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This podcast is all about going deeper

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the expectations, and the real work behind it all.

As a woman in the industry, you're always underestimated.

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who you are in your integrity.

You know, I like to say I was kind of like a silent ninja.

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Hi, it's Jill Interesting, host of the Spirit Daughter Podcast,

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Uh, looks like we lost him.

So sorry.

I don't know what happened.

It's okay.

All good?

Yeah.

Another episode of Jews and Technology.

So there was a thing there to close other tabs.

So I did, and then I lost you.

Should I close the other tabs?

That's how they get you.

Welcome to Off the Cup, my anti-anxiety antidote.

Really excited for today's guest.

I know people often think of me as like a cable news personality.

I guess like there's no getting around that.

I have been on cable news for two decades.

But at my core, I'm a writer.

Many of you know that.

I worked at my college newspaper.

I wrote at the New York Times Freight Years.

I've had a weekly column for 17 years working on my third book.

I only came to television as a writer.

And even on television, I write all my scripts.

Writing's the thing I'd love to do more than anything else.

So when I get to interview writers, no matter the genre,

and we've had a bunch on the show, it's especially fun.

Because I would write for anything.

And I have.

I wrote for travel books.

I wrote for food guides, for financial papers.

I had no business writing for.

I wrote for sports illustrated, for NASCAR, for Rolling Stone,

for Oprah.

I mean, I just love writing.

I love talking to writers.

I want to know if they love writing, hate writing, the process.

And I'm especially enamored of and impressed by TV writers.

Because I just think it sounds like so much fun.

And I've been in a few writers rooms.

I consulted on Aaron Storken's The Newsroom

and Apple TV's The Morning Show.

And the writer's room is so fun.

But TV writing, especially for sitcoms,

it just seems like a dream job.

And we had Larry Wilmore on.

And he talked about writing for Fresh Prince,

and Martin, and Carl Reiner.

Just incredible.

So today's guest is an acclaimed TV writer and producer.

He wrote for the hit TV series Coach.

He was the creator, writer, and DP of the hit TV series.

Everybody loves Raymond.

He's also written, produced, and starred in unscripted docu-series

like I'll have what Phil's having on PBS.

And somebody feed Phil on Netflix.

He's also got a new book out with his daughter, Lily Call.

Just try it someplace new.

I like to think of him as comedy's Anthony Bourdain.

It's Phil Rosenthal. Welcome to Off the Cup.

Hi, S.E.

I'm so excited you're here.

Does it ring true to you?

Comedy's Anthony Bourdain.

Here's how I sold somebody feed Phil, and I'm not kidding.

I said one line, and this honestly sold the show.

This is the line.

I'm exactly like Anthony Bourdain if he was afraid of everything.

Oh, my God, I love that!

I love that so much.

It's true.

It's true.

Tony, you know, I got to know him a little bit when he was at CNN.

He did.

Yeah.

Yeah, I mean, we...

I got to meet him once.

I got to have dinner with him once.

Oh, I guess.

Before I ever had the show.

Yes.

I just was lucky enough to have dinner with him.

What a guy.

Super hero.

A guy.

Yeah.

And, you know, what I love about him, and some people don't know this.

He didn't really want to be a chef.

He wanted to be a writer.

And he saw restaurants as a way to make money and get material to write about.

And he was a brilliant writer, but...

Absolutely.

I think that's what he was primarily.

Yeah.

And it's incredible to see someone who's so gifted in both of those arenas.

But he was like, in the moment, the perfect person to drop into this, to do exactly what

he and only he could do.

To reinvent an entire genre.

Yes.

Every one of us who do does this.

Yeah.

Travel food that we owe everything to him.

Well, I totally agree.

And I love your fascination with food and culture.

I share it.

And I love watching you eat and talk about food.

You're really good at it.

Tell me about Max and Helen's.

This is the pathiosis of my whole Gestalt.

It was all my hair.

It was all my hair.

Yeah.

It's all roads were leading to this.

The manifestation, physically, of everything I love in life.

What's that?

Family, friends, food, travel, left.

Yeah.

It's all in a place.

Yes.

And people say, what's it like?

I have to be honest.

It's like having a hit show.

Tell me.

Because think about it.

You build a set.

Mm-hmm.

Okay.

In my case, for the diner, I said, I wanted to look like it's been here a hundred years.

Yes.

Because the neighborhood it's in is a hundred years old.

We have pictures on the walls of what large mumple of art looked like a hundred years ago.

Yeah.

Yeah.

So when you come in, all the aspects of it, the set, we'll call it the set.

The set design, the casting.

Yes.

The food, which I would say is the script.

Sure.

These are recipes that were written.

Yes.

These, in a sitcom, the jokes have to be good or no one's coming.

Yes.

At the diner, the eggs have to be good or nobody's coming.

Okay.

All these things conspire to give you a hug.

Yes.

This is the feeling.

That's why they call it comfort food.

Yes.

And today, I don't have to tell you, maybe we need a little comfort.

We do.

We do.

But unlike a hit TV show, you get to watch people enjoying it.

No.

I got to see it on Raymond.

So Raymond was a four camera sitcom.

Oh, she's a live audience.

She's a live audience.

Yeah.

You know, you do Bill and Laura, you see when the audience is there and you get a laugh.

The different thing.

Yeah.

Beautiful thing.

Yeah.

So the four camera sitcom that Desi Arnez invented.

Yep.

Or I love Lucy.

They had never done it before.

Film a TV show in front of a live audience, meaning a sitcom.

Yes.

They had games, shows and radio shows and things like this.

But film a sitcom.

Yeah.

He used three cameras at the time.

This revolutionized television.

And this form is gorgeous.

Why?

Because it's the perfect in-between theater and film.

It's a marriage of the two.

Right.

You write it, rehearse it, present it as a play.

And then you have the flexibility, meaning four camera angles, multiple takes, editing,

the flexibility, and then the permanence of film.

Blast forever.

So it's this great thing.

They don't do it much anymore.

I know.

And you know what the studio execs, blame the form.

It's not the form.

It's the content.

It's the content.

It's the material.

Yes.

I want to talk more about TV, but for people who didn't grow up on the East Coast.

And in particular, in New York and New Jersey, what about a diner is so special?

It's the most democratic of restaurants, with a small D, meaning rich and poor, we all like

it.

Rich and poor, we all pretty much can afford it.

There's always something on the diner menu that anyone can afford.

And it's the food that we grew up with.

It's comfort with a big C. It's really just, we know what this is.

It's also very, makes it very hard to make a great one.

Why?

Because you're competing with people's actual memories and feelings.

You know, it's like that Ratatouille moment.

Yeah, right.

Going for that.

You're going for when somebody bites into that bacon egg and cheese sandwich that they're

zoomed back to childhood because this is the best one maybe they ever had.

Yeah.

And that's what triggered all the fields.

Yeah.

Oh, totally.

So that's why, and diners are disappearing from America.

I know.

Yeah.

