Welcome to the Screen Lawyer Podcast! In this week's episode, host Pete is joined by Capes Sokol's counsel, Gary A. Pierson, to discuss a wide range of topics in the world of entertainment and intellectual property law.
Pete and Gary share their professional history and delve into fascinating insights into copyright law and how it applies to the music industry, as well as explore different perspectives on the evolving landscape of the music business.
Thanks for tuning in!
Original Theme Song composed by Brent Johnson of Coolfire Studios.
Podcast sponsored by Capes Sokol.
Learn more about THE SCREEN LAWYER™ TheScreenLawyer.com.
Follow THE SCREEN LAWYER™ on social media:
Facebook: https://www.facebook.com/TheScreenLawyer
YouTube: https://www.youtube.com/@TheScreenLawyer
Twitter: https://twitter.com/TheScreenLawyer
Instagram: https://instagram.com/TheScreenLawyer
The Screen Lawyer’s hair by Shelby Rippy, Idle Hands Grooming Company.
Welcome to the Screen Lawyer Podcast! In this week's episode, host Pete is joined by Capes Sokol's counsel, Gary A. Pierson, to discuss a wide range of topics in the world of entertainment and intellectual property law.
Pete and Gary share their professional history and delve into fascinating insights into copyright law and how it applies to the music industry, as well as explore different perspectives on the evolving landscape of the music business.
Thanks for tuning in!
Original Theme Song composed by Brent Johnson of Coolfire Studios.
Podcast sponsored by Capes Sokol.
Learn more about THE SCREEN LAWYER™ TheScreenLawyer.com.
Follow THE SCREEN LAWYER™ on social media:
Facebook: https://www.facebook.com/TheScreenLawyer
YouTube: https://www.youtube.com/@TheScreenLawyer
Twitter: https://twitter.com/TheScreenLawyer
Instagram: https://instagram.com/TheScreenLawyer
The Screen Lawyer’s hair by Shelby Rippy, Idle Hands Grooming Company.
00;00;00;02 - 00;00;05;05
Unknown
The Screen Lawyer podcast is brought to you by Capes. Sokol Attorneys at Law.
00;00;05;05 - 00;00;29;06
Unknown
Gary, what are you doing here? Thought I would join you today. All right. So on this episode of The Screen Lawyer Podcast, you're going to meet Gary Pierson, my longtime friend, mentor, smart guy, music lawyer, entertainment lawyer. And yeah, it's going pretty awesome, right? I like it. All right. Stick around.
00;00;30;22 - 00;00;54;11
Unknown
Welcome to The Screen Lawyer Podcast, at the intersection of the entertainment world, intellectual property law and emerging technology, where we discuss the legal and business issues surrounding any type of content that ends up on your screens. I'm your host, Pete Salsich, The Screen Lawyer.
00;00;54;11 - 00;00;59;26
Unknown
Hey there, Pete Salsich here, The Screen Lawyer. Welcome and welcome to my friend Gary Pierson.
00;01;00;06 - 00;01;17;06
Unknown
Gary, what's your what's your name? What's your. It's good to be here. I haven't come up with a cool moniker yet. I'm going to help me with why in in the last episode, I spent way too long telling everybody about how Jim Hacking helped me come up with the name of The Screen Lawyer. So maybe we need to get Jim or somebody else to come up with that cool name for you, because there we go.
00;01;17;10 - 00;01;32;28
Unknown
You know, you're your every bit of screen lawyer, entertainment lawyer. In fact, a lot more than that which we're going to get into. But first of all, welcome. Thank you. Yeah, it really is good to be here. Yeah. I've been telling you about this for a while. You have? You have. And what do you usually say to me?
00;01;32;28 - 00;01;51;26
Unknown
Just do it. That's right. Let's. Let's actually. Let's. Let's do it again. All right, Well, we got to keep talking, because this is where I talk my rock, right? Right, exactly. Isn't that the truth? Isn't that the truth? So why are we here? Right. Well, Gary and I have worked together for, what, 18 years? A long time. Long time off.
