Podcasts about WGA

It's August. It's Kickstart. It's, umm, a short one. ARROW SALE RUNNING UNTIL 8/30/2026! BLU-RAY RELEASES FOR 8/4/2026!   GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages   

Hang out with us for a fun conversation with Lisa Orkin and Harris Orkin — daughter and son of legendary radio writer, actor, and producer Dick Orkin. Dick Orkin, the mind behind the iconic radio serial “Chickenman” and the creative powerhouse The Famous Radio Ranch, was hailed by Newsweek as the pioneer of “The Advertising Theater of the Absurd.” He revolutionized audio advertising with his use of deadpan comedy, memorable characters, and situational humor, setting a new standard for creative storytelling in audio.Meet Our Guests:Lisa Orkin is a comedian, actor, writer, and audio director renowned for her unique blend of comedy, storytelling, and marketing across radio, film, and digital audio platforms. She's also known for her podcast production work, distinctive voice acting, and creative leadership at The Radio Ranch.Harris Orkin is a multi-medium storyteller — author, playwright, screenwriter, video game narrative designer, and voice director. He's best known for his BAFTA and WGA-nominated scripts for the Resident Evil video games and for his James Flynn Escapades spy comedy novels. The PAGE International Screenwriting Awards sponsors the WRITERS' HANGOUT.Executive Producer Kristin OvernExecutive Producer/CreatorSandy AdomaitisProducer Terry SampsonMusic by Ethan Stoller 

At this year's Annual Vegetable Industry Seminar, (Project Code VG24003), funded by Hort Innovation using the vegetable research and development levy and contributions from the Australian Government, growers got an update on the VegMech project (Project Code VG 23003), which is working to boost the adoption of advanced mechanisation technology in the Australian vegetable industry, and is being run by the Queensland Department of Primary Industries. This year's update was looking at the research into the automation of harvesting of crops which currently rely on manual labour, like lettuce and broccoli and the work being done in the USA, and the projects which are being led by the Western Growers Association's Innovations Team.The WGA is also heavily involved in the research and trialling of a range of automated and autonomous machinery, including spot sprayers and laser weeders which are utilising AI, and which are also being introduced in Australia and being used on some farms. They have also formed a partnership with Hort Innovation. In this two part Vegalogue episode we'll hear from Ben Palone who's the WGA's Senior Commercialization Director, and Walt Duflock, who's the WGA's Senior Vice President of Innovation. In Part one we'll hear about their research into autonomous harvesting technology and Reservoir Farms, where much of their research is now being done. In part Two we'll talk about their work in targeted weed control and also how they are working with Hort Innovation.You can find out more about the Western Growers Association here: https://www.wga.com/To learn more about Reservoir Farms please follow this link: https://reservoir.co/You can watch the VegMech presentation at AVIS here: https://ausveg.com.au/knowledge-hub/avis-2026-harvest-automation-where-its-at-and-where-its-going/Vegalogue is the podcast from AUSVEG, the peak body for Australia's vegetable, potato, and onion industries, where we examine the pressing issues and latest developments in our sector.Thanks for listening! You can find out more about AUSVEG and the Australian vegetable industry at ausveg.com.au. Subscribe to our newsletter, or follow us on Facebook, LinkedIn, YouTube, Instagram, or Tik Tok.

We close out AMBLIN' DREAMS 2026 with a fun 5th BONUS episode! It's two from Amazing Stories Season 2! GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

Wonder Dynamics co-founders Tye Sheridan and Nikola Todorovic join GG Hawkins to explain how their filmmaking backgrounds shaped the development of AI-powered production tools for artists. They trace the company's evolution from an interactive storytelling startup to Autodesk Flow Studio, a tool designed to transfer live-action performances to CG characters while preserving creative control and compatibility with established VFX pipelines. The conversation covers Hollywood's changing relationship with artificial intelligence, the potential for lower-cost sci-fi filmmaking, Autodesk's acquisition of Wonder Dynamics, the continuing importance of marketing and distribution, and how emerging filmmakers can prepare for an AI-integrated industry. In this episode, No Film School's GG Hawkins and guests Tye Sheridan and Nikola Todorovic discuss... How Sheridan and Todorovic met while working on Last Days in the Desert and bonded over their interest in making independent science-fiction films Why the expense of CG and visual effects inspired them to pursue a lower-budget, “Blumhouse model” for sci-fi and animation Wonder Dynamics' pivot from interactive narratives to AI tools focused on film production Why AI filmmaking technology should be developed by people who understand professional production and post-production workflows The differences between tools made for social media content and tools made for long-form narrative filmmaking Why editability, control, and compatibility with established VFX pipelines became central to Autodesk Flow Studio How Autodesk Flow Studio captures a performance from single-camera footage and transfers it to a CG character without a traditional motion-capture stage Why Sheridan and Todorovic do not believe an actor's performance should be generated entirely through prompts Hollywood's pushback against AI during the SAG-AFTRA and WGA strikes and the industry's gradual shift toward discussing responsible use How filmmakers can evaluate AI tools according to their ethics, usefulness, and respect for artistic control The potential for AI to lower production costs and help independent filmmakers create ambitious sci-fi and VFX-heavy projects Why cheaper production does not eliminate the challenges of marketing, distribution, and audience discovery How short films, YouTube projects, commercials, and music videos can serve as testing grounds for new filmmaking technology The opportunity to create visually ambitious genre films that remain grounded in original ideas and character-driven storytelling What Autodesk's acquisition of Wonder Dynamics provides in terms of 3D expertise, scale, resources, and integration How small production teams have used Autodesk Flow Studio to revive scripts they previously could not afford to produce Why future filmmakers may see AI as an ordinary part of every creative tool rather than a separate category Sheridan's advice to practice whenever an opportunity appears and learn from every film set Todorovic's advice to persistently seek mentors and approach experienced professionals with genuine curiosity Memorable Quotes: “For us, that became our core theme, is just building something for artists that leaves them in control.” “AI is like the Internet. You can't just say AI is bad or AI is good. It means so many different things. It really depends on how you're using it and whether or not you're maintaining the integrity of the artist process.” “We're kind of allowing distribution to everybody, we're going to allow the production to everybody, but now it's a matter of being discovered.” “Be stubborn, be persistent, and try to find the best mentor you can possibly think of, someone you admire, and then just bother them with emails for six months. You'd be surprised.” Guests: Tye Sheridan Nikola Todorovic Resources: Autodesk Flow Studio Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram

How can building an audience in advance help your stories reach the people who make movies? And how can you prove there's demand for your book or screenplay before you've written it? Brooks Elms shares his advice after more than 20 years as a WGA screenwriter. In the intro, what doesn't work for book marketing and what does [Amy Chan SubStack; Unsingle; Rephonic]; Goodreads giveaway for Bones of the Deep; FutureVision XPrize. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to see the opportunity in AI when others only see the threat How to test a story with samples, and what a 16-second movie can do Building the trailer before you write the screenplay Letting your audience finance the film once they have validated the idea Why Hollywood still wants existing IP, and what makes them pay attention Feeling safe enough to write the truth, and finding a concrete path forward You can find Brooks on LinkedIn or email him at brooks@brookselms.com. Transcript of the interview with Brooks Elms Jo: Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. So welcome to the show, Brooks. Brooks: Thank you. It's awesome to be here. Jo: Fantastic. So first up— Tell us a bit more about you and how you got into screenwriting. Brooks: I started filmmaking first. A buddy came up to me in high school and said, “Hey, we're making a karate movie, do you want to help us?” I was like, “Oh my God, yes, that sounds amazing.” So next thing I know, I had this karate outfit on, and we were just making this completely ridiculous and totally fun movie, and it was amazing. It was so fun. Then it went to a whole other level when we shared it with a friend, this guy Jay Sharon, and he watched the movie and he laughed so hard he literally fell out of his chair. I was like, “Oh my God,” the fun I had making it could actually transfer to somebody else. I was hooked. So from there I went to NYU film school, and then made a few independent feature films which were good but not great in terms of how they were received. They were great for me in terms of enjoyment, but I knew I needed to iterate faster at that point. So then I was like, “Well, it's expensive and it takes a long time to make a movie,” at least back then. So I pivoted to screenwriting, and pumped out two, three scripts a year, got signed at UTA, got writing assignments, and basically launched a screenwriting career. Then I still tried to get some stuff going, but it's hard when movies are so expensive. It's not hard, it's just that it takes a lot of precision in the marketing, and a lot of conversations to find the right matches to finance something, and you're either interested in doing that or you're not. I just was like, “Well, I'll just mostly write screenplays.” Then I started teaching at UCLA Extension and then coaching after that, along with writing. Then all the way up to the future. What's great about moving forward is that with AI, shot-making is becoming very close to cinematic quality. You can actually match cinematic quality in moments in some genres, but probably by next year. Right now you could actually do a really good horror movie all AI for 10, 20,000 bucks, depending on how much you're doing yourself or getting other people to do. So the economics are going to absolutely explode. So I'm sitting on dozens of scripts that didn't get through the Hollywood packaging bottleneck because they're too expensive, and I now have this giant slate that's ready to go, and I'm just absolutely thrilled. It's been a lifelong dream for me. Jo: Oh, so much to come back on there. Where to start? I do want to talk about what you just said there, sitting on dozens of scripts and now seeing the opportunity. I actually wrote down in my journal about a year ago, I see what's coming with AI, and I think that the best thing I can do is create as much original IP as possible, so that I can make the most of the opportunity ahead. So let's just get into the AI, because a lot of people feel it's a super bad thing. Talk about the opportunities and the attitude that you've got [around AI], and that you've seen others have around this, for what is ahead in a positive way. Brooks: It's fascinating to see how people respond to AI. I wonder, when the printing press rolled around, if there was some sort of backlash. Books must be handwritten. They can't be mass-produced. Here's one of my theories. At a deep psychological level, it's so profoundly powerful that I think the default setting is, “Oh, crap.” When I was a kid, some things were hard, and that power imbalance, when something big, new and powerful comes along: I'm going to get screwed, and so this is somehow a bad thing. I think that's the base psychological thing going on with most of the noise. Obviously there are some legit problems, in terms of copyright infringement from learning models, or from some of the environmental situation. So I'm not saying it's all rainbows and butterflies, but I think 90% of the noise around it comes from a fear of change. Here's the other one—a fear of, “Oh, yikes, I'm going to get taken advantage of somehow by either robots, or the corporations are going to use the robots against me,” or something like that. I have real empathy for me when I feel that way a little bit, but I don't feel it much, and for other people that do feel it. The other thing is, you know what it is? I think they fear their own empowerment even more. I had a therapist who was really good. He said, people aren't so much afraid of failing as they are afraid of succeeding. Because if we fail, we're stuck in act one and we don't go anywhere. The fear is answering the call and going to act two, when everything effing changes in the new world. So I think people are afraid of how goddamn powerful they're going to be when they can have a team of AI agents helping them do everything they want in business or life or whatever. I think it's the same thing with the internet. People are like, “Oh, I don't like social media, blah, blah, blah.” And I get it. There's a lot of noise and a lot of crap. Yet we have access to billions of people, and the algorithms in social media right now I think are level three out of 10. They're just going to get better and better. Even as it is now, if I do a post about something and it gets ignored, that's on me. The algorithms are trying to match me to my people. So if I'm not unique enough and authentic enough and aware enough of how virality works, that's on me, and it's a learnable skill that I can embrace and then change and then get better at. So I think people then resist that change. They resist the empowerment of learning the art of virality, or learning the art of some sort of social media stuff or whatever. The last thing I'll say about this rant is, I don't want to act like I'm the guru on the hill that has all the answers. I refuse calls all the time. I'm scared about all sorts of things. I'm certainly not perfect. I feel frustrated when I'm trying to put my big ideas into action and I can't get this technology thing to work or that one, and I throw tantrums. I'm trying to come at it from a real human perspective, but by and large, I've got stars in my eyes. I'm like, “This is amazing. This is going to be so powerful.” For so many people, you just have to be ready to embrace it and just go along for the ride, because there's going to be some big-ass changes. There already are, and that's going to accelerate. Jo: You mentioned there learning the art of whatever it is. One of the things is, I've spent 20 years, and so have you, learning our craft and our art, and now it can be done very easily. I'm generating video, as you mentioned, which is a craft I haven't spent 20 years on, but now I can generate. So things have definitely changed in that way. Just coming to the screenwriting side. Probably about a decade ago now, I did my first screenwriting course. I've written screenplays. Then I looked at the game you have to play and, like you said, the conversations you have to have, the events you have to go and network at, all the things that you have to do to put a screenplay in front of the right person at the right time. I was like, “I cannot do that. It's just not going to happen. I can't do that along with everything else.” So I put it aside, but now I feel maybe it's time to bring it back because things are changing. So can you maybe talk about, if someone has a screenplay now that they've written, or some IP like a book that they have now— What would you recommend people do in terms of wanting to get that [IP] in front of somebody, or doing something with it themselves? Brooks: It's such a good question. By the way, not even a screenplay—you could do the same things with a novel. Let me try to be succinct here, which is a good challenge for me. A simple way to look at it is, you're giving samples. Let's say it's a lemonade stand, and you give out a little shot of your… maybe you have cayenne pepper lemonade, some sort of fun lemonade. If you give out a sample and people are into it, they're going to come back and they're going to tell friends. If you give a sample of the lemonade and they're not into it, then you go back to the kitchen and you mix up a different flavour. So that's some basic business, but the internet allows us to do that at scale. So what I like to encourage people to do when I coach them is come up with the minimum viable material. It can be a 10-second clip. There's a writer in my community who made a really beautiful 16-second movie. It's one shot. I love it so much. It's two wine glasses. There's a lipstick smudge on one of the wine glasses. They're half full, and it's just that shot. It's sitting there, and all of a sudden you hear this thundering, thumping down these stairs, dun, dun, dun, dun, dun, dun. Then you see out of the corner of the frame one person runs by, and then the other person behind her runs by and goes, “Wait.” That's it. That's the whole movie. It's 16 seconds. He did that with his phone. So there's so much going on. There's a couple of basic elements, but he just did it with his phone, and you can evoke enormous emotional impact on people through social media, whether it's just words. You guys have a big advantage as novelists because you're so good with words. Whether it's a little bit longer, like sudden fiction, that's a couple of pages or whatever. Even just copywriters are really in a good position for the future because they're super potent with two words or three words or 10 words. Then novelists are probably really advantageous because it doesn't cost anything to just put some words out on the internet. The point is, if you put something out, it's a signal, and you're talking about billions of people who could find that signal. If you do it and then you look at the response, and then you try again, you look at the response, we can do this iteration infinitely for free. So you can do it already. You've been able to do it for 10, 15, 20 years, just with words. But now you're going to basically be able to do that with movies or clips or trailers. So the thing that I'm leading in my community of writers is having people build trailers in advance, or clips. When a book or a movie is done, how the heck do we get people to see it? One way is a trailer or some sort of behind-the-scenes material. You can just do that stuff now before even writing the screenplay. I saw that you were doing this project, a trailer for this competition. And then you mentioned, “Oh, I've got to write the screenplay.” Not really. You have to develop the story enough to know what you're referring to, and then it's about studying the craft of either trailer construction, or whatever the clips are, or viral clips. They all have a structure, and then you just test it. If you enjoy that testing process, which I find absolutely thrilling, it feels like the filmmaking version of a stand-up comedian. If I did stand-up, I say a joke, they laugh or they don't laugh. It's really beautiful feedback from the universe. Nerve-wracking, right? But we can do that now as storytellers. We put a story out there in any format, and the audience responds. Just like you have to read any room, you have to learn how to read the engagement on social media. What do likes mean? What do shares mean? What do comments mean? How do you deal with trolls? All that is just part of the new art. Once you get good at it, holy smokes, that's the key to the kingdom. You can build audiences in advance, and for movies you could even have them finance your movie in advance, if you've built an email list of 20,000, 30,000, 40,000 people because you kept putting out all these viral clips around your story, novel, or screenplay. Then you go, “Okay, now 30,000 people are on my email list and I tell them about me and my perspective and my world. We're going to make this darn thing with AI for 20,000 bucks. You guys have got to pony up some money. Put in a dollar, five, 10, or you get the VIP $500 experience.” It's like crowdfunding, but much more sophisticated, because most crowdfunding was like begging friends and family to donate to your crazy dream. What I'm talking about is going to the audience directly, developing enough of the story, then going to the audience second, and then only when they validate the idea, to the extent that you're happy with. You could do a crazy idea that's going to have a small audience, and you don't have to have a blockbuster audience. You get to