A lot of restaurants are so hard for them to make it, but diners especially, maybe because,

you know, they can't make a lot of money out of diner.

Right.

So they go under, but you know this.

These are the centers of communities.

Yes.

Look how the news goes when there's a presidential election where people wear in the diner.

Got why?

Because that's where they congregate naturally.

Absolutely.

Right.

It's not a thing.

It's just the neighborhood.

Yes.

It's where we meet our neighbors.

And it is a microcosm.

Yes.

Even in, you know, if you go in New York City.

Yeah.

You know, and you go to a diner in New York City.

It's the bus boy could be eating there and the banker could be eating there.

It is a total microcosm of a community.

So what happens if we lose these places?

Yeah.

Maybe we lose the centers for our community.

Yeah.

Maybe we lose our community.

And then maybe we lose the country.

So I'm going to save everything with my diner.

I love this.

What's the best thing on the menu at Max and Helen's?

There's so many things, but I'll tell you the most popular things.

The thing that everyone is on everyone's table.

Yeah.

A waffle.

Great.

You know, if you have Nancy Silverton, who is the executive chef.

She's one of the best chefs in the country.

If not the world.

If she focuses that brain on something as mundane as a waffle.

I think she made the best waffle I ever had.

It's a sourdough waffle.

It ferments for three days before it's right.

And then a big hunk of real maple syrup infused fresh butter.

Oh.

You have to have this.

Yeah.

And then Lily's hot chocolate.

Lily is my daughter.

She runs the diner with her husband again.

Back in the house.

He's a chef and director of operations.

And Lily's the creative director.

Nancy, when she graduated college, she went to Paris to learn more about pastry making.

Yep.

She went to a place called Angelina.

Have you heard of this place?

I have.

Have you been there?

I haven't been there, but I've heard about it.

So when you go, I want you to get their hot chocolate.

It's like the most, it's the greatest hot chocolate in the world.

Nancy's job after college was stirring that hot chocolate all day.

Reducing it down and thickening it and concentrating the flavor.

Yeah.

This is the recipe.

And Lily said that when Mason, her husband, makes her this hot chocolate at home,

he makes marshmallow fluff, homemade.

Yes.

Put it on the lip of the cup and then torches it with a blowtorch.

Yeah.

So what you have is a cup of Paris with a big hunk of America on top.

Oh, my God.

That sounds incredible.

He.

Oh.

The kids rip the waffle and dip it in the hot chocolate.

Okay.

I mean, now you're just showing off.

Yes.

That sounds amazing.

Okay.

Next time I'm in LA.

I'm taking you.

Then Max and Helen, I'm going.

I'm going.

Okay.

So we talked about Anthony Burdan and how food.

Food was his vehicle to writing.

What drew you to writing?

I failed as an actor.

Okay.

I know you're in your high school drama club and all of that.

So initially you wanted to be in drama.

Or are in high school club.

I was the biggest star in high school.

So big that they encourage me to go to college for this.

college for this, to waste my life, to, you know, when you

graduated from college, which are with a BFA in theater, you

know, the whole world's open to you. Yeah. I moved into New

York, nobody called New York to tell them what a big star I was

in high school. I was like, well, I go into an audition, a

cattle call, there's 40,000 people going for a walk on

part with no lines. I'm like, this is hell. I'm in hell. Yeah.

I'm dead. Why didn't you tell me they only told me a million

times not to do this. It should have been two million. But I

struggled in New York. And I had odd jobs crazy. Like I was a

guard at the Metropolitan Museum of Art. I was fired because I

one night I was working midnight day in the morning. I thought

I could do this because I was 21. But they found me in an

exhibit, a period room from the 1700, yes, a sleep on a 300

year old bed. Oh my God. Absolutely humiliate. You can't do

that. Well, they don't like you touching the art let alone

sleeping on it. So you they fire you. Yeah. And and if you

get fired at night from the museum, you know, it's on, it's

it's on Fifth Avenue, but the back of it is Central Park.

That's right. So imagine getting thrown out, not the front

door, you're not allowed to go out the front door out the back

door into Central Park at two in the morning. Yeah, that's

that's quite an indignity. Did you read? There was a book

written by a night guard at the Met. Um, he was a banker and he

quit his banking job on Wall Street to work at the Met to find

beauty. And then he wrote a book called all the beautiful things

in the world, something like that. It came out a couple of

years ago. It was really interesting. I heard about that book

and I have to tell you, yeah, I got some education when when

I wasn't, uh, defiling the art. Yeah, when you were sleeping on

Mary Antoinette's couch, when I wasn't sleeping with the art, I

was, you know, when you go to a museum, you don't have time to

read all the things on the side. You can't, you don't have

time. There's people in the way and they said, you got it

stuff to do. I have all day all night alone. With the

with the world's greatest art. Yeah. I learned so much. It was

court. I loved every aspect of it, except getting fired. Sure,

but cut to nine years later. Okay, I come to Hollywood, somebody

saw me in a play and said, if you come to Hollywood, you will

never stop working as an actor. So I packed the bag and moved

to Hollywood and I never started working. But I wrote some

spec scripts with a partner sitcoms because I watched way too

much television as a child. And I, I, you know, I got the

Malcolm Gladwell's 10,000 hours. I got it. I got it. It just

somehow got in there. So we wrote, what are we going to write

about? I said, how about a Roseanne? This was the show of the

time, 1988. Yeah. What should we write? What if the dad they

need extra money? And he gets an extra job at night at the

local museum and he falls asleep on a 300 year old bed. And we

sent this around and all the agents said, what an imagination.

So you never know where your bridge going to come from. And you

never know what life experience you have. That may serve you

later. So the most humiliating moment of my life, getting fired

from the Metropolitan Museum of Art for, for being an idiot. That

was my ticket. Yeah. To writing. And then hired right away on a

show, nothing you ever heard of. But I went from show to show

to show. Yeah. And then I did get to work on coach for three

seasons. And on the third season that I was working there, I

got a video cassette of a comedian. They were trying to pair up

with a writer. Yeah, to create a show for this Ray Romano

guy.

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You know what I could really go for right now? Literally

anything that comes in a McDonald's carton, wrapper or bag, or

a McDonald's cup. Yes, any of those items you do it. We've

got your cravings covered. Now stop in for the flaky filet

of fish, the crispy snack wrap or large fries for just 299

limited time only price and participation may vary.

Cannot be combined with any other offer.

