malt/ (billy-walker-creates-lum-reek-10yo-blended-malt) https://www.ohmtown.com/groups/mobble/f/d/chimpanzees-rub-insects-on-open-wounds-treating-others-may-not-be-uniquely-human-2/ (chimpanzees-rub-insects-on-open-wounds-treating-others-may-not-be-uniquely-human-2) https://www.ohmtown.com/groups/warcrafters/f/d/this-is-the-cheapest-1tb-nvme-ssd-you-can-buy-right-now/ (this-is-the-cheapest-1tb-nvme-ssd-you-can-buy-right-now)...

Merry Christmas Week! It is crazy to think this is our last Christmas episode of the year. This week we are covering 'Jolly Old St. Dick' from the second season of Third Rock from the Sun. This episode has A LOT going for it in a very short period of time. Matt waxes poetic over John Lithgow's masterful performance, he once again expounds on his love of Christmas blow mold decorations and, as always, determines whether or not this episode should be deemed a holiday classic.

Do you understand the environment that you live in? Are you aware that some things are not working well? Have you noticed the division, and the dissension in our country today? Does it seem like people are meaner, and less open to critical conversations? Have you seen the Wizard of Oz? When the powerful Oz, turned out to be a short, dumpy dude? Would you like to know how the Munchkin made people fear him and cower in fear over him? Demagogue: What IT is, and why IT matters On today's Podcast of Living Life Like It Matters, Mr. Black takes a peek at our environment. No Today’s podcast is NOT green, and we are not ‘saving’ the Third Rock from the Sun. Today we are talking about the environment of our thoughts and the environment we live in, that we call, culture. Culture is a series of repeated norms, or acceptable behavior. In the study of Epigenetics we have learned that we are a community of roughly 300-trillion cells all driven by our environment. Our environment creates an ultimate cause-effect pattern. Culturally and socially, the accepted norms of society create the environment for many things to happen. As a leader we must be AWARE. Like Dorothy in the Wizard of Oz, we must pay attention to the person behind the green curtain. It is important to understand the programming and the narrative of society and our leaders, so that we are in control of our thoughts and choices. That is truly where our personal power lies. Enjoy today’s Podcast titled, ‘Demagogue: What IT is, and why IT matters'. Tune into our new Podcasts every Monday and Thursday, and build the pattern for; Living Life Like It Matters. Subscribe and follow our Podcasts and build the pattern for; Living Life Like It Matters. Be sure to Like and Follow us on our facebook page. If you enjoy the show, please tell a friend or two, or three about it. If you are able to leave an honest rating and, or, review it would be appreciated.See omnystudio.com/listener for privacy information.

Vulture Fest 2021 was this past weekend, and now we want—nay, *have*—to share all this vulture-y pop culture-y goodness with all you Good One listeners back home! So over the next few weeks we'll be publishing our favorite V Fest panels here on the Good One feed, and first off is... Incoming message from the Big Giant Head: It's a whole extraterrestrial family reunion for the Solomons as the cast of 3rd Rock From the Sun comes together for the beloved NBC series' 25th anniversary. John Lithgow, Joseph Gordon-Levitt, Kristen Johnston, and French Stewart will join moderator and friend of Good One Kathryn VanArendonk to celebrate — and oh my God, they're GORGEOUS! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ryan O'Quinn is from a small town in Virginia but moved to L.A. after graduating college. Since then, he has had a wild ride in the film business being on shows from JAG and Third Rock from the Sun to Beverly Hills 90210 and Alias. He now is the president of Damascus Road Productions, producing powerful and moving movies and documentaries. An amazing interview, you don't want to miss out! --- Support this podcast: https://anchor.fm/goodlifeconversations/support

Our latest episode features the fantastic animator & director of several BBC Doctor Who missing stories including The Evil of the Daleks, which arrives on UK shelves September 27th - AnneMarie Walsh joins us! AnneMarie takes time to talk with us about her career, her involvement in the animated versions of missing Doctor Who stories and challenges it can bring, and how she got involved with the show. Then, AnneMarie brings us her hilarious Pick of the Month, the wonderful NBC comedy smash, Third Rock from the Sun! We discuss how the show holds up after all these years, the brilliance that is John Lithgow, and the importance of an ensemble cast. And don't forget, The Evil of the Daleks is now available in the UK and will be available in North America from November 16th! --- Support this podcast: https://anchor.fm/doctorwhoandcompany/support

Our latest episode features the fantastic animator & director of several BBC Doctor Who missing stories including The Evil of the Daleks, which arrives on UK shelves September 27th - AnneMarie Walsh joins us!  AnneMarie takes time to talk with us about her career, her involvement in the animated versions of missing Doctor Who stories and challenges it can bring, and how she got involved with the show. Then, AnneMarie brings us her hilarious Pick of the Month, the wonderful NBC comedy smash, Third Rock from the Sun!  We discuss how the show holds up after all these years, the brilliance that is John Lithgow, and the importance of an ensemble cast. And don't forget, The Evil of the Daleks is now available in the UK and will be available in North America from November 16th!