pick the audience size that you want, and then put the samples out there and see if you have a relevant audience size for this next project. Once the audience tells you, “Yes, we want this,” then you go make it. So you're ultimately reducing risk to almost zero. It takes time and you have to learn how to do this stuff, but it's thrilling to me because we just have the capacity to test the material and listen to the audience upfront. The last thing I'll say, and I've rambled a lot, I'm sorry. When I made a movie in 1994, a feature film right out of NYU, it took me three years to find out what the audience thought about that movie. I had to make the damn thing, and then I ran out of money, and that took me years to edit it, and I finally got it, blah, blah, blah. And again, I loved it. I loved every facet of it, and it was fine, but it was super inefficient. Today, I could take those same elements, create an AI trailer this weekend, put it in front of hundreds of thousands of people, and they could tell me right away, “This sucks,” or, “This is interesting,” or, “Holy smokes, this is amazing. I want this.” If it's not, “Holy smokes, this is amazing, I want it,” I can go ahead and re-edit the whole damn trailer, and just keep reiterating at almost no cost. Then once the demand is there, I can take that demand and that audience and go to Hollywood, and that's when they're going to want to work with me. Then it doesn't take a million conversations and finding the needle in the haystack, because Hollywood sees the numbers and they go, “Oh, you're the people we do want to do business with. You've proven demand. We want to do business with you.” Jo: Yes, it's so interesting. I can hear people listening and they're like, “Easier said than done, getting an email list of 40,000 people.” And in fact— It's exactly the same as building up a career as an independent author. This is as a filmmaker, as a visual person, and the industry is visual, so doing a visual trailer is the obvious thing. And as you say, the tools I use just to do this one, I use Midjourney, and I've used Seedance as the main video model. It does take a while, but it is pretty fast now, if you have a visual image of what you want in your head, which obviously you're a visual person as well. But is it… Brooks: Hold on. I want to push back on that a little bit, because I think it's really important. So yes, that's true, but underneath that, my friend, it's a relationship. It's the relationship, and the media is secondary. You have been prolific in connecting with your audience, and that's why I think a lot of people like you, because you share and they get to know you in that sort of cadence. I saw you in another podcast, you mentioned Seth Godin, who just said, “Hey, I want to be the type of person that has this relationship with my audience. I'm going to share some of my thoughts every day.” He happened to do it with words, with his background in marketing, but you could do the same thing with still images. You could do the same thing with a five-second movie clip once a week. It's the relationship you want with your fans. I'm not saying you snap your fingers and you have 50,000 people on your email list. What I'm saying is, what else are you doing? If we're artists and our impulse is to create and share, and if you do it in this way, if I can create and share and inspire trust in this relationship with a stranger because they like my genre thing and they like the way they felt when they experienced my media, words, images, movies, it doesn't matter. They just like the feeling, and they go, “Ooh, I want more of that feeling. How do I get more of that? Oh, this person has this email list or community.” If I can do it with one, then I can scale it out. So getting the first one, or the first 5 or 10 samples, that is a whole process. But then once you do that, scaling up is more of a mechanical thing. It's not even that hard, especially when you can do paid ads. So you can scale up very quickly if you have the sauce. If you don't have the sauce, it doesn't matter who you're related to, you've got to get the sauce right. Jo: Yes, and again, it's so parallel to the indie author community. I've just got to ask you, in the olden days, an author might write a screenplay, or a screenwriter write a screenplay, and then they would send it. They'd find an agent. They'd pitch an agent, and I guess then they'd hope that someone would turn that into a movie. So is that just dead now? Is it realistically that you need to get yourself out there, build the audience in the same way that it often is for authors? Brooks: So, no. I've got two screenplay deals going right now. So here's how it's going to work. Think about Broadway, or the theatre district in Britain. It's like West End or East End or whatever… Jo: The West End. Brooks: Sorry for my American ignorance. West End, okay. So every town on the planet has a stage, but there's only one Broadway, there's only one West End, right? And every town has its own festival, but there are a few significant tastemakers. There's Cannes, there's Sundance, there's Toronto. Hollywood is always going to be a tastemaker in our lifetime, for sure. What they don't have anymore, what they enjoyed for the first 100 years of the industry, is that they had a stranglehold on basically the equipment, the financing, and the audience, and that's all going away. Do you want to hear a fun story about the birth of cinema? Do you know why Hollywood started in Hollywood? Jo: No. Brooks: So Thomas Edison invented the camera, or the type of model camera that they were using in, I don't know, 1910 or something around there. They didn't want to pay his patent. They didn't want to pay the patent to make these movies, so they went all the way across the country, a bunch of outlaws, and they set up shop in California because he couldn't enforce his patent that they were basically stealing. And reason number two, LA enjoys amazing weather almost all year round. The weather here is either nice or really nice. You have mountains, you have beach, you have desert, you have all these different locales. So when it was really important to be on location, LA was the perfect place. Anyway, that is all going away. For many decades, more people could make movies. In the early '90s, Robert Rodriguez made a movie for 9,000 bucks. There was a book in the '80s that I bought that I loved, it was Feature Filmmaking at Used-Car Prices. This guy, Rick Schmidt, I think his name was. There were the independent filmmakers really in the '60s and the '70s. So the cost has been going down and down and down, and now it's less than ever. Once social media came along, now you have access to the audience, so why do you even need Hollywood? That being said, there are tons of people. There are 400,000 people already working in the movie and the TV industry here. And they're voracious. We have a voracious demand. Humans need stories. We need big stories, long stories. We need stories, and Hollywood is so good at giving them stories. And so they have a need for these things, and they're still spending a lot of money on those budgets. So yes, there's still a demand for turning books and optioning them and turning them into movies. Books are great. Any sort of existing IP is great because there are marketing efficiencies there. People already know that stuff, know the vibe of it, and so it's easier to market than something that's totally creative and new. When you're spending that much money, you want those marketing efficiencies. They're really important. So the point being, the power is shifting away from Hollywood. Hollywood will still be a tastemaker, but you and me can reach anybody on the planet now. Almost. Billions of people. If it's making a movie, right now you could make a movie that most people wouldn't realise is an AI movie. If it was a horror film, I know a handful of people that could make a feature-length horror film right now with AI and 99% of the audience couldn't tell, if it was professionally written. Jo: I think the point here though is, I'm an author, the people listening are authors, and we don't want to make movies. We want to license our IP to people who want to make movies. Brooks: Yes. Great. Okay, good. So then you could, if you wanted, build an audience. Hollywood loves when something's already proven, so that's that IP thing, right? So if you just have a great book, then it's all about the sales. You guys have Dragons' Den, we have Shark Tank here. And what's amazing about that show is these are people or entrepreneurs pitching an idea, and there's an amazing rhythm that happens. They say, “We've got this great idea. It's this sort of company.” And the sharks, or the dragons, will listen. And there's a huge turning point when they reveal sales. They're either really excited about the idea and then they go, “Well, how are the sales?” And the person goes, “Well, we don't have any sales yet.” And they go, “Uh,” and they're not interested. Or they might even be like, “Eh, it doesn't seem like a good idea.” And they're like, “Well, how are the sales?” And they're like, “Oh, well, we've sold through the roof.” And then all of a sudden they perk up. So it's all about the sales. So step one is writing something that you want. Step two is making sure other people in your target audience are also loving it as much as you do. Step three is proving in some way at scale that there's real demand for it. So you could do that with trailers, you could do that with clips, you can do that as an indie publisher. There's all sorts of things that you can do. Humans are much more persuaded by concrete data than they are by just vibes. So if you can bring Hollywood concrete data of any type, like viral videos, like audience, like obviously bestsellers. Awards mean something, but not quite as much as sales. Then you're going to get Hollywood's attention because that reduces risk for them. So even now, when Hollywood's definitely shrinking and contracting, there's still very significant money being spent because it's a huge demand. If you ever walk around a studio lot, those things are opulent places. It's stunning. Like, how are they paying for all this stuff? These lots are enormous. It's because humanity is voracious for stories, and movies are one premium type of storytelling. The demand for stories is steady if not going up. It's just that we have a wider variety of types of stories that we can do, whether we're an indie author. So anyway, did I answer the question? You get me too excited with these questions, Jo. It's a problem. Jo: Yes. I think there's a lot of opportunity and a lot of ways in, but the parallels with being an indie author I think are quite clear. One of the things I found interesting about your profile and what you do is that you help clients who are already accomplished but not quite breaking through, and that sounds like a lot of mid-list indie authors, probably a lot of mid-list screenwriters, mid-list filmmakers. This is a hard place to be because, on the one hand, we are grateful for what we have achieved and what we can do, and yet wanting more, wanting that big Hollywood deal or the Netflix deal, or wanting the massive bestseller or whatever. So if someone wants to get to that next level, what are some of the ways that they can perhaps try and get there? Brooks: It's a great question. Coaching is a really wonderful way to learn anything of this sort of complexity and challenge, especially if it's a hyper-competitive business. We need two things, I think, to write a great novel or screenplay or both. A, we need to feel profoundly safe in our space. If we can't really feel deeply authentic about the things that are embarrassing, or that we feel shame about, or just our shadows, or anything that we don't feel completely comfortable saying and sharing in public usually. We need to be able to touch those things, and be articulate about those things, and that's one part of it. Then we need a concrete path forward. Maybe you're thinking about some tragedy that you had in childhood, and how you dealt with it and how difficult that was. So you need to be able to be real precise in those observations about what it felt like, and how you tried to compensate for it, and that didn't work and it made it worse. Whatever your observations are about your life journey, you need to be really specific and really deeply felt. A good coaching relationship allows you to be in that space, to be really honest with yourself and authentic. g Aood coach will push you back and say, “You know what? That sounds interesting, but maybe not quite as true to you deeply.” So that's one piece of it. Then there's a concrete path forward. You need to have the emotional access to that truth, and then you need to know what to do with that truth in a step-by-step way. Because most people, the ones that you're talking about, they're accomplished in something else. What happens is when we first start writing, and maybe this happens with novelists, but for sure it happens to screenwriters, you just start typing words. But you haven't really thought through the theme, the concept, the structure, the character, all the deeper questions that really matter. The milestones, like a North Star: winning a major award, or getting a publisher. That's the direction that we're heading towards, and then you set it and forget it, but you want to keep