00;01;51;26 - 00;02;12;09
Unknown
And on. We've been partners in the same firm. We kind of grew up in the same firm. We went our separate ways. We've teamed up many times. We've been opposite each other, which is a good story with Gary scored me a little bit on a deal. Don't tell my client who's probably listening. Hopefully. I think they have. They need to get over it.
00;02;12;09 - 00;02;35;13
Unknown
But now we're joining forces again here on the podcast, but also in our practice to combine the work that we do. And I and I think it's really exciting. I'm excited myself. I'm excited to be here today and to be working together. Yeah. So. So who are you to tell the audience? Who's Gary Pierson? So like you kind of alluded to, we both kind of grew up as intellectual property lawyers doing doing all kinds of things in that world.
00;02;35;13 - 00;02;58;16
Unknown
And of course we had a lot of great times litigating intellectual property disputes for people who owned or used creative content, you know, trademark cases and copyright cases and and things like that. And that was most of my early career. That was that was a big part of what I did. And you started you started like as a pure trademark, right?
00;02;58;17 - 00;03;16;27
Unknown
Like you, I backed into intellectual property because I got lucky enough to get a comic book case that was way more fun than anything else I did. When you started as intellectual property lawyer? Yeah, I did. I spent almost five years at a firm in in Chicago before I moved back to Saint Louis doing just a small boutique IP firm.
00;03;16;27 - 00;03;45;19
Unknown
That's all we are. We did It wasn't special to be an IP lawyer there, so you actually had to know what you were doing rather than just have a special category. So was good, good place to train. Got a lot of deep background in trademark work, a lot of advertising marketing practices. That was my first experience working with with brand managers and people who had to sell products and figure out how to tell people about them and sometimes get in fights with their lawyers about whether they were supposed to say things that were true or not.
00;03;45;21 - 00;04;17;06
Unknown
Right? And that so but that was great. And then in our practice year when we worked together here, we we got to work on some great cases that for me led me a little bit more into what actually got me interested in the law to begin with, which was music and copyright cases and stuff like that. Before I went to law school, had a lot of musician friends who were nice enough to let me hang around when I had fallen far, far behind them in terms of musical skill and ability.
00;04;17;06 - 00;04;50;11
Unknown
But I still worked with them and try to help them with their organizing, their careers and stuff like that. And going to law school was kind of a a way of learning something that could hopefully someday be helpful to creative people like that. I totally agree. I mean, that's a big motivation about and we've talked about this, the chance that we get to do the legal work that we do, we get to provide value, add the same sort of professional level as people who are very, very good and successful being creatives.
00;04;50;16 - 00;05;07;04
Unknown
Right? And it scratches that itch. You know, I get to play guitar with my old friends and a couple of times you're in a cover band, but I'm not ever going to feed my family right with my musical talent. But by being a lawyer in that world and in the screen world, we get to sort of be part of that, right?
00;05;07;20 - 00;05;40;21
Unknown
Yeah. What I really like about it and I, I use this description of working with creative people and that can be brand managers, that can be people who design, you know, merchandise. It can be songwriters, filmmakers, actors. But there's a there's a creative aspect to a lot of those different types of work that I have found throughout my life, personally and professionally that does people need someone to translate them to the world and they need someone to translate the world to them.
00;05;41;00 - 00;05;59;29
Unknown
And that's a way that I try to think about. What I do is to relate to them. It's not tell them what to do, it's not tell them what they should or shouldn't do. It's translate things. It's interpret. It's it's guide and advice. You have to you have to get to know them. You have to have a little bit of that creative side in order to really relate to them and to hear what is important to them.