This week we are reminded that Dick from Third Rock from the Sun is crazy! We saw Ricochet, where else you going to see Governor Jesse Ventura die in a white supremacist joust fight? If you want to here us riff it, consider joining the Cineprov Patreon. Join the Patreon (http://patreon.com/myopia)! There are tiers to that will help us keep doing what we are doing! (Each tier unlocks all lower tiers) What is patreon? It is our way of rewarding our biggest fans with additional stuff, like movie episodes, riffs, and our back catalog! Join now for additional stuff at $1, $3, $5, and $10! Or a one time $50 to pick your own flick! What do you unlock? The Alien Franchise: Alien, Aliens, Alien 3, Alien Resurrection, Prometheus, and Alien Covenant, the rest of Harry Potter: The Half Blood Prince, Hallows part 1 and 2, plus Silver Bullet, The Watchmen, The Lawnmower Man, Demolition Man, True Lies, Van Helsing, The 39 Steps, Baby's Day Out, The 13th Warrior, Star Trek IV: The Voyage Home, The Thomas Crown Affair, Austin Powers: International Man of Mystery, and London Has Fallen! Not to mention movie riffs and much more to come! Also, because you love us, find us everywhere! Like Facebook! Or the Facebook Fan Group! Or Twitter! Or Letterboxd! Or the Fancy Website! We are also available wherever you are too! Apple Podcasts, Google Podcasts, Spotify, Stitcher, TuneIn and Alexa, Podbean, Listen Notes, YouTube, everywhere! Coming soon to Pandora, iHeartRadio, and Deezer. How will Ricochet hold up? Host: Nic Panel: Daniel, Matthew, Nur

This week we are reminded that Dick from Third Rock from the Sun is crazy! We saw Ricochet, where else you going to see Governor Jesse Ventura die in a white supremacist joust fight? If you want to here us riff it, consider joining the Cineprov Patreon. Join the Patreon (http://patreon.com/myopia)! There are tiers to that will help us keep doing what we are doing! (Each tier unlocks all lower tiers) What is patreon? It is our way of rewarding our biggest fans with additional stuff, like movie episodes, riffs, and our back catalog! Join now for additional stuff at $1, $3, $5, and $10! Or a one time $50 to pick your own flick! What do you unlock? The Alien Franchise: Alien, Aliens, Alien 3, Alien Resurrection, Prometheus, and Alien Covenant, the rest of Harry Potter: The Half Blood Prince, Hallows part 1 and 2, plus Silver Bullet, The Watchmen, The Lawnmower Man, Demolition Man, True Lies, Van Helsing, The 39 Steps, Baby's Day Out, The 13th Warrior, Star Trek IV: The Voyage Home, The Thomas Crown Affair, Austin Powers: International Man of Mystery, and London Has Fallen! Not to mention movie riffs and much more to come! Also, because you love us, find us everywhere! Like Facebook! Or the Facebook Fan Group! Or Twitter! Or Letterboxd! Or the Fancy Website! We are also available wherever you are too! Apple Podcasts, Google Podcasts, Spotify, Stitcher, TuneIn and Alexa, Podbean, Listen Notes, YouTube, everywhere! Coming soon to Pandora, iHeartRadio, and Deezer. How will Ricochet hold up? Host: Nic Panel: Daniel, Matthew, Nur

BILL IRWIN:  Original member of Kraken and San Francisco's Pickle Family Circus.  Original works include: On Beckett, Old Hats, Fool Moon, Largely New York, The Harlequin Studies, Mr. Fox: A Rumination, The Happiness Lecture, and The Regard of Flight. Theatre: The Iceman Cometh, Show Boat (SF Opera), Endgame, Bye Bye Birdie, Roundabout Theatre Company's revival of Waiting for Godot (2009 Drama Desk Nomination), Broadway/West End revival of Who's Afraid of Virginia Woolf (2005 Tony Award, Helen Hayes Award), The Goat or Who is Sylvia, King Lear, Accidental Death of An Anarchist, 5-6-7-8 Dance! , Waiting For Godot at Lincoln Center, Scapin, The Tempest, Garden of Earthly Delights, Texts for Nothing, A Flea In Her Ear, 2003/2004 Signature Theatre Playwright in Residence, The Seagull, A Man's A Man, 3 Cuckolds. Television: PBS Great Performances: Bill Irwin Clown Prince, Third Rock from the Sun, Northern Exposure, Sesame Street, Elmo's World, The Regard of Flight, Closing Ceremony 1996 Olympic Games, The Cosby Show, The Laramie Project, Subway Stories, Bette Midler: Mondo Beyondo, Law and Order, Life on Mars, A Gifted Man, CSI, The Good Wife, Lights Out, Monday Mornings, Law & Order: SVU, Elementary, Quarry, Sleepy Hollow and Legion on FX.   Film: Irresistible, HBO's Confirmation, Interstellar, Identity Theft, Rachel Getting Married, Higher Ground, How the Grinch Stole Christmas, Definitely, Maybe; Igby Goes Down, Lady in the Water, Dark Matter, Raving, Across The Universe, Popeye, Eight Men Out, Silent Tongue, Illuminata, A Midsummer Night's Dream, My Blue Heaven, A New Life, Scenes from a Mall, Stepping Out. Awards: National Endowment for the Arts Choreographer's Fellowship, a Guggenheim, a Fulbright and a MacArthur  Fellowship.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