checking it every week, every month or whatever. But you want it very specific. “I would like to sell a book, or sell a book to Hollywood, or write a screenplay, or get a producer attached to a screenplay.” Whatever the milestone is, make it really specific, really concrete, and then reverse engineer. This is what I do on the concrete path. I reverse engineer every step to get there, starting with a really tiny one we can do today, and I make sure they feel really safe, and then we just walk through. Then what happens is, if you do that, if you feel safe, if you're showing up authentically and you have a process that's repeatable, not just willy-nilly, it's got to be something that's proven to work. It wasn't an accident I wrote 45 scripts. I've got a whole system. But by the way, the first five scripts took me forever. The last movie that I made took me three years to write that script. I can write a better script with those same elements in three months now, because I know I have a concrete path. So if you want to do something new, whether it's playing the piano or getting six-pack abs or writing a screenplay, work with somebody who's got a system that's already proven, and make sure you relate to them, and then just follow the system. Then when the doubts come up, and they will, that's where the feeling safe is really important. Because, oh, I want the six-pack abs, but I don't feel like going to the gym. I want the extra donut. If I'm working with a really good trainer, they go, “Dude, do you want the six-pack abs or not?” And then you go back and forth, and I go, “Okay, now I can make peace with myself and say I can take one tiny bite of the donut and then still do my workout,” and then I'm moving towards that North Star. Does that make sense? Jo: Yes. I think, like many independents, I resist anything that is systematised. I'm a discovery writer, and I follow the muse, and all of that kind of thing. I think I would say something in a similar vein, which is sustainable creativity for the long term, because your 45 scripts are also years of work, and my books are years of work, and we get better at what we do. So my system, I do have a system really, because— My system is that I do the work, and I write my stories, and I get them out there, and I do the marketing. So even if it's not as systematised as such, it's still a process that I have repeated over and over again. Brooks: That's fascinating to me. Would you consider yourself a pantser? You're like, “I've got an idea,” and you just start writing? Jo: I don't use the word pantser. I guess I call it discovery writing, which is… Brooks: That's a better term. Jo: Yes. What I'm writing for this prize, for example, I know the characters, I know now what's happening. When I had the idea, it was very much a vision and a theme, and the competition has a theme: a positive future with AI and technology. But the things that came around that, I then started playing with ideas around the treatment. I haven't written the screenplay yet. I don't do a plot, or I don't follow Save the Cat or any of that kind of thing. When I write a novel, I just explore and I never write in order. Then at some point I stop and then I have to think about the structure and putting it all together, so the edits are quite big. But my fun is in that discovery, really. Brooks: Oh, that's awesome. Okay, so let me ask, that's really fascinating. And by the way, that doesn't, to me, negate the system that I use. The one that I use is ultimately… the thing is, these questions, the audience is wanting your unique answers to. You don't necessarily need to do it in a certain order. I think that's actually really cool that you write out of order and you have a few elements in mind. All that stuff sounds awesome. The only thing that then makes me curious is, how's your pace? Are you actually completing novels at a pace that feels good, or do you feel like you go too fast, too slow? Jo: I do one or two a year at the moment. Well, two a year, really. But I would say I'm not as successful as I'd like to be, so I'm not saying that my system is the best. I'm saying I want to be better. It's just that my fun is this sort of creative chaos, which I then try and control later. One of the things I really like about screenplays and treatments and doing this kind of thing for film is that it is much more structured, I think, than a 70,000-word novel. You can go in all kinds of directions, whereas with screenwriting you do have to be more disciplined really. Brooks: Yes, so this is going to be fun probably, to hear my view for your audience, and the differences as I see them. For starters, you're talking about what, 10, 20, 30 hours reading a novel sometimes, or maybe less, whereas a movie's a 90-minute experience, right? So that's different. Or if it's a TV series, you might see an hour and then an hour. So that's a very different experience. What happens is when it's condensed like that, you're loading up layers. So every scene is stacked with exposition beneath the drama, and done in a certain way. So specifically, movies are only what you can see and only what you hear. Whereas novels, if you can think it, you can write it, it can be in there. So you don't need to have a plot, but if you want to sell your book to Hollywood, it helps. So I was very resistant about structure. I went to NYU film school, where we really just made short films. It was funny, I had friends that were in the dramatic writing department, and I was like, “You guys are wasting your money. You're just learning to write scripts. We learn to write the scripts and make the movies.” What I hadn't realised is it's a different skill set to hold somebody's attention across an hour-long play, or a 90-minute movie, than it is to make a movie that holds their attention for two minutes or five minutes. I found out years later when I made a feature that was like a lot of shorts patched together, and people were not… They liked it, but they didn't love it. I was like, “Well, what's going on?” And so then I learned to really love Save the Cat in particular. It completely changed me. What happened was, I got a big old slice of humble pie. I had made my second feature, and I put everything I had into it, and it had loose structural beginning, middle, end, blah, blah, blah. But I was still, “Eh, Hollywood BS. What do they know? It's all fake.” So I was very anti-Hollywood structure. Then I was like, now I've got two independent films out there, people saw them, liked them, whatever, but it wasn't getting me consistent work. It wasn't really advancing my career in the way that I wanted. And I was like, “Well, maybe there is something to the Save the Cat.” So I went to the Save the Cat workshop with Blake when he was still alive, and he was delightful, a really awesome guy. He's got this kind of cutesy style, for people that don't know. For context, Blake Snyder was a working Hollywood screenwriter, and he had this system called Save the Cat, which actually has some really interesting ideas. He's got this very light, breezy sort of style. A lot of people don't like him and some people really love him, and everything in between. But I took his weekend seminar, and it completely changed me, because at that point, like I said, I took three years to write a script. Then once he had a process and he had a way of thinking about craft that was just much more screenwriter-friendly, I was like, “Oh my God.” It was so much easier, because I was just focused on the right thing at the right time. So it just sped everything up. After that, I was banging out two to three scripts a year, and better and better quality. So for me, because I went from winging it and wrote five scripts in 13 years, and then wrote two to three scripts every year, I became a huge proponent of system and process. Then my own system really came from that, but it's modular. I have a nine-step system, but you don't necessarily have to go in that order, other than the last three steps, but I won't get into the details. Sometimes you kind of jump from two to three and then back to two and then back and forth. So I love that you get the feel for those elements, and then you just felt your way through. But writing screenplay pages doesn't make sense until you really understand concept, you get a deep sense of beginning, middle, end, character arcs, and these other threads. There are just way better tools for those jobs than screenplay format, because it's a really weird format. It's got these weird slug lines at the top that are all in caps, because a screenplay is a blueprint for somebody else to make the movie. It's not an end-user document like a novel. I don't let my clients even go to that format because it just gets them focused on the wrong things. What they really need to know is, what is your perspective about this theme? What happened in your life that you're fascinated with, that you'd even want to write about this? And tell me what your real life lessons are. So we go into… again, I go back to relationship. What's your relationship to the universe? And what's your relationship to your best friends, or where you got your heart broken, or whatever you want to write about. And then we get that clarity, and then I show you how to express it in terms of developing a screenplay. It's really long-form storytelling, and then the structure just makes it build on itself. But with the structure, because you're talking about so much money and people involved to make it, at least traditionally, what ended up happening was narrative structure that was not so much rigid. Because here's the thing, you can look at 50, 100 years of European cinema and you can look at Hollywood cinema, and Hollywood laps them. When I taught at UCLA Extension, I had lots of foreign students. Let's say there'd be two or three students… if there were 12 people in the class, two or three people would be from America, and everybody else would be from other countries. I would go around, I'd be like, “What movies and TV shows have you been watching?” Almost in every single country, they watch half from their own country, half from Hollywood. So Hollywood storytelling works, that's just the data, and they're dominant. The reason it works is what Aristotle was saying thousands of years ago.. There's a way of thinking about beginning, middle, end that just deeply speaks to the psyche, and you can ignore it if you want. I think Godard said, “You need beginning, middle, and end, but not necessarily in that order,” right? Which is great. Just the way we experience life, there's a beginning, a middle, an end to this podcast interview. There's a beginning, middle, end to the day, a beginning, middle, end to me eating lunch. So if you don't lean into the beginning, middle, end psychological aspect of your story, you're going to bore your reader. But to your point, you don't necessarily have to sort that out in the beginning. It's more efficient probably if you do, but you don't have to. Go into it wherever the muse tells you to go, and then at some point, like you do, then you go, “Okay, now I go back and I edit.” If you're saying there's another level, you have another gear in you, then yes, I'd be curious to slowly go through how you're making those decisions. Because what's happening probably is there are ways you're holding back a little bit. There's maybe something you're afraid of being vulnerable about. That's usually where me or other writers are holding themselves back, and we can take a look at that. There are different ways I show writers to do it. Then you can go, “Oh, I was doing it here, and now I can do it there.” And it could be with process, or just a certain creative choice. With story, it's clear and compelling. Those are the simple things. So, is this clear enough? Is it compelling enough? And there are almost always ways to up-level on any facet, whether it's one sentence, or a sentence that describes the whole concept of the book, or a chapter. Each one of those can be looked at with that lens and we can just say, “Hey, this is 70%, 80%,” whatever, and then we say, “Well, how do we get a little bit more?” And then when you do that enough, it piles up. Then especially if you bring in an audience and people are flipping out for your work, they'll tell you. Jo: Yes, I love a challenge, so thank you for everything you've shared today. So where can people find you and everything you do online? Brooks: Well, one way you can find me—if anything I said seemed helpful for you, if you have questions about Hollywood or you have a screenplay in your heart—you can just email me, brooks@brookselms.com. You could look me up on LinkedIn. I'm at Brooks Elms. I also have a Skool community called Screenwriter Marketing, but it's really for any sort of storyteller, and it talks about my favourite way to engage an audience and get through it. So anybody can jump into that if you like my vibe. If you really think anything I've said, or the way I said it, seems like it could be helpful for you, just reach out. Let me know what you're up to, and maybe there's a way I can help you. Jo: Fantastic. Well, thanks so much for your time, Brooks. That was great. Brooks: You're welcome. It was a total pleasure. It was lots of fun, and I really appreciate you.The post How To Prove The Demand For Your Stories And Get The Attention Of Hollywood With Brooks Elms first appeared on The Creative Penn.