00;05;59;29 - 00;06;22;02
Unknown
Just like any business person, if you don't understand what it is that they actually want to accomplish, it matters to them. You can't translate that to me. So the but that's how I try to think about it in that kind of translator role. And that's then it's applicable in a lot of different contexts. So and it's very fulfilling to be able to do that for people on both sides of that.
00;06;22;03 - 00;06;43;08
Unknown
So yeah, that's the concept of translating is I think you're absolutely right. There is a lot of times when working with creatives, especially when they're new and they're getting started and whether it's a musician or a filmmaker and they've got the opportunity to maybe get a deal with somebody big, right, a big distributor studio or a record label or whomever, and they don't have any bargaining power.
00;06;43;10 - 00;07;01;13
Unknown
Right? Right. I mean, they really don't. So it's it's a negotiation, but it's not much of a negotiation. It's more of a Baja. I always think, you know, I may not be able to get you a better deal because that's you and that's them. But what I can make sure is that you understand the deal you've agreed to.
00;07;02;03 - 00;07;32;23
Unknown
You don't walk around in the world thinking one thing. You know, I signed this contract. I'm going to get $1,000,000 on Thursday. Right. And you're not because that's not what the contract said. Right? You know, and so I think that translation that's a that's a really good way to put it. I think it comes up constantly, you know, and you've done a lot more work than most of my I if I had to say, you know, my screenwriter work has been on the production on more on the video side film TV, that sort of world but you spent a lot of time on the music side of the industry.
00;07;32;23 - 00;08;08;21
Unknown
I mean we both overlap, but you have a lot more music background. Can you tell us a little bit about that? Yeah. So I mean, you're absolutely right in terms of helping people understand what it is that they're there doing is sometimes as important as making what they're doing or what the terms are better. And for me, that's been a lot of a lot of my practice in the music space has been with those early stage career writers or artists or producers who don't have a lot of bargaining power.
00;08;09;00 - 00;08;30;24
Unknown
But by by working with them and helping them to understand what they do, you can figure out what is important to them and what you can impact on it as much in not only the execution or, you know, what the deal looks like when it's executed, but then how it is, you know, sort of how it's lived under a going forward can be helpful.
00;08;30;24 - 00;08;57;00
Unknown
So a lot of a lot of my work is that it's it's songwriters, it's musicians, it's artists, recording artists, producers, managers when they're in the early stages of their their career, sometimes it's a first deal, sometimes it's a second or third that's maybe a little bit a little bit bigger. There's a little bit more at stake. And then I've also been really fortunate to work with some, you know, we kind of for jazz legacy or and more established artists.
00;08;57;00 - 00;09;19;12
Unknown
Yeah, you've got a little bit more of a catalog there to work with. They're not always today's like current pop music hype thing, but there's a there's a base of designated income there. There's, there's a catalog of work that they've amassed over their years, and that's just as important and complicated to take care of and to yeah, to deal with on a sometimes day to day basis.
00;09;19;12 - 00;09;38;28
Unknown
And yeah, I mean, breaking stuff. Well, because a lot of times in that situation, aren't you dealing with the estate like the heirs not position themselves. Yeah, maybe not the original managers maybe. Right. Probably people that had never saw those contracts that were signed way back when. Right. Or don't understand what publishing rights they still have or write, you know.
00;09;38;28 - 00;10;03;18
Unknown
Yeah that's so translation there. You know it's a whole different language actually because they just know that Grandpa made a lot of money play music. How come I can't? Yes, I got a little more complicated than that. Exactly. Yeah, it's a whole different dynamic. And the family, the family dynamics and the groups of people that are related to something but not all related and all the same ways that all have the same experience with it or some have been a part of it.
00;10;03;18 - 00;10;32;12
Unknown
Yeah, you know, firsthand, some may not. And they've also been and that's probably something that I've I've learned a little bit more in the you know, later half of my career, whatever it is that's another group to to to have to translate things to or have to understand the deals with different things. I mean, people who have been that, you know, sons, daughters, spouses, cousins, nephews, whatever, of someone who their whole life was very famous.
