Make Your Own Break

Hollis Chapman Show Studio: Welcome to the Hollis Chapman Show, where we celebrate the power of words and the beauty of storytelling. Join us on this journey as we delve into the minds of successful authors and small business owners who have mastered the art of crafting captivating narratives that inspire, educate, and entertain. Prepare to be inspired as we explore the boundless possibilities that come from sharing stories and experiences that shape our lives and ignite our passions. Through heartfelt conversations and insightful discussions, we uncover the wisdom and creativity that fuel these incredible individuals in their pursuit of greatness. So grab a cup of coffee. Settle in and let the magic of storytelling transport you to new worlds and perspectives. Get ready to be inspired, informed, and uplifted as we embark on this storytelling journey together. Stay tuned for an episode filled with wisdom, inspiration, and the power of words. Welcome to the Hollis Chapman Show. Say where stories come alive. Let's begin this adventure together. Don't miss out on the opportunity to connect with some of the most talented and compelling voices in literature today. Tune in and let the journey begin. See I get so excited. Hey everybody, welcome. Happy Friday. My special guest is here and she's waiting. So excited to have her here. She's very talented, very, very talented. Our guest is a award-winning Canadian actor, writer, and producer. She has transformed the philosophy of, and I love this, building your own house. That's very important this day and age, you know. It's I think it's very important too, being a very talented woman. She might have got a little pushback because she was a woman. So she was like, you know, heck with that. I'm gonna do this myself. I'm gonna make this happen myself because she knows she's skillful enough to do it. Let's welcome to the show. Our special guest, Jennifer Lieberman. Hi, Jennifer. Hi, Hollis. Thank you so much for having me. I'm excited to be here today. Thank you. Everything looks great. Your bio is awesome. This is getting into all your stuff. Tell us a bit more about yourself and your latest book. Well, I'm an actor who got tired of waiting to get picked. So I started creating my own productions. I started writing and producing. Started off in theater doing a one woman show. And that show evolved into my best selling novel, which I won some awards for. And so my latest book is actually nonfiction and it's A how-to book on how to produce an independent play. Because that is if I never decided to take the reins and do my own show, I would have never kind of sp started off on this trajectory of building my house, creating a body of work for myself. And yeah, so in a nutshell, that's basically let's go back a second because very and I want you to share this with with the listeners and the viewers. You said, Okay, I'm tired of waiting. That's not that's the acting business. You get a act, you get something going, boom, then you gotta wait. You got tired of waiting. So what what gave you the confidence and say, Okay, I'm gonna create this stuff myself? Kind of give a little tip to the people who see this and say, you know, sometimes you're just gonna have to do it yourself. How do we start? Great question. And I guess the simplest answer is I didn't have the confidence. Somebody pushed me. And I so I had been living in New York and I was doing theater. I'm I grew up in a small town in in Canada outside of Toronto called Maple. And when I finished university my had a big dream to go to the big city and make it big. So I was in New York doing theater and had gotten into film production, moved to LA. And was spinning my wheels for about a year just trying to figure out which door, which door to even knock on. It's it's not even about a door opening. I couldn't even find a door. So and naturally it made sense because I hadn't worked in film and TV. I didn't have a reel. I didn't have footage to show anybody how fabulous I was. So I had met a woman whose husband owned an agency. He represented, he didn't represent actors, but he represented writers, directors, cinematographers, people more behind the scenes. And she suggested to create a vehicle for myself, to write a one-woman show and invite people. Let them know that I exist. She's like, You're new, nobody knows you exist, you haven't done anything. You have to let people know you're here and you're talented. So I did. I just took the advice. And the I guess the coincidence is in that first year in LA, I was in an acting class, as actors are. We are in acting class usually most of our lives in and out because that's it's the gym for us. That's what a lot of people don't realize. Is as much as you can get in the best shape of your life, and if you never go to the gym again, well that's not gonna continue. So for actors, we need to have our a ⁓ and our accents and everything we do accessible so we practice regularly whether we're working or not. And in that acting class in my first year in LA, there was a woman working on her One Woman show. She was working on pieces in class, and I thought she was brilliant. And I ended up producing a workshop of her One Woman show. And then another woman in class is like, Wow, you really helped Mina with her show. Can you come help me with my show? So she hired me to help her with her show. So I had a front-row ticket on the entire development, rehearsal. Putting these shows together, and I knew for a fact that I would never do a one-woman show. Because I was a good actor, I was confident in my skills, but I