Martini Shot

Rob admits he should stop reading the trades: the only thing they’re good for is “to keep up on the career milestones of other people in the business who you may know, like, or be secret enemies with.” And since most trade coverage is dedicated to announcements of things to come, very likely “none of it will get made or sold, none of it will produce anything, which means none of it is worth getting anxious over and none of it is important to know.” In other words, he says, it’s all drumroll, no actual music. Just ask that lottery winner. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit theankler.com/subscribe Learn more about your ad choices. Visit megaphone.fm/adchoices

Working in entertainment, Rob Long has become superstitious. Whenever Rob does something humdrum like walking the dog and his agent calls, it’s always bad news. A call on a great trip? Well, maybe it’s a series pick-up! “We're always looking for signs and signals about where exactly we are on the great big greasy power ladder,” he says. And nowhere is your place in the world more on display than at the gates of a studio. If you’re denied entry and the gate arm stays down, you’re not just locked out of the lot — you’re also locked out of the business. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit theankler.com/subscribe Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Rob finds similarities between an audience and the voting public. Both will disappoint or lift you up on occasion, but what they should never do is surprise you, because that means you haven’t been listening. The solution: Turn to the crew, often the best and most accurate focus group a TV writer/producer can get. “‘Is the crew laughing?’ is one of the questions writers ask all the time on a comedy shoot,” says Rob, because they’re not paid enough to pretend to enjoy something when they’re not. On that note, Rob also offers up some free advice to anyone running a media business: follow the Olive Garden strategy, where, upon a takeover, every executive was forced to work in a restaurant for a day. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit theankler.com/subscribe Learn more about your ad choices. Visit megaphone.fm/adchoices

When Rob’s credit card was declined this week, he hopped on the phone with card security, and then — thanks to the sober reality check — decided he didn’t really need to buy that expensive toy. And thus, the benefit of “a service that interrupts you while you're in the process of buying something expensive and unnecessary.” On a set, that’s known as the line producer. And today, Rob pays tribute to one of the best, Steve Grossman, a 35-year industry veteran (Newhart, Hope & Gloria, George and Leo, Love & Money, Lateline) who was the secret weapon for sitcom success — and to whom the industry recently bid farewell. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit theankler.com/subscribe Learn more about your ad choices. Visit megaphone.fm/adchoices

On call sheets, child actors have a pumpkin icon next to their names, notifying everyone on set about their inviolate shorter workdays, lest the kid turns into, well, a pumpkin. Rob Long reflects on the significance of that symbol — especially when the time comes to part ways with Hollywood. Even if you’re calling a temporary wrap on your on career, there’s a power and shrewdness to putting a putting a pumpkin next to your own name before someone else does it. Says Rob, “It's the smart and healthy thing to do.” Which means you — and he — probably will never do it. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit theankler.com/subscribe Learn more about your ad choices. Visit megaphone.fm/adchoices

At one point or another, everyone in Hollywood will get fired, or will fire someone else. It’s as inevitable as getting unhelpful notes from an executive, or another Avengers sequel. After reading the news of the latest layoffs around town, Rob offers advice on how to deal with this part of the business, as well as how to handle the equally inevitable fallout: the creation of enemies. Sure, there are always people who you are never going to want to work with again, but there are actual enemies — people who you exchange words with — and secret enemies, the most troublesome kind of all. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit theankler.com/subscribe Learn more about your ad choices. Visit megaphone.fm/adchoices

Host Rob Long today explains why attracting an audience to a movie or TV show works the same way those dating apps work in attracting people to one another. But without the swiping. And why writers must always serve the dessert first in their scripts, no matter how “important” the message is. Because audiences want the candy, not the homework. So please, don’t bury the fun. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit theankler.com/subscribe Learn more about your ad choices. Visit megaphone.fm/adchoices

Today Rob Long tells the story of a friend on a flight about to make an emergency landing. The worst wasn’t the pilot’s announcement that they were in trouble; it was the flight attendant’s attempt to get everyone to chant, hands clapping, “We’re going to be okay!” As anyone in the industry long enough knows, such happy self-talk usually indicates something that is exactly the opposite — particularly in this era of Entertainment 2022. Enter the ninth planet. Please subscribe for more podcasts and stories about the entertainment industry. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit theankler.com/subscribe Learn more about your ad choices. Visit megaphone.fm/adchoices

“Everyone in the entertainment business works hard. Except agents, obviously.” So says Rob this week, as he describes the differences between writing and directing, with a few nods to actors (and their overacting): Being a writer teaches you how to be alone. But being a director teaches you how to be with people. So maybe, actually, being a director is the harder job? Also, what’s the best way for an actor to play a drunk person? We won’t spoil it here, but it hinges on on not being yourself.Follow us (and like us!) wherever you listen to your favorite podcasts, and on Twitter. Also please subscribe at TheAnkler.com for more podcasts and stories about the entertainment industry. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit theankler.com/subscribe Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, Rob Long presents the idea that anyone who puts on a little play, bangs on an instrument or talks into a microphone for money can say they’re in entertainment. But a true show business professional — hello, Harry Styles! — is hard to find these days, because the kind of people drawn to the industry are often much like baby actors — moody, mercurial, hard to reason with, yet also adorable. So when a fussy infant is faced with the prospect of being replaced by a cutting-edge robot on set, as witnessed by Rob, can they step up to the challenge? This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit theankler.com/subscribe Learn more about your ad choices. Visit megaphone.fm/adchoices