We often forget that this rock we live on is not ours. We tend to worry about the events occurring on this rock while forgetting that it is not ours to worry about. --- Support this podcast: https://anchor.fm/lonnie-jones/support

The birth of a music store! Listen in as Lee Dixon interviews Gregg and Angela Gammon, owners of Third Rock Music. Learn how your favorite music store came to be!

Drugs at Disneyland, Heavy Metal Parking Lot, Terry Crews... I answer your burning questions PLUS I debut another brand new Mayer Hawthorne song! Are you not entertained?! Tracklist: Mark Capanni "I Believe in Miracles" sir Was "In the Midst" sir Was "Deployed (feat. Little Dragon)" Pure Essence "Third Rock" Frida "I See Red" Judas Priest "You've Got Another Thing Comin'" Lenny Kravitz "Believe" Mocky "Sweet Things" Parliament "Long Way Around" Andre 3000 "Me&My (To Bury Your Parents)" Rotary Connection "Didn't Want to Have to Do It" James Brown "Stoned to the Bone" Dorothy Ashby "Little Sunflower" Freddie Hubbard "Little Sunflower" Mayer Hawthorne "Over" Neil Young "On the Beach"

The Total Tutor Neil Haley will interview Curtis Armstrong (aka Booger "Revenge of the Nerds"). “Risky Business,” “One Crazy Summer,” “Adventures of Huck Finn,” “Smokin' Aces,” “Dodgeball,” “Akeelah and the Bee”---just a fraction of the hit films in which you'll find Armstrong's face gracing the big screen. Some of the hit television shows he appeared in are “Third Rock from the Sun,” “Ally MacBeal,” “That 70's Show,” and “Ghost Whisperer to name a few. Whether you're an 80's pop culture junkie obsessed with all things comedy, or a die heart sci-fi geek, you probably have seen Armstrong in your favorite TV shows and movies. Armstrong has been acting since before his big break in "Risky Business." Something you may not know about the veteran is that he first got his taste of acting when he lived in Geneva, Switzerland with his family as a young boy. He would visit a little theater in the old town where they showed unabridged versions of old, silent films and he began to look to the actors of the 20s and 30s as inspiration. He grew to love the art and when he moved back to the states, began to study theater and participate in local plays. He co-founded a theater company after attending Oakland University Academy of Dramatic Arts and later moved to New York to pursue theater and film full time. For the past 30 years, in between filming television and movies, he continued to go back to his original love and could be seen on the stage.  I would love to hear your thoughts on featuring this actor, not only about his newest on AMAZON, but about his impressive, respected, and longstanding career in Hollywood with over 130 credits that continue to grow.

On this episode of How Was Your Week, actress and author KRISTEN JOHNSTON joins Julie--on her bed!-- to talk about her new book, GUTS, why Joseph Gordon-Levitt isn't like other messed-up former child actors, the time Kyle Richards did background work --and tried to be Kristen's BFF!--on ER, the advice she'd give people considering rehab, and how kind John Lithgow was to her during her THIRD ROCK audition. Also, what advice she gave Andy Cohen back in the day! Her dog's food issues! And the terrifying experience she had in London that led her into sobriety. Plus, Julie re-watches THE NEVERENDING STORY and has strong feelings about Bastion's father's breakfast choices! What Roberto Benigni has in common with Glenn Close--and a real boy! Why Debra Messing's husband in SMASH is so discouraging of her lyric-writing! The history of clowning, and how it relates to the book, COLUMBINE! And Anthony Bourdain's Oscar picks, because somebody (damn her) actually asked him. Also, Kristen put on lashes do do this podcast, and you can hear them on the recording! In a way, you can. Shut up! I'm serious!