00;10;32;12 - 00;10;55;05
Unknown
And some of that people tried to take advantage of or get things from, there's just a different problem. Exactly. Of course. Absolutely. And and it's really important to understand that, too. Well, you must really have to I mean, to to be to come in at this later stage and be inside their trusted circle. That's that's a meaningful relationship.
00;10;55;05 - 00;11;14;19
Unknown
You never take that lightly. And it's very easy. I'm very, very protective of it, very defensive of it. Sometimes people say, oh, you know, so-and-so or like, give me a deal, do and blah, blah, blah. Yeah. And like, no, I don't, I don't, I don't sell my, you know, relationship. Like that's just, you know, not for, not for it, not for it.
00;11;14;28 - 00;11;35;14
Unknown
I mean, maybe there's a number of digits that you can't think of it as, you know, that, that, that you have to always keep what is important in mind. And that's what's best for them, What's best for them as a client, I'm like, this isn't about who I know or what my actions are using those. This is about what is best for them and looking out for for that interest.
00;11;35;14 - 00;11;54;02
Unknown
And so but it's it's really rewarding. It's really challenging. I've been able to be a part of what I consider to be some really historic projects. Well, that yeah. How about how about telling us? I mean, I know one that that I'm thinking of that everybody should know about, certainly anybody that grew up with rock and roll. Yeah.
00;11;54;14 - 00;12;13;03
Unknown
So, so one day I was sitting in my office and I got a phone call, and this is pretty well known that I was involved in this. It's not hard to find out, but I got a phone call from someone who was in the family member of Chuck Berry at Saint Louis and and Global and I will say universal icon.
00;12;13;03 - 00;12;31;11
Unknown
Yeah, for sure. And, you know, they asked me if I could come to a meeting the next day to help them talk about a project that that that Chuck had been working on for a long time and was was finally going to be ready to be released. And this was after Chuck had died. This is before he died a couple of years before he died.
00;12;32;05 - 00;13;00;20
Unknown
And so he had been working on a record for a long time, off and on, and had recorded things in his own studio and had had some some other recording done and a couple other studios around town. And was he still doing a little bit of touring there? He had started almost to the yeah, yeah. He he played every month that Blueberry hill until he had stopped doing that about six or nine months before I think, when, when this was happening.
00;13;00;20 - 00;13;36;25
Unknown
So this was in the summer of 2016 or 2015 actually. And he had just had been playing up to the house of then, you know, over 200 shows there. And and I way more than that, if you count other shows around town, around the world, obviously. But so I was able to be a part of helping helping the family decide what what label that should they should partner with on that and working through the process with them of getting things ready to go and getting any other work that had to be done on it.
00;13;36;25 - 00;14;02;17
Unknown
Still, Don, there's a lot that goes into after things are recorded. There's there's production, there's there's, there's art, there's all kinds of things that go into that. And it was just great to be involved. And I was really thrilled and fortunate to be able to go with Chuck's son on a couple of different trips around the world promoting that and talking to people about the record and just telling the story of what what had happened.
00;14;02;17 - 00;14;23;28
Unknown
And Chuck. Chuck Chuck died three days before the first single and record announcement was was to come out into the world. And that was tough, tough time. But the family wanted to go ahead and do what he wanted to do, which was get this music out. And they did that. And I mean, that's the album. Chuck Right? Yes, that's it.
00;14;23;28 - 00;14;55;07
Unknown
And then you, you then toured with the album, right? Or sort of right. Yeah. Solos there. So has some highs. Yeah, the Grammys did a tribute thing the year he died but but but Charles very junior and I went on some and has his son Charles Berry the third who actually is a great musician as well Chuck Jackson played with them on tours around the world and his grandson has a band here in town.