could not do that. That was out of my wheelhouse. That was something terrifying, and I didn't think I was good enough. I didn't think that I had that particular talent. Fast forward a year later, somebody says, ⁓ no, this is what you have to do. If you want the door to open, if you want people to know who you are and hire you, that is, you know, kind of a really good a really good way to do it. And I was like Also, as as most entrepreneurs, regardless of what industry you're in, like i if you're not doing something that scares you, you're not going in the right direction. You know, you you talk about that the night before, you sit there and go, okay. can do this. Tell us about that night before we got on stage for the first time doing your one woman's show. Did you sleep? Did you did you have a couple shots and say, okay, I gotta, I gotta I can do it. I can I'm ready. I'm ready. Because you know before I did my first podcast, I couldn't sleep all night. I gotta make sure I'm doing this and do that and stuff like that. So one woman's show. The house is packed. Everything's on you. You can't blame somebody. You can't say you missed step, center stage. You're there. You know, stage left, center right, you're there. How was the night before your first show? The night before was a little terrifying, but I had one of my closest friends from Canada fly down and she was kind of helping me a little bit. And if I didn't have her there to kind of talk me off of a ledge, I think I would have spiraled. Yeah. And You know, but but having that other person so even though it was a one woman show, it's important to have a little bit of a team, even if it's just one friend. Yes, I hired a director because I couldn't direct myself and I had, you know, people doing lighting and sound and things like that. But having my friend who came from Canada, you know, kind of handhold me through the process was really good because she was a distraction and she got my mind off of it Because the set I I I had done the show several different incarnations of it and the one after that I was by my ho by myself in my house and left to my own devices. I cried. I was like, why am I doing this? Why did I think this was a good d good good idea? Yeah. And it's funny just having that one other person to be like, Because you're great and because the show is great and it is a great idea, you know, but it's very hard for us to kind of quash that little doubting voice in our head without outside feedback or at least for me it is. Yeah, beautiful. Okay, so you gave us a little path to success for an artist, okay? Because you've done some things, you got a little help, you got a little feedback, you got the little push to the door. Can you share with your own journey and how it shaped your perspective on the idea? So you you knew you did it. You got on stage, you kind of thanked your friend from Canada. How else did it help you know for the future of your projects and the future of your being a producer, being an author, being air kinda help us with that. So it actually changed my whole life. Because I just want to preface, nobody from the industry really showed up to the show. The the show would had a very specific goal, invite agents, managers, directors, producers, people who could hire me or who people who could represent me. Those people didn't show up. My mom came from Canada, which was nice, and friends from that acting class that I was in came and some people that I met on my travels in LA, but nobody who I did the show for came. So in a way, I guess somebody would call that a failure. I didn't. Because along the road I realized that I was more creatively fulfilled as an artist writing this and working on this material in my living room than I had ever been in any of the roles I had ever been hired to do. And it was just kind of like this big aha moment, like, ⁓ wow. You know, I'm writing stuff that really pushes me as an actor and I get to show my range and I get to work on something challenging. Whereas when you're an actor waiting to get picked, you're kind of a victim of what people choose you for. And sometimes that can be great and sometimes not so much. But even we see A-list stars. For example, Adam Sandler, he's known for his comedy. You know, and once in a while he gets that opportunity to go against his type. He got to do Punch Drunk Love, which was ⁓ an indie feature. I think it did well at Sundance. This is this is a little old already. And then he also did that movie with Don Cheadle, Rain Over Me, where he lost his family in nine eleven. His wife and children were in an airplane. You know, and he really thrives and excels in these dramatic roles, but they're not what he's known for. And that's not what people are banking on when they invest in an Adam Sandler project. So, you know, when you're an A-list celebrity, you can even struggle going against type and going h against how people see you. Like Jim Carrey got the opportunity to do the Truman show and showed that he could be a splendid dramatic actor. Actor. And you know, a lot of like beautiful A-list celebrities like for example Charlize Theron, she got to do Monster, and that's what she won the Academy Award for, and really went against type and you know They did prosthetics and changed her look and whatever. But when you look a certain way, you're ascribed to a certain type, and that's great to establish yourself, and that's great, you know, to pay bills and and get work, but it doesn't necessarily fulfill your desire as an artist of the stories you want to tell or the roles you want to play. So I realized as much