It's the FINAL KS for JULY 2026!   GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages   

Episode 4 of AMBLIN' DREAMS 2026 is the ONLY movie covered this month that Steven Spielberg was credited as director. We know we said nothing he directed would be part of this month. We think we're still OK, and we get into that. IT'S THE ADVENTURES OF TINTIN with Jaime Bell, Andy Serkis, Simon Pegg, Nick Frost, and Daniel Craig! From IMDB: Intrepid reporter Tintin and Captain Haddock set off on a treasure hunt for a sunken ship commanded by Haddock's ancestor. GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages     

Domonique Foxworth is joined by TV writer & producer Mike Schur (The Office, Parks and Recreation, The Good Place, Brooklyn 99) to break down MLB's ongoing battle with the MLBPA and how it compares to labor battles outside of baseball. They discuss labor unions through the lens of Foxworth's experience as president of the NFLPA and Schur's experience with WGA negotiations and explain why a salary cap would be a bad thing for MLB.   0:00 Intro 1:00 MLB's CBA negotiations 4:32 MLB's push for a salary cap 16:40 Private equity's negative impact 23:09 Art vs. commerce in sports 33:23 The Dodgers' role 36:01 MLB owners prefer socialism when it's convenient Learn more about your ad choices. Visit podcastchoices.com/adchoices

Domonique Foxworth is joined by TV writer & producer Mike Schur (The Office, Parks and Recreation, The Good Place, Brooklyn 99) to break down MLB's ongoing battle with the MLBPA and how it compares to labor battles outside of baseball. They discuss labor unions through the lens of Foxworth's experience as president of the NFLPA and Schur's experience with WGA negotiations and explain why a salary cap would be a bad thing for MLB.   0:00 Intro 1:00 MLB's CBA negotiations 4:32 MLB's push for a salary cap 16:40 Private equity's negative impact 23:09 Art vs. commerce in sports 33:23 The Dodgers' role 36:01 MLB owners prefer socialism when it's convenient Learn more about your ad choices. Visit podcastchoices.com/adchoices

Domonique Foxworth is joined by TV writer & producer Mike Schur (The Office, Parks and Recreation, The Good Place, Brooklyn 99) to break down MLB's ongoing battle with the MLBPA and how it compares to labor battles outside of baseball. They discuss labor unions through the lens of Foxworth's experience as president of the NFLPA and Schur's experience with WGA negotiations and explain why a salary cap would be a bad thing for MLB.   0:00 Intro 1:00 MLB's CBA negotiations 4:32 MLB's push for a salary cap 16:40 Private equity's negative impact 23:09 Art vs. commerce in sports 33:23 The Dodgers' role 36:01 MLB owners prefer socialism when it's convenient Learn more about your ad choices. Visit podcastchoices.com/adchoices

WORLD CUP 2026 IS OVER, AND THE WINNER IS.... SPAIN! It's been a long year from preparation to the final game. As of now, it's our last World Cup. I've been part of a group that has put on some of the biggest televised sporting events over these 14 years. But NOTHING can compare to what we did with World Cup 2026. Years in the making, but everyone from interns to PAs to Engineers to On-Air Talent made it all happen. The little things that are invisible to an audience, but we know it's there. We know of it's importance. If you watched, thank you! A lot of lost time from friends and family help bring this to your living rooms. If you happened to enjoy what you saw, and now have interest in the game, that's a bonus. Seek a local game out and see it in person!   BLU-RAY RELEASES FOR 7/21/2026!   GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

Hollywood is FREAKING OUT over the Ellisons merging Paramount and Warner Bros, and they're pulling out the big guns to try and stop them. But can they? Honestly? Probably not. Alan Cumming is joining the fray, and the WGA is suing and... literally nothing will happen to block this. They're only delaying the snap. Watch the podcast episodes on YouTube and all major podcast hosts including Spotify. CLOWNFISH TV is an independent, opinionated news and commentary podcast that covers Entertainment and Tech from a consumer's point of view. We talk about Gaming, Comics, Anime, TV, Movies, Animation and more. Hosted by Kneon and Geeky Sparkles. Get more news, views and reviews on Clownfish TV News - https://more.clownfishtv.com/ On YouTube - https://www.youtube.com/c/ClownfishTV On Spotify - https://open.spotify.com/show/4Tu83D1NcCmh7K1zHIedvg On Apple Podcasts - https://podcasts.apple.com/us/podcast/clownfish-tv-audio-edition/id1726838629 MORE CLOWNFISH TV - Official Merch Store: http://ClownfishMinus.com Facebook - https://facebook.com/ClownfishTV X - https://x.com/ClownfishTVcom Clownfish TV subreddit: https://www.reddit.com/r/ClownfishTVOfficial/ Disclaimer: This series is produced by Clownfish Studios and WebReef Media, and is part of ClownfishTV.com. Opinions expressed by our contributors do not necessarily reflect the views of our guests, affiliates, sponsors, or advertisers. ClownfishTV.com is an unofficial news source and has no connection to any company that we may cover. This channel and website and the content made available through this site are for educational, entertainment and informational purposes only. These so-called “fair uses” are permitted even if the use of the work would otherwise be infringing. #Hollywood #Paramount #WarnerBros #Podcast #Commentary #News #Reaction #Gaming #Comedy #Entertainment #Hollywood #PopCulture #Tech #Anime #FYP Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

AMBLIN' DREAMS #3 is an episode 79 years in the making! It's 2011's PAUL with Simon Pegg, Nick Frost, Kristin Wiig, Jason Bateman, and Seth Rogen as Paul. From IMDB: Two English comic book geeks traveling across the U.S. encounter an alien outside Area 51. GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

It's a bad week for David Ellison, with Paramount Skydance facing two concurrent lawsuits seeking to block its $111 billion acquisition of Warner Bros. Discovery — plus a shareholder case accusing Ellison and his father, Oracle CEO Larry Ellison, of corruption. On Monday, 12 state attorneys general — led by California AG Rob Bonta — filed their long-expected lawsuit, claiming the proposed merger was “unlawful.” On Tuesday, the Writers Guild of America stepped up, saying the combined company “threatens the economic and creative health of the American entertainment industry.” Former FTC commissioner Alvaro Bedoya and WGA West board member Adam Conover join Elaine Low to explain the states' and WGA's respective suits — and the harms they see the deal causing to an entertainment industry already under strain. Plus, all good things must come to an end: Sean McNulty and Natalie Jarvey break down the power of Love Island USA and the ratings bonanza that is the World Cup. Learn more about your ad choices. Visit megaphone.fm/adchoices

EPISODE #489-- We're back on our BS with the pivotal action-adventure film YOUNG SHERLOCK HOLMES (1985) directed by Barry Levinson (The Diner guy? really? Okay. I guess so). It's a nice return to form, as we do love England's most famous, non-Masterpiece Theater-based detective. We also recommend, as per usual, a bunch of other bangers, including (and it's a lot of movies, so get a pen out) THE SHEEP DETECTIVES (2026, dir. Kyle Balda), NIGHT MOVES (1975, dir. Arthur Penn), PUTNEY SWOPE (1969, dir. Robert Downey Sr.), ACROSS 110th STREET (1972, dir. Barry Shear), THE DARJEELING LIMITED (2008, dir. Wes Anderson), and THE GENERAL (1926, dir. Buster Keaton). Like I said, it's a wild one. Oh, also PREDATOR: BADLANDS (2025, dir. Tratchenberg). LINKS-- Join the cause at Patreon.com/Quality. Follow the us on on Bluesky at kislingconnection and cruzflores, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in THEY LIVE TOGETHER. Thanks to our artists Julius Tanag  and Sef Joosten. The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Also, I've got a newsletter on Substack, so maybe go check that one out, too. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