00;14;55;07 - 00;15;19;08
Unknown
I think he's there's probably a lot of people have have seen him play more will soon absolutely Charlie very and so yeah we got to go to do some series of interviews and things promoting just telling the story really about the it is promotion but it's telling the story about why why Chuck wanted this music to be out in the world and how it came to be and was very much a family project.
00;15;19;08 - 00;15;41;07
Unknown
His his son, daughter and grandson, all player performer on the record and is just really, really great time. That's cool. That's that's, that's cool. And that's doing one of the sort of legacy artists. Yeah, we've done a lot of other projects with them since then and more, more to come, I think. And there's always things that are important to do for that kind of those are does.
00;15;41;07 - 00;15;59;00
Unknown
That's an artist that me and a lot of other people wouldn't have this job if not for him. And yeah, I take that pretty seriously. I take seriously the responsibility of protecting that legacy and helping it to endure for other people who will do things that will have a similar impact in 100 years. Yeah, and that's, that's how I, like I say, energy.
00;15;59;03 - 00;16;38;14
Unknown
Well, when you think about you say 100 years. And so these are all what are you talking about? Well, copyright law, I mean it last life of the artist was seven. You know I'm right. Crazy, right? So it really does have a life. It doesn't absolutely away. And so when these when people are successful and I did some, you know, type of talks last year we'll talk more about it as we come through, you know, the cases that are coming up in the copyright world, because the 35 years since the original assignments have triggered a lot of these artists in Chuck's time and many, many artists at that time were performing sort of work for
00;16;38;14 - 00;16;58;27
Unknown
Ayers and doing all this work and assigning the writing in the old Copyright Act didn't have a really clear definition of work for hire the way it does now, right? So they were just assigning their ownership. Well, the Copyright Act says after 35 years, you can get their assignment back, right? You got to follow the right steps and stuff.
00;16;59;06 - 00;17;21;19
Unknown
But all of a sudden, some of this work that has been really, really valuable for the labels and everybody else suddenly is back in the hands of the family. Right. And some really interesting stuff. There's going to be some interesting, I think, circuit court, maybe even Supreme Court cases that helped define which version of the work for how our language governs.
00;17;21;19 - 00;17;42;06
Unknown
Some of this thing. Because if it was a work for hire, there never was assignment, It never goes back. But if it wasn't a work for hire, there was assignment. It comes back and this is the kind of geeking out right I get to do sometimes on the screen, on our podcast. But yeah, it is. It is that suddenly that's an incredibly valuable asset or group of assets, right?
00;17;42;19 - 00;18;03;18
Unknown
No, it is. And I think obviously one of the reasons I love copyright law and I love this area is because it is so complicated and so interesting to think about those nuances. But in in my mind, we have to kind of think about that in one part of our brain and then in another part of our brain think like, how do we make this accessible for people who need to use it and do it all the time.
00;18;03;19 - 00;18;29;27
Unknown
And that's the challenge because you know, what's important to the person going into the studio today, You know, I'm going to talk to one of them later, later today, like preparing for a session of writing and recording and what's important about that context is what do they need to know to do to establish the ground rules that will govern for a very long time if they write a hit song today?
00;18;30;05 - 00;18;48;02
Unknown
Right. And why shouldn't you? Why shouldn't you do the things with the assumption that, well, I'm going to write a hit song today that is. Yeah, yeah, yes, of course you want to do that plan for amazing success. Yes. Because nobody's going to get in a fight if it's not good. Right. But when it's good, when it's successful, when there's real money.
00;18;48;02 - 00;19;06;24
Unknown
And I've told the story before I get into this part of the practice, because when we were growing up and we were always litigating these issues, we were always in lawsuits, right? And people were fighting. And almost every single time it was because the piece of paper that was presented before there was money didn't cover everything or it was left out or whatever.
00;19;06;24 - 00;19;22;13
Unknown
And it only matters because now there's money in the fight, right? So, yeah, you got to go in first thing and say, this is going to be the number one song right? And then the which means it's going to be in movies, it's going to be in advertising, it's going to be in tours, it's going to be in all these other things.