I'm Bailey Taylor and this is Icarl. You may know me from my

Icarl series I've done on the streets of New York over the

years. Well, I've got good news. I am bringing those interviews

and many more to this podcast. Yes, we will talk about the

style and the success. But we are also talking about the

pressure, the expectations and the real work with the women

shaping culture right now. As a woman in the industry, you're

always underestimated. So you have to work extra hard and you

have to push the narrative in a way that doesn't compromise who

you are in your integrity. You know, I like to say I was kind of

like the silent ninja. Each week, I have unfiltered

conversations with female founders, creatives and leaders to

talk about ambition, visibility, and what it really takes to

build something meaningful in the public eye. Because being a

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think the negatives need to be discussed and they need to be

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know what's really going on. I feel like pulling the curtain

back is important. Listen to it girl with Bayley Taylor on the

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Hi, this is Joe Winterstein, host of the spirit on our podcast,

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The people with something. It's Questlove. So recently I had

the incredible opportunity to have a real conversation with

actors and producer Jamie Lee Curtis ahead of the release of

our new thriller series, Scar Petta. I can honestly say I've never

done an interview like that before. You know, at one point, I

shut my laptop down. And we just started chatting as old

friends, recent Oscar recipient. So we have some commonality

there. I predict that by the way. And you said these words to

me, dust off your mantle. Yes. And I looked at you and I

said, what? And you said dust off your mantle. And then I

left. And that was it. And then when all of that happened, I

remember the next morning, I think I wanted to like write you

and go, how did you know? Listen to the Questlove show on the

iHeart Radio app Apple podcast or wherever you get your

podcasts.

And is it true? Is it right? You'd written a spec script for

Frazier. That's exactly right. Right. For people who don't

don't understand that, what that means. A sample. Right, like

like unsolicited. Exactly. Right. So, you know, you're a

writer in Hollywood and you're going to write a script kind of

out of just your head based on the show that exists, right?

Exactly. A show you think could work. Yes. Because these shows

take scripts from all kinds of places. They mostly stick with

their staff. Okay. But I think there's a writer's guild rule

they have to take one a year. Okay. From an outside source

that keeps the pond fresh. I guess. Yeah. Yeah. But it's very

difficult if you're not in that writer's room to get a script

on there. But yeah, if the script is good, even if they're

listen, we did something like that or we have something coming

up like that already. Yep. The story is going this way and

you went that way. But if it's good enough, it serves as your

audition. Right. And you can see it and say, Oh, this guy can

write. Yep. So Ray Romano, take that meeting with this guy.

Yep. But I and Ray said, but I want someone from friends. That's

the cool show. But that guy wasn't available. So I got the

well, and how do you? How do you? I don't know if he needed

convincing. But like, how did that? The the the back and forth

you to meet? I think you met it. You met at arts.

I don't know. Is that right? Yep. All good things happen at

diners and delis. I agree. And like, what is that back and

forth where you guys are feeling each other out? I asked him,

tell me about yourself. Just as I would ask you, if I'm going

to write a show for you, tell me about yourself.

He said, I got twin boys in an older daughter. My parents lived

close by. They were always bothering me. And my my brothers

a police sergeant, he lives with them. He touches every bite of

food to his chin before he eats it. He's very jealous of me.

He once saw an award I want for stand up. But he said, never

ends for Raymond. Everybody loves to ring. Yeah. And I said,

well, it doesn't seem like there's anything there we can use.

Right. Nothing. No, I thought that was a good starting point

because he never acted before. So why not make him something

that he that's close to him that he can relate to? Yeah. And

what I didn't know about their personalities, I filled in with

the personalities for my family. So I was going to ask because

you know, this was going to be largely biographical. You had a

kind of source material in raise stand up and his background.

Right. So where do you find the creative opportunity in writing

and producing this show? It has to be relatable to me as

well. Right away, I got I got I got it. The metaphor is your

parents, no matter how far away they are are in your life. Yeah.

Yeah. The metaphor of them living right across the street, which

wasn't the case in race life, but they lived in Queens. You know,

he lived in Queens. It didn't have to be my parents. I'm living

in Los Angeles. They were in New York. They're still in

shapeable. Of course. Yeah. As long as there's a phone. Yeah.

They're in your business. They're in my business. And they

were in my life. And you know, the bottom line is that you want

them in your life. Yeah. As big a pain in the asses. Of

course. And you are to them. Yeah. This is this is the most

beautiful thing. So I knew that with that underneath, he

honestly, he didn't he didn't see it. He didn't know who thinks

their life is worth anything. That's not TV worthy. Well, it

turns out it's very low concept. The idea, guy and his

family live across the street from his parents, who cares,

don't know, but it's not sexy. It's not hip and edgy, which is

all they want. If an edgy, hip and edgy, I say, well, you got

the right guy. I miss the hip and edgy. I only can do what I can

do. I only have the sensibility that I have. Yeah. Thanks to

Maxine Helen, my parents. Yeah. So I draw from them, in fact, in

the pilot episode of the show, I need a scene that illustrates

how crazy raise parents are and what he's going to be up

against in every episode. And then I remembered this thing that

happened to me in real life. I sent my parents for Hanukkah, fruit

of the month club. You have this. Do you know it? Yes. Yes.

People don't know what it is. It's very simple. A nice box of

fruit comes to the house. And it's a subscription. And you get

you get them nice, beautiful fruits from around the world.

And so the very first box that came, I get a phone call from

my mother in New York, Philip, your gift came. Did you know, was

a box of pears? I said, yeah, Ma, you like it? She says, Oh,

oh, they're very nice. Sure. But there's so many pears,

what am I going to do with all these pears? I said, I don't know,

you eat them, give something to dad. How many pairs can your

father eat? Philip, do me a favor. Don't ever send me any more

food again. I said, well, another box is coming next month.

And she said, what more pears? And I said, no, no, different

box every month, every month. Max, he got us in some kind of

cult.

forgot. Yeah, why did you do this to me? I said, I'm sorry, she

goes, I can't talk anymore. There's too much fruit. So I put

that almost verbatim into the pilot. Now, yeah, I thought that

was a good scene. And the audience would say, ha, ha, look how

crazy raise parents are. Okay, right, right, better than that.

Your parents are crazy too. Right, right, right. I get letters

still the same thing happened to me with my parents with through

the month club. Yeah. But even without that, yeah, I stumbled

upon some universal truth. You, you can't give your parents a

gift without it blowing up in your face. Yeah, no good deed.