as I still love to get hired, love to collaborate, I'm always Looking for rules, I realized there's this other part of me that gets so fulfilled creating my own projects. So from that theater piece, I went on, I did web series, several short films, and now I am in development for my first feature film. ⁓ Yes, it's exciting. And it's all you know, it's all it all comes down to dollars. the short films I was able to do on my own with little to no resources, calling in favors, getting in kind donations, because on a small scale when you're only asking people to work for a day or two, it's easy for them to cut their rate or volunteer. But when you're talking about a feature film, this is a substantial budget. And not just that, ⁓ a lot of people don't realize even if you do have Have a hundred percent of the budget in your pocket, you never spend it. ⁓ for a film project, the way these budgets and agreements are structured, there's government incentives, there's soft money, there's selling the movie before it's made, it's called pre-sale. So there are all these different streams of financing that come in, and that's the best bet in order to recoup your investment. Because most movies fail. Most plays fail, most indie books fail, even most, you know, big book, you know, from the from the big five publishers fail. 80%. If you're living in the creative world, 80% of projects fail, regardless if they're big budget, little budget, big names, little names. That's just the nature. So you also want to structure things properly to cover your tushy as much as you can. Beautiful. Thanks for sharing that. You know, you gave us some great ideas. And tips. Okay, I know the listeners and viewers want to know about your book. So tell us more about your latest book that you're out promoting and doing. How did that come about and why'd you read it? Yes. So Once I did my One Woman show and had a a a little bit of success, I won an award for it in New York. I realized, wow, I have so many depressed, frustrated actor friends that are also spinning their wheels, trying to get a break, and I decided I could help. And I created a company called Make Your Own Break, where I help struggling creatives, whether they're performer, writer, director, because people just want to work, but we all need calling cards, we need footage, we need a body of work to show people that you can trust me. You can trust me because look what I've done in the past. I can deliver on this role, I can deliver on stage, I can get a Production from A to B, so you can bank on hiring me that I will I will be successful in the role you give me. So I founded Make Your Own Break, and I've been teaching workshops for years. And last year I was hired to teach a course based on my workshop at Toronto Metropolitan University. And I'm I was teaching independent theater production. and I'm still teaching there by the way, and I realized there hadn't been a book published about how to produce a play since nineteen ninety. And I r I realize okay, this is a huge gap in the market and this could be a great resource for actors and writers. It could also be a great academic resource for theater programs. And that's how that came about. But it's based on my own journey of creating my own productions, creating my own play, creating my own one woman show, and getting some notoriety and that opening other doors for me. And I it's very straightforward. It's independent theater production for the twenty-first century in seven simple steps. And It's seven simple steps because it's a very straightforward plan. You're still gonna have to work really hard to achieve it. Anything worthwhile it's gonna take a little blood, sweat, and tears. So that's how that came about. And yeah, it's been it's been really well received. And personally, I don't know how you feel, Hollis, but personally in the age where so many of us have screen fatigue, I feel like there's gonna be a resurgence in live performance. and theater and supporting local and people wanting to get out of the house. And theater especially is such a great place to connect because one of my favorite things about leaving the theater is talking to strangers about how the production landed. You know, I th that's a wonderful comment because I was gonna ask you about 'cause you know, when I was research SAG and everything like that that I know you're a part of, there's a hundreds of thousands of actors and actresses. I'm going, Holy smokes, how do they work? How can I get work? And I you know, and again that's a whole nother show right there. But now comes the AI thing. Now comes AI can do a full feature. It's like holy lord, these actresses break their hearts, cause now if you look at these videos that these movies, these people Make it like you can't tell a difference. So sit so do something where you can get out there and be in front. I think you're right. We did we want to get back on stage. We wanna sit there and see, hey, this is me. I'm Jennifer. Yes, I'm not AI, it's Jennifer. So what's your thoughts real quickly on the AI thing and what you thought about getting back on stage? Because I think you're right. I think you're gonna go back to that because of necessity, right? Thank you. Great question. So I have a split opinion. I'm I'm about fifty fifty. So just getting back to SAG, yes, SAG has over a hundred thousand members and at any given point in time, ninety percent of us are out of work. Wow. Less than five percent actually make enough money to qualify for health benefits on a regular yearly basis. So yes, y SAG is ⁓ facing its own challenges right now, and