00;19;22;13 - 00;19;40;23
Unknown
What else do we want to do or what? What do we need to make sure and you're probably seeing this in we're starting to see how new revenue streams, you know, not too long ago, all the record label made the money. You signed the rights to the record label. They paid your royalty there was published. You know, it kind of came a certain way, right?
00;19;40;27 - 00;20;11;19
Unknown
But now there's all sorts of different distribution models. That's right. Yeah. No, that's a really good point. I mean, you know, the last ten or 15 years, all that has changed so much. It used to be the industry, the music industry, but from a legal perspective and everything else was very concentrated both in kind of certain geographic centers where those deals were done, What, you know, there were certain small number of players in terms of a bunch of big label groups.
00;20;13;00 - 00;20;47;00
Unknown
You know, I it because of the proliferation of different types of business models, different labels being willing to do things in different ways. It's now completely changed the dynamic of that. The reason that it's you know you don't have to have the same same team from that label manager attorney, you know, as as the last ten deals that got done because they're all different deals anyway, different types of models and, you know, so it just opens up a lot of possibilities.
00;20;47;00 - 00;21;08;22
Unknown
And that means there's more, more different types of artists that have different goals and different yeah, different lifestyles, different ways of working. Some tour a lot, some don't tour a lot, some want to write with other people all the time, some don't. You can find a business model that works for for all those different types of people, and that just that wasn't as much the case in my opinion.
00;21;08;28 - 00;21;38;15
Unknown
Obviously, I've been doing this for, you know, forever, but I think that's much more accessible now. I can I can help people from a lot of different perspectives and that's it. I think that's a really cool thing. And and I one of the things I hope we'll get to do on this podcast and I'm just in our offices upstairs and working together is explore and dig and more and more that one of the things I also want I want to ask you this question because it's something we want to do on the screen, on our podcast on a regular basis.
00;21;38;15 - 00;21;57;29
Unknown
So hashtag everybody gets a hashtag. What's on your screen? I love this concept. It's some somebody asked me this one time not too long ago, and it was just a great question. So I'm like, I'm going to adopt that. You know, it's because we talk about The Screen Lawyer, we talk about things getting on a screen and frankly, even music.
00;21;57;29 - 00;22;18;19
Unknown
Michigan's about screen, right? I don't I haven't I it's hard to say. I haven't bought a vinyl album and I don't know how long because when I play music, I touch a screen. So it's all connected entertainment. Anything ends up on the screen through phones, everything else. And so I think it's fascinating. What is what's what's stopping your thumb when you're scrolling?
00;22;18;27 - 00;22;34;29
Unknown
What's you know, what are you I'm done with my day. I need to turn off. I'm going to lay back on my couch and look at that big seven and hear what's on it. So when they ask you what's on your screen, it's it's a great, great concept. I love that as a as a conversation with lots of people.
00;22;34;29 - 00;22;56;29
Unknown
And I'm going to be interested to hear what everybody else says over the the different episodes. But I actually just finished rewatching for, I think the third time total, maybe not three times all the way through, but the entire Mad Men. Oh, wow. Which is one of my all time favorite series. I tend to not stick with the series for its whole life.
00;22;56;29 - 00;23;21;17
Unknown
Right, Right. You know, short attention span, I guess. But but that's one that I've watched multiple times. And there's a few different reasons for that. What brings you back? I mean, it's a great show. So one of the there's there's there's a lot of angles for me. I mean, there's a a Saint Louis native or John Star actor, and I have, you know, few people that are that that I know that know him that told me about the show before.
00;23;21;17 - 00;23;42;14
Unknown
I never heard of anybody ever heard of it. So that's always interesting. I spent a lot of my early career talking to advertisers. You're right in advance. Right. And so I had this kind of natural interest in, you know, what a show about the advertising world, even a fictional version of it. I saw a lot of things that were familiar to that world.