Yeah, right. Yeah, yeah, it happens. So, so, so what's the magic

word in all these shows, whether it's drama or comedy,

relatability? Yes, yes, yes, yes, it has to be funny. But the

magic hook is relatability. Yeah, we identify. So what does that

mean? It has to be believable that it could happen in real

life. That was our rule in the writers room. Could this

happen? Yeah, only rule. If it, if it, we all know the shows

where reality or believability goes out the window for the

sake of the joke. Yep. And then you're hearing the writer and

not the character. And then you're only as good as your last

joke. There's one exception to this rule that I found in

sitcoms. And that's 30 rock, where the jokes are so good and so

fast and furious. And from a genius, you don't care that it's

not real life, that it's not believable. You understand that

it's just a hair above an SNL sketch. But the jokes are

tremendous. That's so interesting. I, I think for me, you

know, my favorite genre of television comedy is the sort of

like British office Larry Sanders curve, right? Love, love

that. Yeah. And I know what you mean, like they're achingly

painfully relatable, which is why they're so funny because

it fetishizes the awkward moments of life, which they do

brilliantly. But that's not enough. There's this new thing

now called cringe, right? Which they forgot one thing, the

comedy. Yes, yes, you have to. That's exactly right. No, so

the jokes I, the jokes are so important to those shows, because

otherwise, they would just be uncomfortable. Nobody's

watching if it's, if it doesn't matter, you know, yes, what's

the most important thing in a sitcom? Unfortunately, everything

I love that. Oh, God, this is why I love talking to writers

because I mean, this is so good. You're telling me so much. We

had Brad Garrett on and he's so wonderful. Oh, my God, the

funniest people on the earth. And it just doesn't get said

enough. So I'll say it, one of the kindest, he is so kind and

thoughtful. And he's been so wonderful to us. He sent my

you wouldn't know from talking to him. But because he's

done Rickles. He is, but, but you know, I've got to know

him for a generous, generous, generous soul. Yes. So

generous. He sent my kid, yeah, a box of Elio, um, toys and

stuff, because he was, he voiced in Elio, which came out

maybe last year. And my son was really excited to see it when

he's, when he heard that, he sent a box of all this merch. I

mean, just so so nice. Um, anyway, we talked to him about

what a time it was to be on a hit network sitcom in the 90s. I

mean, not only was there something for everyone, but like, the

hit shows were so good from Raymond to Frazier to friends

to Seinfeld. I mean, it was such an era. Do you, of course, do

you feel like there was a better time for sitcoms than the 90s?

That was the peak. That was a great say. I was say, we were so

lucky to get in and out of that business at the peak of the

business. Incredible. Yeah. We were treated like royalty. We

were treated. I mean, it was that, that this ship has sailed.

There's this, you know, streamers came along and the

internet and now there's a billion, literally, a billion

choices fighting for your attention.

Our attention span has been decimated. Yes.

It's I heard this note from a streamer. Somebody told me this

like writing a show for for a big streamer. They got these

notes. Don't put outstanding moments in the show. I said,

what? What the hell? It's all we do is writers is try to write

the outstanding moment as actors. We try to find an

outstanding moment that we can show our stuff or as directors

and outstanding. No, they don't want it. Why? Because they're

tracking us. And if you have an outstanding moment, you call

your friend or text your friend and say, she jumps out the

window at 2237. They zoom to that. They watch that maybe over

and over. They can't track you. So that's important to them

because at the end of the day, they're kind of data collecting

and that's where the money's coming from. I don't, I don't

understand it. I don't like it. I don't get it. So dystopian

second note. Here's the second note. It ties in with the first

note. Make shows for second screeners. What does that mean?

What's the first screen in everyone's life? TV phone. Yeah,

phone. So in other words, everyone's on their phone. Yeah,

right? Okay. So they're not really watching. So

again, don't have outstanding moments. What is that? So just

have almost like a wallpaper. So that when Susie texts her

friend, Sally, what are you doing? I'm watching so and so. But

you're not watching. You're texting your friend. Right. But

the thing is just on like in the background. And then that

now we're able to collect the that on you because it's on

it's going to stay on because you're not really watching. So

that's why when you watch a thing, you're like, why is this

story so terrible? Why is there no story? What's going on

purpose? Oh my God. It's the end of everything. It's the end

of everything. Yes. I remember because I developed as well. I

remember some years ago, I was told like quibi was going to be

the big thing. And I was told yes to write for five minute,

five minute chunks of time. So that a college kid walking in

between classes could ingest an episode in the span of five

to 10 minutes. I was like, I don't, I don't know, I don't know

how to do that. I don't know how to write that way. That's the

truth is the truth is this is now a thing. Yeah, that's the

reality. I was years ago, right? Yes. Now it's called a

vertical. Yep, exactly right. But at the time, I met with

those people. They met with everybody. Yeah, would you like

to write for quibi? And they explain the whole thing to me.

Right. And they said, I'm sorry, this is a subscription

server. Yes. And only on the phone. Yes. I'm sorry, isn't

there a thing called YouTube? Yep. Yep. Right. Which is

free. Right. So it didn't work. Of course. Yeah. Yeah.

Who's that for? Nobody. And now the verticals are free.

Now, yep, because they had to be. Yes, it's it's a TV and

you know, I'm on I'm in a certain, you know, space of TV.

But like I said, I developed as well some, some non scripted

and you know, I wrote a, I wrote a scripted sitcom,

setting a newsroom. At one point that maybe I'll do

something with one day, but you know, it's such a frustrating

business because there's a lot of rejection. And even when

projects get picked up, it still feels like there's 500 places

for it to die along the way before it gets to air. Absolutely.

Yes. That's always been that way. It's always been that way.

How do you? Yes. Now it's where you deal with the nature

of the business as you were coming up in it, moving through it

and just like the, the rejection, the churn, the green light

that turns into a project that's gone. Like it's very easy,

very easy, got depressed. I don't mean to laugh, but like I'm

glad my mental affliction. This is a mental podcast. So I love

that you said that. Say more. What else can you do? Yeah.

It's why I had to give up acting because I couldn't take

all the rejection. I was a little less rejected as a writer.

Yeah. Yeah. Still am. Do you know after Raymond, I wrote

another sitcom. That's what people expected of me.

I expected it of myself after a nine-year run on that.

Hit show. Yeah. Nobody wanted it. Why?

Wasn't hip and edge. They said that in the nine years that you've

been doing Raymond. Oh, the worst change.

Raymond had trouble getting on the year it got up. Yeah. Right.

We were never on the cover of the magazines. That was for Sex in the City.

Yeah. In Bendeji. Yeah. Friends. Hip and edgy. Yeah.

So all people wanted was those kinds of shows, which I'm not

putting down. It's just not what I do. Yeah.

Yeah.

So after a couple years of striking out, after having this hit show,

I thought, what would I love to do? And I thought of the travel show. Yeah.

Because I love travel, changed my life. Yes.

Most mind expanding thing we can do in life.

Agreed.

From the time Raymond was over to the time, the first iteration of that show,

I'll have what Phil's having. He's on PBS. Yep.

10 years.

Geez.

The lesson was, I guess, if you make something a priority in your life,

you won't stop until it happens.

And I imagine too, like, and we've talked about this on the show too, because we,

again, we talk about mental health, we talk about career arcs and these pivot moments, where

if you want something to happen enough, sometimes you have to do it yourself.

Absolutely right. And I'm sure it took you 10 years to get to the place where you

yes, got that. And almost, and almost 10 years after college, before I got work as an actor,

you know, how some friends of mine and I wrote a show for ourselves to be in.

Yes. Yes.

Literally writing your own ticket. That same year, another friend of mine, he was a writer.

He said, we're going to write a screenplay.

I said, I don't know how to do that. He said, I know the structure. You're funny.

Let's write a screenplay about a suburban detective. Okay.

We write it. We sell it like that to HBO for $70,000 in 1988. It was like I was making

billions of dollars. I couldn't believe it. I was now a thousandaire.

And now I could eat. And any time you wanted it, instead of as an actor, tuna fish.