maybe one percent of SAG, because just because you can get your health benefits, that's about twenty three thousand dollars a year. You need to hit about twenty three, I think they're bumping it up to about twenty seven by twenty thirty in order to hit health benefits. How many people can make can can live off of $23,000 in Los Angeles in 2026? So that's not even somebody where their full income is coming from the industry. So yes, SAG is a whole you know cluster cluster of trouble as it is. AI is fascinating. It's here, it's not going anywhere. Yes, a lot of people are turning to AI because it simply brings down the production cost. And If you weren't able to get that money to make that movie, anyways, you're not taking the jobs away for actors. You're just giving yourself an opportunity to be in the marketplace and to be in the game. And I think AI is kind of gonna be an offshoot of like animation. You know, people who want to see a film with real actors are still gonna wanna see a film with real actors. That doesn't mean that there isn't a place for AI in the in the landscape. And I'm actually involved in two AI feature films as a producer. The company I'm working with, we are committed to ethical AI. And what we mean by ethical AI is we are hiring actors. We're doing a 360 motion capture, we are using actors' voices, we are hiring designers, we're hiring art directors, we're hiring humans to do you know, for example, the voices, the motion. the design and then we're feeding that into the AI system in order to generate the film. Both films would be over a hundred million dollars if we were doing them live action. ⁓ one is ⁓ they're both sci-fi, one's futuristic dystopian movie, another one is a futuristic kind of reimagined action film. I I can't say too much about it because they're mine and until things move forward a little more. But both of these productions would be a hundred million plus to actually shoot it with real people, real locations, real explosions, real technology, you know The pyrotechnics, all of that stuff. And the director's not quite there yet in his career where he can, you know, raise a hundred million dollars to make a movie. Are the stories great? Yes. Can we do it with AI? Now we can. Is it gonna be a fraction of the budget? We're looking at for both projects, we're looking around the two million dollar range. So that's What two percent of the budget? Yeah. So that's another thing, you know, there are certain stories that you know You just don't have the opportunity to tell. So it's it's actually once again kind of leveling the playing field, not so much for the performers, but for the writers, the directors, and the creatives. Beautiful. Well said. That that I always ask the question about AI. A lot of authors say, No, no, no. But you being in a different seat, you being a producer stuff like that, you understand. It costs too much money. And then you thought the numbers about what who's gonna be successful at it anyway. It's like how the heck am I gonna sit there and spend a hundred million dollars but move it Get out the first block. I mean, you know, you see movies and they go bad, they have a bad week and and they just spent 60 million dollars. It's like, ⁓ no, we're never gonna recoup the money we just spent. That's that's heartbreaking, you know. I mean, not all of us are Tom Cruise. Not all of us can, you know, he just write his check. Yeah, we're gonna make it up. You know, but I like his stuff. I I do get entertained by what he does. So I'll just tell I'll tell you, I go watch his stuff. So but that does, that literally breaks our heart. That is so hard. At this point, tell us where we go after the show to learn more about you and to buy your book. Because I'm looking at your website all day today and you got some nice reels, you got some nice stuff. So tell us where we go after the show. Thank you. So ⁓ Amazon is the best place to buy the books. or if you don't want to buy on Amazon, they're available at Barnes and Noble in the US and Indigo in Canada. If you're interested in my novel, ⁓ Year of the What, you can go to yearofhewet.com and you can see some of the reviews that ⁓ That book has won several awards. It's a lot of fun. It's a coming of age, rom com, a little spicy, a little irreverent. ⁓ And then I also have another website called Make Your Own Break, and that's the one if you're looking for information on how to create an opportunity for yourself as a performer, as a writer, I have resources on that website. And you can always book a 15 minute free consultation with me and see if I can help. You. I will also be putting up the link. The course isn't available yet ⁓ through the university website because I'll be teaching it next semester, so it's not live yet, but that link will be available. And in a few weeks, I'm actually going to be launching a one-hour intro on my website that you can download and you can do autonomously. And this is the introduction to independent theater in seven simple steps. And you can sign up for my newsletters. I put them out only once a month just with some updates and different events going on. But yeah, that's that's the best place to find me, makeyournbreak.com. You know, listen to how you what you do. Go on to your website and all the stuff you do. How does Jennifer bring it down so you don't think 'cause again, you probably go home at night and try to sleep and you're s your mind's going, your head's going. How does Jennifer bring it down where she can relax? 