00;23;42;14 - 00;24;09;17
Unknown
And so that that even though that that it was said, you know, in 67, a lot of that stuff is still true when it sets. And that's when they were defining the rules of the advertising industry. And that kind of said the big agencies were coming together and buying up each other. And so there really is a lot of the culture that's that's driven around that the the Mad Men, you know, the Mad Mad Men is Madison Avenue, and that's where that comes from.
00;24;09;17 - 00;24;37;12
Unknown
And that's that's the origins of that. So it's really interesting from that perspective, very character driven, obviously, you know, centered and really cool use of music and the music. And this is where watching the second or third time, I mean, I was just telling my wife about this the other day, like there are some sinks that they use that same kind of little bit of advantage to time synchronization as well is a kind of an a specific use of a copyrighted work, in this case, a song.
00;24;38;01 - 00;25;10;22
Unknown
And so in the business we a think when a piece of music is just in film or TV commercials or any other video context, so there's some some sinks in that song that I, I appreciate the complexity and the importance of them to both to the story and to, to that work and also to getting them there that I probably didn't understand, getting them in like how difficult it was to track down all, how difficult, how many different writers, how many interests might have been involved.
00;25;10;22 - 00;25;36;21
Unknown
And I've been in, you know, over the last ten years or so, I've been in a lot of those situations where you might have one writer there publishing is with one company and the others with a different company or, you know, the part's been sold off and there's different interests involved and it can be really complicated. Yeah, because to get that to get that right, to include that music in your video production, you need everybody has an interest to sign off and say yes, and any one of them can say no.
00;25;36;22 - 00;25;55;07
Unknown
Right? So you know that that context just sort of struck me a few times like, man, this is amazing that they got this in here. And of course, I want to I think I can figure out how much it cost and, you know, probably probably wrong most of the time. But, you know, that's always interesting. But but really, I'm a music fan.
00;25;55;17 - 00;26;24;10
Unknown
And as an A and a film fan and a theater fan, a narrative, you know, work fan. And so it's how a how song weaves into the story and illusions that are placed by that. You know, that maybe because you know the episode already and you know the next episode or couple. LONG Yeah. You realize that the use of that music drives the story in a way that you can't actually fully comprehend the first time.
00;26;24;21 - 00;26;47;05
Unknown
And you see it coming now because you know where it's gone. But that, that the the art and the craft of that just gives me chills sometimes I have to put that to go and imagine that looks we've got to get that's actually the journey. I put that back on my list. I love that. So we watched it pretty much straight through season by season when it was on, but I haven't come back yet, so.
00;26;47;18 - 00;27;08;26
Unknown
All right. Well, what's on your screen? That's something we're going to talk about on a regular basis here on the screen on our podcast. So we're things up today. Gary, fantastic to have you here. Hopefully you'll be sitting right here many times as we talk to our colleagues and friends and just riff on what's going on in the world, starting to do some talk about artificial intelligence, which is blowing up in our worlds.
00;27;10;18 - 00;27;30;11
Unknown
And so yeah, we'll keep it going. But I want to remind everybody out there, if you're enjoying this content, I hope you are hit that like button to subscribe button down there and also go to the screen wired.com. You can find this anywhere, anytime at the screen layer icon with new episodes. Other information and just how to connect with us, which we would love to do.
00;27;30;22 - 00;27;55;12
Unknown
So that's it for today. Any parting words? It's been really fun. I like doing this and I love talking to you about that stuff and you always do it again. Let's do it again. All right. I'll see you tomorrow. All right. All right. Take care, everybody. You've been listening to The Screen Lawyer podcast with your host kids, also The Screen Lawyer.
00;27;55;23 - 00;28;10;02
Unknown
For more information or to stay connected, find us on social @thescreenlawyer or check us out at TheScreenLawyer.com