Yeah. Yeah. Yeah. So that, I mean, sometimes life presents you with what you're supposed to be.

Well, I love that to be attuned to it. Don't be an idiot. But wait, I'm not an actor. So what?

You're in the business. But it's scary now. Look at me now. I get to be slow.

So I mentioned I wrote this sitcom. And only to say, so I had been asked to consult on Aaron

Sorkin's The Newsroom, which was a beautifully written show about my business. And obviously,

it treated the news very seriously. It was a drama. Yes. Yes. When I was asked to come into the

writers to consult on the morning show, I saw Reese and Jen and Steve Carell attached.

And I thought, Oh, good. This is a comedy about my business. And we deserve to be skewered.

Okay. And so I got into that room and, you know, we had some fun. But it became a drama as well.

And so I remember saying after that, and I love both of those shows. Gosh, I can't wait until

someone writes a comedy about the news so I can consult on that. And this really not at me for a while.

And eventually I was like, why am I waiting for someone to do the thing and then hire me to

consult on it when I could write it myself? And so I have no business writing a sitcom. This isn't

my world. And I don't, you know, know if anything will happen to it. But like I was scared to leave

the bubble of news and what I am known for doing. It's not always as simple as go off and do it

yourself. Like how did you get the courage to not just do it, but then show it to people?

Easy desperation. Hunger bills. Yes, I'd like to eat.

We're having a baby. Yeah. How do you take care of a baby? Yeah. I wrote a pilot called

Everybody Loves Raymond.

This is Dr. Laurie Santos from Happiness Lab. As a happiness expert, I know that mindfulness

isn't just about meditation. It's also about being present with your choices. And for me,

present at meal time. That's why I choose Deeds in Watson. They're a family owned and operated

business and they never cut corners. Ever. I use their chicken sausage with no added hormones

in my family recipes. Deeds in Watson have been hand crafting meats and cheeses for over 85 years.

They know that good taste doesn't need a long list of ingredients. They're totally transparent

about what goes into their food and what doesn't. And that's why their meats and cheeses taste so

great. They stick to what matters using the fewest highest quality ingredients to craft their

meats and cheeses. Because that's how they've always done it. If you want a more mindful meal,

check out Deeds in Watson. Deeds in Watson, it's a family thing since 1939. Visit deedsinwatson.com

slash the right way to learn more about the Deeds difference. That's deedsinwatson.com slash the right way.

You know what I could really go for right now? Literally anything that comes in a McDonald's

carton, wrapper or bag or a McDonald's cup. Yes, any of those items you do it. We've got your

cravings covered. Now stop in for the flaky filet of fish, the crispy snack wrap or a large

fries for just $2.99. Limited time only, price and participation may vary. Cannot be combined with

any other offer. I'm Bailey Taylor and this is Ik girl. You may know me from my Ik girl series I've

done on the streets of New York over the years. Well, I've got good news. I am bringing those

interviews and many more to this podcast. Yes, we will talk about the style and the success,

but we are also talking about the pressure, the expectations and the real work with the women's

shaping culture right now. As a woman in the industry, you're always underestimated. So you have

to work extra hard and you have to push the narrative in a way that doesn't compromise who you are

in your integrity. You know, I like to say I was kind of like the silent ninja. Each week, I have

unfiltered conversations with female founders, creatives and leaders to talk about ambition,

visibility and what it really takes to build something meaningful in the public eye. Because being

an Ik girl isn't about the spotlight, it's about owning it. I think the negatives need to be

discussed and they need to be told to people who maybe don't do this every day just so they know

what's really going on. I feel like pulling the curtain back is important. Listen to Ik girl with

Bailey Taylor on the iHeartRadio app Apple podcasts or wherever you get your podcasts.

Good people. What's up? What's up? It's Questlove. So recently I had the incredible opportunity to

have a real conversation with actors and producer Jamie Lee Curtis ahead of the release of our

New Thriller series Scarpetta. I can honestly say I've never done an interview like that before,

you know, at one point I shut my laptop down and we just started chatting as old friends,

recent Oscar recipient. So we have some commonality there. I predict that by the way.

And you said these words to me. Dust off your mantle. Yes. And I looked at you and I said what?

And you said dust off your mantle. And then I left and that was it. And then when all of that

happened, I remember the next morning, I think I wanted to like write you and go, how did you know?

Listen to the Questlove show or the iHeartRadio app Apple podcasts or wherever you get your podcasts.

Hi, this is Joe Winterstein, host of the Spirit. Our podcast where we talk about astrology,

natal charts and how to step into your most vibrant life. And I just sat down with a mini driver.

The Irish traveler said when I was 16, you're going to have a terrible time with men.

Actor, storyteller, and unapologetic aquarium visionary. Aquarius is all about freedom

loving and different perspectives. And I find a lot of people with strong placements and

Aquarius like are misunderstood. A son and Venus and Aquarius in her seventh house spark her

unconventional approach to partnership. He really has taught me to embrace people sleeping in

different rooms and different houses and different places, but just an embracing of the

isness of it. If you're navigating your own transformation or just want a chart side view

into how a leading artist integrates astrology, creativity, and real life, this episode is a must

listen. Listen to the Spirit. Our podcast starting on February 24th on the iHeartRadio app Apple

podcast or wherever you listen to your podcast.

What's the comms did you grow up on? Oh my god.

When I was born in 1960, so the honeymooners had already been on, but they were on every day in

reruns. Yeah. That was my absolute favorite. As a three-year-old, as a four-year-old, I would

imitate Ralph and Norton in the house. Yeah. I loved it. I loved I loved Lucie. I loved everything.

I loved anything that was remotely funny that came on TV. Yeah. And because there were only

three channels, he was very old. I watched everything, whether I liked it or not.

I want shows that I hated it. Why? Because they were on. Right. Because they were there. Yeah.

Because they were there. Yeah. And then later on, the Dick Van Dyke show, all my family,

the odd couple, taxi, the Mary Tyler Moore show, the greatest thing to talk about,

a show set in the newsroom. Right. Maybe the gold standard of sitcoms. Yeah. Yeah. Great.

Absolutely great. You know, there have been classic, amazing sitcoms. Yeah.

The building block of TV networks happens to be the family sitcom, which they said wasn't

cool. Yeah. But now, network sitcoms are very much like what you were talking about. They're not

edgy. They're for middle American families, it feels like. Are you talking about maybe

something like Leigh Ann that's on Netflix? Yeah. Or the 1000 to Malin projects that,

you know, they've they've done on recently on networks since home improvement. Like,

it seems like they figured out there's a market for the non hip, non edgy, all American family.

I think so, but I don't think they would admit it. Oh, really?

To this day. Yes. Do you know that after Raymond went off, there wouldn't be another family sitcom

for five years? Oh, it was a modern family. Oh, it took that one. And it had to be modern.

It had to be single camera. Yeah. It had to have right interracial. It had to have gay. It had to

have all the modern, yeah, topical modern topics of the day. That's right. They did it fantastically.