'Cause you're so creative. Yes, your vision, you always got the vision, you're always thinking about ahead. How does Jennifer bring it down? Share with us how to do that so we can sleep, so we can get so we can get ready for the next day. How is Jennifer doing? The best way to get out of your head is to get into your body. Yeah. So I I work out regularly. My the first half of my life I was an athlete. I was a competitive gymnast. So I I was, you know, f right out of the womb I was pretty active. But I do find that it really helps quiet the mind. It r you know, focusing on a physical task because now so much is in our head, so much is on a screen. Get away from the screen, get out of your house, get into your body, whether it's your ten thousand steps a day. I love yoga. I usually end the day with y with a a nice yoga half hour to one hour stretch. That's usually like right before bed, the last thing that I do. But I you but I also do some sort of weight training, cardio class at least three times a week. And you know, yes, of course, physical health, but it also it's like ⁓ vacation for my mind each time I'm able to step into that room. Beautiful. Back to your work. Can you share a project that didn't go as planned and what you learned from the experience? So you you put things together and we all do this and put things together. And like I said, I had a show yesterday, I lost audio. So you know you're playing, I'm a pair two hours before and all of sudden the audio's gone. That's a whole nightmare. But how does Jennifer Overcome some problems when she faces some problems. How do you overcome that? I love that question. Well, number one is work on things you're passionate about, work with people you get along with and who share your vision and who you can have fun with. One of my rules on set or on stage is if you're not having fun, you're fired. Because we don't know what the outcome of this production is gonna be. We don't know if anyone's gonna buy tickets. We don't know if anyone's gonna tune in. All we know is that we get to have this moment in time where we get to create and collaborate. And if it's not fulfilling, what's the point of doing it? If you're not getting paid the big bucks. If you're getting paid the big bucks, that's the trade off. You don't always have to have fun if you're making bank, right? But ⁓ so I have a web series, it's called Dump Water Divas. It's one of my favorite things I have ever done. It's an 80s dance spoof about these two girls who who were in a talent competition and lost. And 30 years later they're invited back, or 25 years later they're invited back for like a reunion show, you know. So now they're like in their, you know, early 30s. They were little kids when they were on the show. And It was a disaster. Like, in terms of we had a great cast, our cinematographer Got a call the night before to fill in for a friend for a five hundred dollar a day gig. We were paying fifty dollars a day. We lost our cinematographer. I had a few hours to fill in the position and obviously wasn't able to get somebody of that caliber. That cow that person was friends with the director, they were coming on as a favor, it was a two day shoot. So that that was a big Kind of you know, ca ca ⁓ roadblock or whatever, and visually it did not turn out the way we wanted. Nobody tuned in. It's been on YouTube for well over ten years. We don't have a thousand views. You know what I mean? We have six episodes. Nobody watched, nobody cared, nobody whatever. Till this day, I still dream that maybe like Netflix or somebody or Hulu will pick us up and we'll get to revive it and actually do a season and you know and have a fair shot. But I never had more fun in my life between writing it with my writing partner. Collaborating with the cast, the directors, even like going to thrift stores and finding all of these spandex costumes to put everybody in. Like I it was it was to me brought me more joy than anything I've ever worked on and the biggest failure out of anything I've ever done. That's horrible. But we do have stuff, we do have Roku channels. So I'm gonna look it up and we'll maybe we can do some things together and put that because we do have Roku channels and I'm always trying to put things out there and stuff like that. So ⁓ we may make it work. We may make it work. Yes, yes. Okay, ⁓ before we get to the final comment, I'm just falling around. Tell us again, where do we go after this show to learn more about you and to buy your wonderful book? Yeah, so you can check me out on Amazon, Jennifer Lieberman. You can check me out at makeyourown break dot com. That's more if you're interested in learning about film and theater production. And actually I didn't mention it before, but the best place to find me is on Instagram. And my name on Instagram, my handle is I am Jen Lieberman. Outstanding. Yeah, and I post pretty regularly, sometimes tips, sometimes events, things that I'm working on, and ⁓ that's the best way to stay in touch. Countstanding. Jennifer Lieber Lieberman, everybody, final comment. What trends do you see shaping the future of independent theater? in the next several years. What trends do you see shaping the theater, independent theaters? You think you think AI is gonna help that, or you think not, or I like you said earlier, that's really good. Is that because of AI, it may bring people back to theater to start seeing things. Is that what you think is gonna happen in closing? I do. I think theater's about to have a new renaissance just because I think people are ready to leave the house. Yeah. I think people are are feeling really isolated and theater is a great way to reflect stories back to society. It's a great way to