It's a BIRTHDAY KICKSTART for 7/13! BLU-RAY RELEASES FOR 7/14/2026! GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

These sources examine the transformative impact of artificial intelligence on the entertainment and media sectors, highlighting significant gains in workflow efficiency and content creation. Industry leaders and guilds, such as SAG-AFTRA and the WGA, are establishing ethical frameworks and legal protections to ensure fair compensation and human consent as these tools evolve. Technically, AI is revolutionizing video production and transcription, offering rapid solutions for editing, color grading, and converting audio to text with high accuracy. While automation handles repetitive, labor-intensive tasks, the materials emphasize that human creativity and oversight remain indispensable for storytelling and cultural nuance. Furthermore, the texts discuss the importance of hardware optimization and government regulation to support a secure, professional landscape for digital innovation. These collective insights provide a comprehensive roadmap for navigating the legal, technical, and creative challenges of the modern AI revolution.

EPISODE #487-- Today we talk the Star Wars also ran and all around mess that is THE ICE PIRATES (1984), directed by Stewart Rafill. It's a bad movie! Don't watch it! It's bad in a way that makes me think "Hey, Black Hole, that was pretty good!" We als otalk about CUTTER'S WAY (1981, dir. Ivan Passer), THE TERMINATOR 2: JUDGMENT DAY 3D (1991, dir. James Cameron), BLADE RUNNER (1981, dir. Ridley Scott), and HOPPERS (2026, dir. Daniel Chong). LINKS-- Join the cause at Patreon.com/Quality. Follow the us on on Bluesky at kislingconnection and cruzflores, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in THEY LIVE TOGETHER. Thanks to our artists Julius Tanag  and Sef Joosten. The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Also, I've got a newsletter on Substack, so maybe go check that one out, too. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

We've got #2 for you of AMBLIN DREAMS! IT'S PHIL JOANAU'S THREE O'CLOCK HIGH! From IMDB: Mild-mannered Jerry Mitchell gets into hot water with quiet bad boy Buddy Revell, who challenges Jerry to a fight on the grounds of their high school after the school day's end. GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages     

Kickstarting July for you all! (Even if we've already dropped our first movie episode for July already!) BARNES AND NOBLE CRITERION COLLECTION SALE THRU 7/26/2026! BLU-RAY TITLES HITTING TOMORROW 7/7/2026!   GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

It's July 1st! Which means a few things: 1.) The year is officially half over. 2.) We're knee deep in summer movies. 3.) We have a new theme! We're calling this one AMBLIN DREAMS, where we dive into movies that Steven Spielberg produced from both the Amblin days as well as Dreamworks. We kick it off with Frank Marshall's directorial debut from 1990: ARACHNOPHOBIA with Jeff Daniels, Julian Sands, and John Goodman. From IMDB: A new species of South American killer spider hitches a lift to a California town in a coffin and starts to breed, leaving a trail of deaths that puzzle and terrify young Dr. Ross Jennings, who is newly arrived in town with his family. GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages   

This week we have a look at the 1981 Slasher film JUST BEFORE DAWN. This is Episode 488! JUST BEFORE DAWN is a 1981 American slasher film directed by Jeff Lieberman and starring Chris Lemmon, Gregg Henry, Deborah Benson, Ralph Seymour, Jamie Rose, and George Kennedy. The film follows a group of hikers who travel into a mountainous region of Oregon to visit property inherited by one of them, only to be hunted by a ruthless backwoods killer. PLUS, once more we are joined by very special guest JOHN LOGAN-- John has been nominated for the Oscar three times and has received Golden Globe, BAFTA, WGA and Edgar awards. His film work includes Skyfall, Gladiator, The Aviator, Hugo, Rango, Sweeney Todd, They/Them, The Last Samurai, and Any Given Sunday. His most recent release is the movie Michael, about Michael Jackson. Michael has been a monumental commercial success, the highest-grossing biopic of all time, the highest-grossing musical biopic and the biggest film in Lions Gate's history. Become a supporter of this podcast: https://www.spreaker.com/podcast/castle-of-horror-podcast--4268760/support.

Comedian Chloe Radcliffe | The Brett Allan Show Hailing from the Midwest and proud of it, standup and actor Chloe Radcliffe can be seen in Bradley Cooper's latest film Is This Thing On? She was named a Just For Laughs 2025 New Face, along with one of Deadline's 15 Comedians Ready To Break Out In 2025, and one of Vulture's Comedians You Should And Will Know. So…get to knowin' her, for chrissakes! A daredevil cyclist in NYC, Chloe hosts In Tandem with Chloe Radcliffe, where she interviews other comedians while they ride a tandem bike together. Think Comedians in Cars, but sweatier. Chloe's one-woman show CHEAT, about her history of infidelity, led The New York Times' recommendations for the New York Comedy Festival. She sold out her full-month run at the 2023 Edinburgh Fringe Festival, with reviews calling it, “Hilarious and sharply-crafted” (Deadline), “Worthy of the greats like Mike Birbiglia” (Chortle), and “A new take on an old topic, with hard-hitting punchlines” (The New York Times). Chloe is currently developing CHEAT for tv. Chloe starred in Steven Soderbergh's COMMAND Z, and was nominated for a 2024 WGA award for her writing on the series. She has been seen on Comedy Central, Don't Tell Comedy, and After Midnight with Taylor Tomlinson. She was a staff writer on The Tonight Show with Jimmy Fallon, has a comedy feature in development with Sony, and was named a TBS Comic To Watch at the New York Comedy Festival.

(00:00-11:44) Joined by Senior Vice President of Tournaments at the WGA, Vince Pellegrino talking about the BMW Championship at Bellerive Country Club. How does Bellerive compare to some other top-notch courses hosting events?(11:52-24:17) Viktor Hovland beats Scottie Scheffler on the 1st playoff hole at the Travelers. Scottie blasting the final putt past the hole. The Wizard will be out at Bellerive today. Bashing Cam. Doug's only got 9 holes in him today.(24:27-42:37) Banger Alert, Banger Alert. Topless October. Jeff Suppan was great on Friday. Probably not playing the tips today. Design Aire Heating & Cooling EMOTDSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

TMA live from Bellerive Country Club. The great unwashed. John Mozeliak will join us at 8:45. What's the lede, Doug? Cards avoid the sweep against The Fish. Vegas not convinced. Jordan Walker's struggles. Joshua Baez. Doug's going to Cards vs. Cubs at Wrigley.What is Mo's official title with the Angels? Did the Blues overpay for McTavish? Doug Armstrong on acquiring McTavish from the Ducks. Not done making moves just yet? Pestus from Festus has made his triumphant return to the phone lines after some surgeries. Pestus is soliciting some new lodging.We were almost kind of a real show on Friday. No ATMA today (Thanks Jackson). Knockout round of the World Cup getting underway with USA/Bosnia on Wednesday. Scary situation at Energizer Park yesterday. Article saying St. Louis has one of the least vibrant and welcoming downtown areas in the United States. The Webster/Cottleville war continues to percolate. Jackson hates non-championship parades. Rough handplay.Joined by voice of the Blues, Chris Kerber. Getting Kerbs' perspective on the latest Blues the moves have made and the players drafted in last weekend's draft. What are they getting out of Mason McTavish? Alex Steen taking the baton from Doug Armstrong. Acquiring Brandon Carlo from the Toronto Maple Leafs for draft picks. Asset management. Not expecting anything flash in the early part of free agency. Jordan Binnington's future. Tynan Lawrece.It's a warm one today. You never wanna see a grown man sweat. The Green Monster of Ladue.John Mozeliak joins the show and he's not happy that we were a few minutes late. How did the new gig with the Angels come about? Did he miss the day-to-day of being more involved in the game? Was ready for a break but excited to be back in the mix. Still kept an eye on the Cardinals from time to time. Happy for the young guys starting to step up and see success. Is he interested in making this job a long term thing? The emergence of Jordan Walker. Orange County needs a show like this one and we are willing to move.Joined by Senior Vice President of Tournaments at the WGA, Vince Pellegrino talking about the BMW Championship at Bellerive Country Club. How does Bellerive compare to some other top-notch courses hosting events?Viktor Hovland beats Scottie Scheffler on the 1st playoff hole at the Travelers. Scottie blasting the final putt past the hole. The Wizard will be out at Bellerive today. Bashing Cam. Doug's only got 9 holes in him today.Banger Alert, Banger Alert. Topless October. Jeff Suppan was great on Friday. Probably not playing the tips today. Design Aire Heating & Cooling EMOTDHonor system bets. Last off day for the Cardinals before the All-Star break. Martin doesn't think Jordan Walker is going to get to 80 homeruns. Termites have infested the bat rack. The Sophie Cunningham point.Another good start for Michael McGreevy. Doug missed the Canada vs. South Africa game. US heavy favorites against Bosnia. Why is Jackson gatekeeping ATMA. Jackson got cut from baseball and had to play golf.And the winner of the Design Aire Heating & Cooling EMOTD is...See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Our final Kickstart for June is here! We talk World Cup, physical releases coming this week, our July theme, and a few more tidbits. The theme this month is Amblin Dreaming. These are movies produced by either Amblin or Dreamworks. We kick it off with Frank Marshall's directorial debut: ARACHNOPHOBIA! It'll drop this week on Patreon this Wednesday by way of EARLY ACCESS, and Friday for the public release. BARNES AND NOBLE CRITERION COLLECTION SALE THRU 7/26/2026! BLU-RAY TITLES HITTING TOMORROW 6/30/2026! GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