Well, that pilot is one of the all-time greatest pilots I've ever seen in my life.

Do you remember that pilot? I do. Yeah. You think you're seeing three disparate stories about

three different families. And at the end, they all gather for dinner. That's right. And it's one

family. Yeah. Genius. Yeah. So even today with the stuff that we can see on

network in prime time, they're still saying they're not, they're still they would still say they

want hip and edgy. Absolutely. Yes. Wow. They want high concept. Okay. High concept is

where from Mars and we live in the neighborhood and we have to pretend that we're not from Mars.

Yeah. Right. They find out we're from every show, though, that you write every episode has to

serve that premise. So what happens after a year or so, you run out of shows because it's so

repetitive. Yes. Right. And it's the same plot. That's how you have to serve us a high concept

show. So it can only run a little while. You know, it runs for nine years. Guy lives across

the street from his parents. That's exactly right. Speaking of nine years. It's hard to sell.

Yeah. That's hard to sell because it's not nobody's jumping up it down. Oh my god, we have to

have that sexy show. No. About the guy that lives across the street from his parents. Yeah.

It turns out to be the stuff of life. But speaking, speaking of nine years, you know,

I was a big fan of the British office and Ricky Jervais and Stephen Merchant decided they wanted

to end that series after just two seasons. Plus the Christmas special. And they did the same.

Fantastic. They did the same with their follow up extras. Talk about deciding to end

Raymond when you guys did. Oh, we started to run out of ideas. And I wanted to get off the air

before somebody said, Hey, you should get off the air. This is tired. Yeah. You want to leave

when you're we all know the shows that stay too long. Yes, we do. Where it gets, you know,

you can see they're running on fumes and they did it for the money. Yeah. I never did anything

for money after I could feed myself nothing for money. I quit Raymond twice before it got on the

air because I didn't think it was going to be right. But you have other influences as an EP,

as a show runner, because other people are making money. And, you know, you're employing lots

and lots of people. So what kind of pressure did you face? A lot. Yeah. I bet everyone,

everyone wants us to continue, including my family, my parents. What are you doing?

Were you going to get another job? I'm like, you're like, I'm a police. I'm an hit show. I think

I'm okay. It wasn't about that. But thank God, by the way, Ray Romano felt the same way because

the network literally said, you can go Phil. As long as we have Ray, we don't care if they read

the phone book. Wow. That's how much writers are valued. Yeah. Right. Right. But he was ready too.

Yeah. It's not that we were tired of doing it. We just felt it started, you know, in the

writer's room, have we done that before? It seems a little similar to this one, because why?

We did 210 episodes about this family at this time in their lives. There's only, you know, we

can't fast forward to, you know, now their grandparents. Right. Right. Right. So there's a limited

number, I think, of anything. And you want to get off the stage before somebody says, hey,

you should get off the stage. And I also, such a student of TV, I thought if you can keep it good

till the end, you might have lasting value. And so this year, we're celebrating our 30th year of being

on television. Wow. Yeah. That's last time on somewhere in the world every minute. That's

incredible. So that's, that's called trying to make a legacy, trying to make something of

lasting value. The other thing you do to make sure that happens is, and I would warn you, even

though you didn't ask, if you're doing the new show, it's going to be pretty hard to do it

without topical jokes. Yeah. Yeah. But we avoided them.

So that 30 years, you could still laugh at the universal things. So I would tell you, I see what you

mean. Yes, even though you're going to have topical jokes, it's a new show. The number one thing

are the characters in their relationships. Right. So that like all the family, they had some

topical jokes. But people love that show. Right. Because Archie and Edith and Archie and

Meadhead. Yeah. Because of the extensions. Yeah. The, the more raised jokes. Yeah. Right.

Right. Yeah. Oh, that's good advice. I will take that. Um, I want to talk about just try it,

someplace new, which you wrote with your daughter, Lily. This feels like a book that's like at its

core, ultimately about anxiety. You got it. Yeah. So here's the thing. We all have a fear of the

unknown. Yeah. And when is that most pronounced for your little kid? Right. So the first book was

just try it. It was just called just try it. Yeah. It was about food. Dad who eats everything.

Yeah. I don't know how we got this idea. And his little girl who won't eat anything. Yeah.

And, and how, and, and it became a New York Times bestseller because

people used it as like a self-help book for little kids. Yeah. Yeah. They, they, they wanted to

try it. Why? Because little, little in the book is trying it. And she doesn't die. Right.

She likes it. All right. Now we got a series of book deals with Simon Schuster.

I thought, well, it could be just about foods of the world, but that's a laboring to me.

Just try it applies to everything in life that a kid has to try for the first time. So let's say

we're talking about travel. Yeah. Where's the first place a kid goes in their life?

Grandma's house. Yeah. Yeah. Grandma's house. Just try it. Some place new. Lily is going to sleep over

a grandma. Yeah. What if her bed, what if the bed isn't my, I love my bed. I have all my things.

What if her neighbor, what if she's old? What if it's all like broccoli is the only thing to eat?

What if it's just, you know, old people food and old people things? I'm going to hate it.

So dad goes with her and it's a nice, I think these are nice.

Here's, have you ever written a kid's book?

I haven't yet. That's something I'd like to do. You have kids? I do.

I wanted to do Lily suggested that I write a kid's book because kids like my show

and I love kids in the show. Yeah. And I said, I'd do it if you do it with me. So that was really

sweet to do. But I think we discovered that the key to a good kid's book is that it transcends being

about the kids. Okay. How many grown-ups do we know who won't try new things? Oh, yeah. Right.

Exactly. Yes. And the thing I picked up on was because I've talked very openly about my anxiety

which is a specific thing. But I've also talked about my son's anxiety and he's very much

averse to trying new things and that could be food. But it's also just like, you know, anything new

is scary to him and it's so funny because I'm, he's experienced no big changes in his life.

No, right? By his age, I had been through my parents' divorce. I had moved five or six times.

I had been to six or seven schools. The only constant in my life was change. And he's experienced

none. And so I was trying to like figure out, I was asking him like, I was trying to figure out,

is he so change averse as a reaction to some kind of trauma he had that I'm unaware of? So I

asked him once, Jack, what, what do you think the biggest change you have experienced in your life

has been? And he was like 10 at the time. Any thought real hard and he took a deep breath and he

goes, well, we got the new couch. Oh, that's awesome. And I'm like, okay, can we trade childhood?

Because your sounds awesome. If the biggest change in your life was the new couch, but you don't

have to know why some people are just very anxious around change. And so the universality of this

theme is right on. I mean, I picked up on it as an adult, you know, and the utility of this

message for like anybody, but especially kids. They're little self-help books, I think. And

and you know, you have to, I always go back to Mary Poppins. Yeah. Mary Poppins is the most

genius entertainment maybe ever written. Why? When you're a little kid, that movie's about the

little kids who have a magical nanny come and make their life really fun and great. Yeah.