interact with strangers about an interesting subject matter. And I I I think the stories that we're able to tell on stage are very different because theater is more I'm not talking about huge musicals that go all over the world, but theater tends to be more local issues and more intimate and supporting local artists, and we can talk about difficult subjects that are not necessarily ripe for mass appeal. When you're making a a film or a TV show, you need millions. And millions and millions of people to tune in to recoup. For theater, not so much. You only need as many people as can fit in the audience for the number of days you're doing the show. And it really is a unique opportunity to be more creative. Things don't have to be so linear, they don't have to be literal, they can be disjoint, they can be absurdist, they can be confusing. You know, theater conversations. It's such a beautiful medium because just like painting, right? There's so many different ways. You can have realistic painting, you can have impressionistic, you can have abstract, you can have modern, and there's all of those possibilities on the stage as well. It doesn't have to conform to some sort of a formula. And once again, bringing a local community together. The only people who can see that play are the people who are in the city who Who can actually show up? So ⁓ physical proximity is a is another thing, and things that will relate to my community in Toronto are gonna be different than things that are gonna relate to another community across Canada or in another country around the world. You know, Jennifer, before I let you go, I I apologize. Is but this is I know you go to the gym. I go to the gym. And my biggest thing that really drives me crazy is these young people with their phones. Now, I don't know what you guys do in the theater, but these people, their phones, that's probably my biggest pet peeve, my biggest annoyance is the point where a person can't mean kinda live in Tempe, Arizona, so we're right by the ASU campus, the big campus. They can't walk across the street without looking at the phone. I mean, this there's kids, we have more access with cars. kids getting hit. Why? Because they don't even look at they they just walk across the street while they're on the phone. What do you guys do? What should you do? What should we do about these young people going places and can't just shut the phone off? What's your thoughts in closing in that? Yeah Unfortunately, I I think it's very sad. I think it's sad because to them that is their norm. A lot of these children, you know, the tablet came out what almost twenty years ago now, and a lot of these children were raised with a tablet. You know, their their parents had other things to do, which we all have other things to do, you know, so put a tablet in front of the child and it is a major addiction. And it is a problem, but I also I think for several young people it's an involuntary thing. They're not even consciously making the decision to pull out the phone. It's just like an extension of th their self in a way. And yes, I really think we have to combat that. I know there are certain establishments in Toronto, I'm not sure about in Tempe, Arizona, where they're not allowing phones. Like I've been to several coffee shops, no laptops, talk to each other. And there's a big sign: no laptops, no tablets. And they're trying to encourage community and interaction. ⁓ In yoga classes and Pilates classes, you can't have a phone at all. And I do those types of classes. But yes, at the gym and at the Jim it's hard because some people are watching their trainer or their workout on their phone. So they have to keep referring back to the phone for their you know for their workout or for guidance of of what they're doing next or what reps. But I really think in in the next few years there's gonna be a big push to to reconnect in in real time as they say. IRL. In real time. In real time. In real life. Jennifer Lieberman, everybody. Thank you so much, Jennifer. Let me give you a standing ovation here. Project. We'll help you coming back anytime. We're gonna follow you on all your stuff, Instagram and all that kind of good stuff. And we're definitely gonna look into this Roku thing because ⁓ I think somebody we can work together with some things and make that happen on TV. But thank you so much. Have a great weekend and stay safe. Bye bye. Thanks, Alice. You're welcome. You can close your camera. I'm gonna do do some Roku thing, but you can close your camera off. Thank you, ma'am. Appreciate ya. Authors and small business owners turn your book and/or your business into a streaming television brand. You wrote the book, you built the business. Now it's time to be seen on Roku and Amazon Fire Television. The Hollis Chapman Show helps authors and small business owners. Get featured on a professionally produced TV show. Appear on Roku and Amazon Fire Television streaming platforms. Build authority and credibility. Reach new audiences beyond social media. Receive in-house marketing support. This isn't just an interview. This is brand positioning. If you're serious about in 2026, let's put your brand on television. Appy now for a featured television plus podcast spotlight. Book your strategy email today. Thank you everyone for joining Awesome. Make your own. Year of what? That's awesome too. So go to her websites, follow her, let's get her on TV because she's doing some great things and she deserves that. Next week we've got a nice little week here in Tuesday and Friday, guests. Make sure you join us. And as always, I'll see you next time.