GRADUATION DAY 2026 comes to an end with one you KNEW was coming. It's Olivia Wilde's feature film debut: BOOKSMART! From IMDB: On the eve of their high-school graduation, two academic superstars and best friends realize they should have worked less and played more. Determined not to fall short of their peers, the girls try to cram four years of fun into one night. GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

Kickstart #3 for June 2026! Blu-ray Releases for June 23, 2026! GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

GRADUATION DAY 2026's #3 movie is a first time watch for Joe, and one Corey has seen A LOT. IT'S CAN'T HARDLY WAIT from writer/directors Deborah Kaplan and Harry Elfont starring Jennifer Love Hewitt, Ethan Embry, Lauren Ambrose, Charlie Korsmo, Peter Facinelli. and a slew of up-and-coming actors. (Part of the fun of CHW is identifying all of the faces we know so well now!) From IMDB: A complete graduating class, consisting of beautiful girls, geeks and promising footballers, assemble at a rich classmate's residence for a party. Interesting developments follow at the get-together. (Maybe one of the most AI loglines ever "created."- CC) GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

Kickstart #3 for June 2026, and we're back to the bite sized chunk of goodness it is always supposed to be. Just a taste to start your week before all of the long form chats hit your podcast app! BLU-RAY RELEASES FOR JUNE 16, 2026! GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

Going WAAAAY back for GRADUATION DAY 2026 with this one! All the way to 1973 and AMERICAN GRAFFITI! George Lucas followed up THX-1138 with this look back his days in Modesto soon after his graduation from high school with this nostalgia look at cruising the main street, listening to music, and trying find someone willing to make out with you. From IMDB: A group of teenagers in California's central valley spend one final night after their 1962 high school graduation cruising the strip with their buddies before they pursue their varying goals. AMERICAN GRAFFITI IS CURRENTLY AVAILABLE WHEREEVER YOU RENT OR BUY YOUR MOVIES. GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

Kickstart Monday again for June! Last week, the little Yorkie that helped save the lives of wheelbarrows full of Yorkies, and many humans along the way, crossed the Rainbow Bridge. Below are some pics from the many I have from times I spent rubbing that tummy, and spoiling her with chicken chips. Rest easy, little one. I hope you're chasing all of the squirrels. Donate to Save A Yorkie Rescue HERE! GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

For June 2026, the theme is GRADUATION DAY! And we're kicking it off with a movie that made stars of some eventual Oscar nominees and winners: IT'S SUPERBAD with Michael Cera, Jonah Hill, Emma Stone, Bill Hader, Seth Rogen, and McLovin' himself Christopher Mintz-Plasse in his feature film debut! From IMDB: Two co-dependent high school seniors are forced to deal with separation anxiety after their plan to stage a booze-soaked party goes awry. SUPERBAD IS CURRENTLY AVAILABLE ON STARZ and WHEREEVER YOU RENT OR BUY YOUR MOVIES. GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

EPISODE #482-- We slam headfirst into the car crash of a genre-bender, GOD TOLD ME TO (1976), which tries to combine a police procedural, UFOs, horror, and, I don't know what else, into a real must-see mess of a movie. Seriously. It's almsot good at every single turn. It begs to be watched. We also chat about George Clozeau's LE CORBEAU (1943), Tim Burton's BEETLEJUICE BEETLEJUICE (2025), Carol Reed's NIGHT TRAIN TO MUNICH (1940), and Alfred Hitchcock's THE LADY VANISHES (1938). Do we talk about other movies? Yes. Many. If you want to a list of them, check out our Patreon! LINKS-- Join the cause at Patreon.com/Quality. Follow the us on on Bluesky at kislingconnection and cruzflores, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in THEY LIVE TOGETHER. Thanks to our artists Julius Tanag  and Sef Joosten. The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Also, I've got a newsletter on Substack, so maybe go check that one out, too. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

Kickstart is BACK! We don't say it in the episode, but our movie theme for June is GRADUATION DAY. All movies are movies that are tied to high school graduations, most usually involving a big party. We kick it off with SUPERBAD, which was a first time watch for Joe. That will be out for EARLY ACCESS on Patreon Wednesday, and public consumption on Friday. BLU-RAY TITLES for JUNE 2! GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

EPISODE #482-- We go back to Hong Kong with the classic horror/kung fu/folk tale mash-up A CHINESE GHOST STORY (1987), directed by Ching Siu-tung. It's a banger. Great film. Good episode. Listen to it! We also chat about John Frankenheimer's GRAN PRIX (1966), Kurosawa's SCANDAL (1950) and THE IDIOT (1951), as well as Carol Reed's NIGHT TRAIN TO MUNICH (1940) and Howard Hughes' HELL'S ANGELS (1930). Lots of good stuff, folks. LINKS-- Join the cause at Patreon.com/Quality. Follow the us on on Bluesky at kislingconnection and cruzflores, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in THEY LIVE TOGETHER. Thanks to our artists Julius Tanag  and Sef Joosten. The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Also, I've got a newsletter on Substack, so maybe go check that one out, too. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

The third DECADES 2026 movie is from 2006, and is one most have either seen or forgot they've seen it. It's CLICK with Adam Sandler, Kate Beckinsale, David Hasselhoff, and Christopher Walken. From IMDB: A workaholic architect finds a universal remote that allows him to fast-forward and rewind to different parts of his life. Complications arise when the remote starts to overrule his choices. GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

Kickstart is back after taking a week off for some family stuff out of state! BLU-RAY RELEASES FOR MAY 19, 2026!!! GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

DECADES 2026 continues as we move ahewad 10 years to 1996 and Michael Bay's The Rock! Sean Connery, Nic Cage, and Ed Harris' milkshake brought EVERYONE to the theater back in 1996! From IMDB: An FBI chemical weapons expert, and a former SAS soldier turned political prisoner, must break into Alcatraz prison when a rogue military group, led by a renegade general, take it over and threaten a nerve gas attack on San Francisco. GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages 

EPISODE #486-- For today's episode we talk about the unfortunately ever-green tale on ambition, temptation, and Nazism, MEPHISTO (1981), directed by István Szabó. It's good stuff. The movie, I mean, not the encroaching reality of fascism. That stuff sucks. We also talk about such hit films as STAR WARS: ROGUE ONE (2016, dir. Gareth Edwards), MADADAYO (1993, dir. Akira Kurosawa), and SCANDAL (1951, dir. Akira Kurosawa). Also, a whole lot of other movies. It's a movie podcast. What do you expect? LINKS-- Join the cause at Patreon.com/Quality. Follow the us on on Bluesky at kislingconnection and cruzflores, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in THEY LIVE TOGETHER. Thanks to our artists Julius Tanag  and Sef Joosten. The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Also, I've got a newsletter on Substack, so maybe go check that one out, too. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

Hollywood Chose Violence. At least that's what the WGAW union said their workers chose during their strike. According to leadership, the union workers apparently threatened the WGA with "violence and intimidation." Despite this, it looks like their months long strike is over. But who is getting fired first, I wonder? Watch the podcast episodes on YouTube and all major podcast hosts including Spotify. CLOWNFISH TV is an independent, opinionated news and commentary podcast that covers Entertainment and Tech from a consumer's point of view. We talk about Gaming, Comics, Anime, TV, Movies, Animation and more. Hosted by Kneon and Geeky Sparkles. Get more news, views and reviews on Clownfish TV News - https://more.clownfishtv.com/ On YouTube - https://www.youtube.com/c/ClownfishTV On Spotify - https://open.spotify.com/show/4Tu83D1NcCmh7K1zHIedvg On Apple Podcasts - https://podcasts.apple.com/us/podcast/clownfish-tv-audio-edition/id1726838629 MORE CLOWNFISH TV - Official Merch Store: http://ClownfishMinus.com Facebook - https://facebook.com/ClownfishTV X - https://x.com/ClownfishTVcom Clownfish TV subreddit: https://www.reddit.com/r/ClownfishTVOfficial/ Disclaimer: This series is produced by Clownfish Studios and WebReef Media, and is part of ClownfishTV.com. Opinions expressed by our contributors do not necessarily reflect the views of our guests, affiliates, sponsors, or advertisers. ClownfishTV.com is an unofficial news source and has no connection to any company that we may cover. This channel and website and the content made available through this site are for educational, entertainment and informational purposes only. These so-called “fair uses” are permitted even if the use of the work would otherwise be infringing. #Podcast #Commentary #News #Reaction #Gaming #Comedy #Entertainment #Hollywood #PopCulture #Tech #Anime #FYP Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Governor Newsom pleads for more federal funding for wildfire survivors while homeowners are watching their money dry up. The WGA reaches a deal with its staff workers, ending a nearly three-month long strike. Fewer California teens are pre-registering to vote. Plus, more from Morning Edition. Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.comSupport the show: https://laist.com