When you're grown up and you watch it with your kids, you cry because you realize it's about the

dead. It's about the old movie is really about the dead. It works on that level. Mary comes not to

change the kids life, but to change the dead. The dead rises at the end, but he should be more of a

dead unless of a banker. Oh, like the sound of music similarly. Yeah, of course. And so, yeah,

yeah. Same by the way. Same lady. Right. Right. Oh, I've not thought about it that way. Yeah.

It's so beautiful. So if you can, if you can reach the parents, well, how many parents,

how many grownups do we know who won't try new foods or new ideas? Or just having anxiety about

all kinds of things. Yeah. Of course. Our biggest fear is the unknown. Yes. Right. So, you know,

my joke about being in Thinbourdain, if he was afraid of everything, that was actually true. But now

that I did the unknown things and I have a terrible brother who is our producer and pushes me to do

all things. I am not as afraid anymore because I've faced the unknown.

And it didn't kill me. It's not, it's not made me stronger. No, it's just that I'm not,

I mean, even if the like jumping in the cold water off, right, Ireland, which I've done now. Yeah,

yeah. Not doing it again. No. But you know, it won't kill you. It's a data point. It's a data point.

It won't kill me. If I, if somebody, you know, said you're going, I would say, well, I live through it

once I could do it again. I'm not afraid. I'm not definitely afraid. Yeah. Yeah.

This is Dr. Laurie Santos from A Happiness Lab. As a happiness expert, I know that mindfulness

isn't just about meditation. It's also about being present with your choices. And for me,

present at meal time. That's why I choose Deatson Watson. They're a family owned and operated

business and they never cut corners. Ever. I use their chicken sausage with no added hormones

in my family recipes. Deatson Watson have been hand crafting meats and cheeses for over 85 years.

They know that good taste doesn't need a long list of ingredients. They're totally transparent

about what goes into their food and what doesn't. And that's why their meats and cheeses taste so great.

They stick to what matters using the fewest highest quality ingredients to craft their meats and

cheeses. Because that's how they've always done it. If you want a more mindful meal,

check out Deatson Watson. Deatson Watson, it's a family thing since 1939. Visit Deatson Watson.com

slash the right way to learn more about the Deats difference. That's Deatson Watson.com slash the

right way. You know what I could really go for right now? Literally anything that comes in a

McDonald's carton, wrapper, or bag, or a McDonald's cup. Yes, any of those items you do it.

We've got your cravings covered. Now stop in for the flaky filet of fish, the crispy snack

wrap, or a large fries for just $2.99. Limited time only, price and participation may vary,

cannot be combined with any other offer. I'm Bailey Taylor and this is Icarl. You may know me

from my Icarl series I've done on the streets of New York over the years. Well, I've got good news.

I am bringing those interviews and many more to this podcast. Yes, we will talk about the style

and the success, but we are also talking about the pressure, the expectations, and the real work

with the women shaping culture right now. As a woman in the industry, you're always underestimated.

So you have to work extra hard and you have to push the narrative in a way that doesn't

compromise who you are in your integrity. You know, I like to say I was kind of like the silent ninja.

Each week I have unfiltered conversations with female founders, creatives, and leaders to talk

about ambition, visibility, and what it really takes to build something meaningful in the public eye.

Because being an Icarl isn't about the spotlight, it's about owning it. I think the negatives

need to be discussed and they need to be told to people who maybe don't do this every day,

just so they know what's really going on. I feel like pulling the curtain back is important.

Listen to Icarl with Bayley Taylor on the iHeartRadio app, Apple Podcast, or wherever you get your podcasts.

Good people, what's up, what's up, it's Questlove. So recently I had the incredible opportunity to

have a real conversation with actors and producer Jamie Lee Curtis ahead of the release of our

New Thriller series Scarpetta. I can honestly say I've never done an interview like that before,

you know, at one point I shut my laptop down. And we just started chatting as old friends,

recent Oscar recipient. So we have some commonality there. I predict that by the way.

And you said these words to me, dust off your mantle.

Yes. And I looked at you and I said, what? And you said dust off your mantle.

And then I left and that was it. And then when all of that happened, I remember the next morning,

I think I wanted to like write you and go, how did you know?

Listen to the Questlove show on the iHeartRadio app, Apple Podcast, or wherever you get your podcasts.

Hi, this is Joe Winterstein, host of the spirit daughter podcast, where we talk about astrology,

natal charts, and how to step into your most vibrant life. And I just sat down with a mini driver.

The Irish traveler said when I was 16, you're going to have a terrible time with men.

Actor, storyteller, and unapologetic aquarium visionary. Aquarius is all about freedom

loving and different perspectives. And I find a lot of people with strong placements and

Aquarius like are misunderstood. A son and Venus and Aquarius in her seventh house spark her

unconventional approach to partnership. He really has taught me to embrace people sleeping in

different rooms on different houses and different places, but just an embracing of the

isness of it all. If you're navigating your own transformation or just want a chart side view

into how a leading artist integrates astrology, creativity, and real life, this episode is a must listen.

Listen to the spirit daughter podcast starting on February 24th on the iHeartRadio app,

Apple Podcast, or wherever you listen to your podcast.

Oh god, I could talk to you forever about so many things.

You're going to. We're going to. We're going to go to the diner.

We are going to go to the diner. That's for sure. But let's just end with a little

lightning round that's really fun. Oh, okay.

What's the thing in your career that you've not done yet, but would like to?

I should sing more. Oh, do you have a good voice, Phil?

I used to. I don't know at that this age if it's still there, but I always liked it.

Um, I'd love to sing and act more, I think.

When I was I was I didn't have the stomach for the auditions and stuff, but now having been on

this side of it as a showrunner and a director and and being on my own show where I and I get to be

me, but it's still somewhat of a performance in that you still have to be the best version of

yourself, right? Yeah. If I went back to acting now, it'd be unstoppable.

I love this for you. Let's manifest it. Yes. I do get some people do ask me to be on

their shows once in a while. Like I did curb. I know you did. Yeah. That was really fun.

Yeah. I mean, what do you turn people down when they ask you to be on their shows?

If I don't have time, but I yeah, if I like the show, I sometimes I'll ask them.

I love that. Oh, well, okay. I hope we see a lot more of you and hear a lot more of you singing.

What was the hardest? No, you ever got. There's so many.

You know, I was shocked after Raymond that they didn't want the spin off of Raymond.

Okay. Yep. With Brad Garrett. Yeah. He was married to someone who I thought was a great actress,

my wife. Right. In the show. Yep. She was Monica was his wife on the show. So it's going to be

their fan. They're they're going to move to Pennsylvania where her family lives. Now these people

had been on the show 30 times. Who were they? Georgia angle, Fred Willard and Chris Elliott.

They'd been like 30 times. They were proven. You know what they said?

Everyone's over 40. We're trying to be more hip and edgy. Oh my god. Yes. That must have

gutted you. I couldn't believe it. Yeah.

Nose are hard, but we always learn something. What's the best East Coast diner?

Oh, the one that inspired me. The one in Bitterford, Maine. The palace diner. Go everyone should go.