What happens when society looks away from its most vulnerable?In this episode of Love Conquers Alz, hosts Susie Singer Carter and Don Priess welcome WGA, AWD, award-winning, neurodiverse, bi, writer/director, and podcaster, Ellen Ancui, who specializes in traumadies—darkly funny stories where (mostly) women dig their own graves, then complain about the landscaping. Ellen writes about caregiving, sex, and the 2nd act of a creative life. She co-hosts the pod FILTHY MILFS with Sophie Levine, about women's health, desire, and aging fearlessly. Ellen wrote, produced, and directed the Oscar-qualified short film, SAVERIO, that sheds light on a shocking and often invisible issue: elder abandonment, also known as “granny dumping.”Through a powerful blend of humor and humanity, Ellen's film tells the story of a young woman forced to confront her own values when an elderly man is abandoned in her care—an all-too-real scenario happening far more often than most people realize.This episode is both a wake-up call and a reminder of what's at stake if we continue to look away.Because aging is not someone else's story.It's all of ours.And change starts with awareness.Follow Ellen and her podcast✨  IMDB✨ Apple Podcasts✨ Spotify✨ InSend us Fan MailIf someone you love experienced neglect in a nursing home…Then you know how desperately the system needs to change.  History has shown us that It takes people power to change anything worthwhile. That's why we we're launching something that's never been done before. On September 27, communities across the country are coming together for the first-ever National Long-Term Care Reform Day.This is a peaceful national walk for dignity, accountability, and change in long-term care.We'rSupport the showNo Country For Old People; a Nursing Home Exposé is STREAMING NOW on Amazon Prime (https://www.amazon.com/gp/video/detail/B0F7D1RR5X/ref=atv_dp_share_cu_r) Visit the No Country For Old People Website for more information.Please watch. Review. Share.Be a ROAR-ior!! JOIN THE R.O.A.R. MOVEMENT (Respect, Oversight, Advocacy, Reform) for quality long term care! Visit the ROAR 4 LTC Website for more information and consider participating in the inaugural National National Long-Term Care Day, Sunday, September 27th The 1st ever ROAR 2026 National Walk for Long-Term Care Reform! Found out more here: https://www.roar4ltc.org/roar-2026-walkFollow us on Twitter, FB, IG, & TiK Tok

It's May, so we have a new theme: DECADES! Every episode we're covering this month either came out 10, 20, 30, or 40 years ago. We're kicking it off with one celebrating it's 40th anniversary on May 23, it's George P. Cosmato's COBRA starring Sylvester Stallone, Brigitte Nielsen, Brian Thompson, and Reni Santoni! (And a bevy of character actors Corey fawns all over.) From IMDB: A tough-on-crime street cop must protect the only surviving witness to a strange murderous cult with far-reaching plans. GO SEE MOVIES! ENJOY! Love and Rockets, Corey and Joseph ------------------ If you'd like to show your support for members of WGA, SAG, IATSE, as well as other workers in the entertainment industry, please take a look at the link below and maybe make a donation: Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages   

John welcomes five-time Emmy-winning writer Ali Barthwell (Last Week Tonight) to ask, can writers learn to be funny? Drawing from her time as a teacher at The Second City, they look at what writers can learn from sketch and improv, and how to reliably find ways to make an audience laugh. We also celebrate the WGA membership's ratification of the 2026 MBA, the educational future of the Scriptnotes book, and answer listener questions on the first scene of a comedy and when to stop taking assistant gigs and bet on yourself. In our bonus segment for premium members, Ali shares how she built a thriving writing career without ever having to live in New York or LA. Links: Ali Barthwell Preorder Ali's new book, Reality TV for Snobs The Second City Pre-inked star stamps The Padilla Pause: How the Breakout Star of SNL Nails Comic Timing by Jason Zinoman for NYTimes Funnier by Anne Libera Get your copy of the Scriptnotes book! Get a Scriptnotes T-shirt! Check out the Inneresting Newsletter Become a Scriptnotes Premium member, or gift a subscription Subscribe to Scriptnotes on YouTube Follow Scriptnotes on Instagram and TikTok John August on Bluesky and Instagram Outro by Matt Gillespie (send us yours!) Scriptnotes is produced by Drew Marquardt and edited by Matthew Chilelli. Email us at ask@johnaugust.com You can download the episode here.

Daytime Confidential celebrates its 1200th episode with the return of Jamey Giddens to the podcast. Join Luke Kerr and Jamey Giddens as they reminisce over the show's 1200 episodes, dive into Jamey's award-winning writing career, the great news of Beyond the Gates' two year renewal and reveals publicly for the first time the cancer diagnosis and treatment he underwent over the past year. The duo discusses Jamey's evolution from soap opera journalist to daytime and primetime soap opera writer on shows like The Rich and the Ruthless, Tyler Perry's Sistas, Days of Our Lives and Beyond the Gates. Jamey recounts the impact of Will Packer's mentorship through their show Ambitions and acknowledges the karma in going from a podcast journalist critiquing TV writing to being on the receiving end of fan critiques. The two celebrate the two-year renewal of Beyond the Gates, what it means for the show and for the soap opera genre as an industry. Jamey credits Michelle Val Jean for the show's success and gives a shout out to the show's amazing cast, crew, writing team and production assistant. Luke and Jamey observe how daytime talk shows are being slaughtered by video podcasts and which talk shows remain unique while others seem to be Oprah or Ellen knockoffs. Luke and Jamey remember early Daytime Confidential listener The Best, better known as Tiggz, and co-host of The Chat. Our thoughts go out to those closest to him. Luke and Jamey delve into the nuance of the WGA's new deal with the studios. Jamey shares his life-altering prostate cancer diagnosis, treatment and how the experience and his continued recovery has made him face some things he never anticipated. All this and more on Daytime Confidential's 1200th Episode! Bluesky: @DCConfidential, LukeKerr, JillianBowe, Josh Baldwin, and Melodie Aikels. Facebook: Daytime Confidential Subscribe to Daytime Confidential on iTunes, Google Play, and Spotify.

There's a brand new agreement between the WGA and the AMPTP! And since John was the co-chair of the negotiating committee, he's excited to share all the details of the 2026 MBA. Links: The 2026 MBA agreement memorandum John August on Instagram and Bluesky Scriptnotes on Instagram and TikTok Scriptnotes is produced by Drew Marquardt Email us at ask@johnaugust.com You can download the episode here.

What's the drama behind director Kristoffer Borgli's new film, THE DRAMA? And, unlike Mary J. Blige, do we want said drama? We unpack all that with film critic Ariel LeBeau, and then talk about some movies that were secretly darker than advertised.   What's Good Alonso - Flossing first Drea - Artemis II Ariel - soft boiled eggs for breakfast (6m) Kevin - rediscovering Billy Joel ITIDIC Writers Guild Reaches Tentative 4-Year Deal with Studios “It's Not Your Imagination: Movies ARE Getting Longer” Staff Picks Alonso - Marc by Sofia Drea - The Christophers Ariel - Dogfight Kevin - One Hour Photo this episode edited by Gabe Mara Follow us on BlueSky, Facebook, Instagram, or LetterboxdWithKevin AveryDrea ClarkAlonso DuraldeProduced by Marissa FlaxbartSr. Producer Laura Swisher

Chris and Andy talk about the tentative four-year deal that the WGA reached with the studios (5:42) and the news that J.J. Abrams's production company, Bad Robot, is downsizing (12:49). Then they react to the ‘Maximum Pleasure Guaranteed' trailer (29:09) before discussing a pair of international crime thrillers, HBO's ‘Privilèges' (32:19) and Netflix's ‘Unfamiliar' (44:16). Later, The Watch: After Dark (01:00:00). Subscribe to the Ringer TV YouTube channel here for full episodes of The Watch and so much more! Hosts: Chris Ryan and Andy Greenwald Producers: Kaya McMullen and Kai Grady Additional Video Supervision: Sarah Reddy Learn more about your ad choices. Visit podcastchoices.com/adchoices