You can see it in the main episode of Somebody Feedfill. You can see it. And when you see it,

you will go. Okay. Favorite restaurant for a date night. Oh, I would say Maxine Helens.

We've had people. Oh, I got to tell you this. There's a counter, which is probably the most

democratic thing in the world. Why? Yeah. Cause everyone's equal. And the curve of a counter might be

the greatest social lubricant in the world. Yes. Because you're looking at a stranger. Yes.

When you didn't mean to. Yes. You're just sad at the counter, but right away, here's the person

is here. Right. You can avoid them maybe next to you. But when they're here and you're looking

right at them, yeah, you'd book a table for two. Right. Oh, a guy comes in with flowers one day

at the diner and gives them to us. Beautiful flowers. Why? So you sat me at the counter

the other night, oh, about a month ago at the counter is alone. And then you sat a lady

who was alone next to me. We're dating and in love. Oh, I love that. Doesn't get more romantic

than that. How's your meatloaf? Great. How's your chocolate? Great. Now you're 15 again at the,

at the soda shop, the shop. Oh, God, how great is that? Okay. I asked Andrew Zimmer in this

and he hates this question. He's great. I love him. Yeah. He is great. He hates this question,

but we're friends. So I got away with it. What's your favorite food destination?

There's so many. Yeah. That's what he says. He's like, this is a terrible question.

It's anywhere there's so many. And the food is so great all all over the place. I'll tell you

the first thing that popped in my head that that I recently in my life within the first Japan.

You've been? No, I'm dying. That's the number one on my food destination list is Japan.

Okay. I told you to watch the main show. Watch the Kyoto. Yeah. Okay. Yep. You're going to go.

Oh, I can't wait to go. I mean, it's been on our bucket list for a long time.

It's a really beautiful place on earth and great food. You go to Japan. It's just a way to be.

You go to Japan. You go to the pharmacy. You buy a pack of gum. They wrap it for you as if it's

for your hundred percent. Oh, yeah. Yeah. Little kids are on the street. They're there and

to let's say in Tokyo, the busiest city in the world. They've got backpacks on. There's even

shows about this three years old, four years old doing errands for their parents alone. I said,

how do you let this happen? You know what they said? The community cares for the children. That's

incredible. The community cares for the children. Yeah. I could cry thinking about it. Totally.

Opportunities not taken. Lessons not learned. Ways to be that we have decided not to be. Yeah. Yeah.

Yeah. Yeah. I've long wanted to go for all of those reasons. I will. Okay. What's your favorite movie?

Mary Poppins is one of them. Jaws. The Godfather 1 and 2. I go through my life pretending there was no

three. Yeah. Yeah. I have a lot. I love. I love movies. We have movie night here at the house.

You'll come. I love movie night. That's great. Yeah. Okay. This is the final question. It's very

important to me. We ask it at the end of every podcast. When is it iced coffee season, Phil?

As soon as it gets warm. Okay. So for you, it's tied to a temperature. Temperature. Yeah.

That's a great answer. I'll tell you what it's never season. Pumpkin in your coffee. Oh, I agree

totally. Who thought of this? Who needs? That's some crappy coffee if you need to put pumpkin in it.

I agree. And we say this all the time because we have another podcast called Talking Coffee.

Where like you don't like the taste of coffee. If you're putting stuff like pumpkin and crazy

creamers in it, like coffee is the best flavor in the world. You got it. And what I've learned in

all my travels is the difference between good and bad coffee is good coffee doesn't need anything

in it. Nothing. That's so true. That's so true. Well, it's the incorrect answer. Ice coffee season

is year round. But that's okay. I'm just glad that you love coffee as much as we do.

This was such a joy. Thank you so much for joining us. I really love this coffee. I love

that one. It's very fast. And now I'm going to go eat lunch at the dining.

Enjoy and I will give you a ring when I'm out in L.A. So that we can go to Max and Helens together.

Do we have a connection? Do we have a thing? You know how to get me? I think I do. I think I do.

Yes, I can get you. Thank you so much. Thank you.

Off the cup is a production of iHeart Podcasts as part of the Reason Choice Network.

If you want more, check out the other Reason Choice Podcasts,

Spolitics with Jamel Hill, and Native LandPod. For Off the Cup, I'm your host,

Esse Cup, editing and sound design by Derek Clements, our executive producers are me,

Esse Cup, Lauren Hampson, and Lindsay Hoffman. Rate and review wherever you get your podcasts,

follow or subscribe for new episodes every Wednesday.

My club 5, 20 with Jeff Teague in the gang.

Yeah, yeah. Don't call me white girl.

Mona will be there. Keep it positive, sweetie, with Krista Renee.

We got reality with the King with Carlos King. And yes, drink champs will be in the building.

Plus, you know, we're going to have a lot of guests. So you need to join us.

And we got the Black Effect Marketplace, the Pitch Your Podcast,

and everything you expect from the Black Effect Podcast Festival.

Tickets are on sale right now. Go get yours at blackaffect.com slash podcast festival.

Don't play yourself, okay? Pull up.

I'm Bailey Taylor, and this is Ikrall. This podcast is all about going deeper with the

women's shaping culture right now. Yes, we will talk about the style and the success,

but we are also talking about the pressure, the expectations, and the real work behind it all.

As a woman in the industry, you're always underestimated. So you have to work extra hard

in a way that doesn't compromise who you are in your integrity.

You know, I like to say I was kind of like a silent ninja.

Listen to Ikrall with Bailey Taylor on the iHeartRadio app, Apple Podcast, or wherever you get your

podcasts. Hi, it's Joe Interstein, host of The Spirit Daughter Podcast, where we talk about

astrology, natal charts, and how to step into your most vibrant life. And today I'm talking with

my dear friend, Krista Williams. It can change you in the best way possible. Dance with the change,

dance with the breakdowns, the embodiment of Pisces Intuition with Capricorn Power Moves.

You're so I'm like delusionally proud of my chart. Listen to The Spirit Daughter Podcast,

starting on February 24th on the iHeartRadio app, Apple Podcast, or wherever you listen to your

podcasts. Hey there, this is Josh from Stuff You Should Know with a message that could change your

life. The Stuff You Should Know Think Spring Podcast playlist is available now, whether

spring is sprung in your neck of the woods yet or not. The Stuff You Should Know Think Spring

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You can get the Stuff You Should Know Think Spring playlist on the iHeartRadio app,

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Good people, what's up, what's up, it's Questlove. So recently I have the incredible

opportunity to have a real conversation with actress and producer Jamie Lee Curtis from

routines to recovery, true lies, and a certain germane Jackson music video. Jamie's real and raw,

and there's something I really admire about her. I am so happy that I'm the head

kitchen charge at 67 that I have the perspective that I have at my age to really be able to put

all of this into context. Listen to the Questlove show on the iHeartRadio app,

Apple Podcasts, or wherever you get your podcasts. This is an iHeart Podcast.

Guaranteed Human.