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Fun for them, yes, but a yawn for the rest of us. Rob Lowe’s podcast Literally!, which promises “freewheeling” conversations with his Hollywood pals, is similarly weighed down by shared reminiscences and pointless prattling. To listen to Kate Hudson’s podcast Sibling Revelry, in which she talks to famous siblings alongside her brother Oliver, is to hear the Hudsons chuntering on about themselves, talking over their guests and generally treating the whole enterprise like a private cocktail party.
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But being a successful actor, or comic, or even a royal escapee does not automatically make someone a good interviewer – and interviews are the dominant format in the realms of star-studded pods.Īmong the many afflictions of the celebrity interview series is a reluctance to tackle difficult subjects, or to curtail dreary small talk. In the opening episode of Sorted With the Dyers, an advice series featuring the actor Danny Dyer and his reality-star daughter Dani, Dyer Sr makes no bones about his motivations: “Let’s have it right, we are earning a crust,” he says, delightedly. Meanwhile, the brave new world of audio is proving a lucrative side-project for A-listers who can reportedly command fees in the millions for non-scripted pods.
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Whether a big network or an independent, neither know how to market a new podcast, so the answer becomes ‘Let’s put a celebrity in it and rely on their years of experience building their own brand.’”
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“It’s easier to rest on established audiences rather than learning what it takes to create a new one. “Companies are reluctant to put in the work to find new audiences and bring them into podcasting,” she explains. Renay Richardson, the founder of Broccoli Productions, a London-based podcast production company, observes a “laziness” in terms of commissioning. Big names equal big audiences, and advertisers are more likely to throw cash at a podcast with an A-lister attached, as opposed to a niche series on the delights of pens or chameleon ownership (yes, both of those exist). Photograph: Rob DeMartin/APįor podcasting networks looking to turn a profit, this all makes perfect sense. Pow-wow couple … Bruce Springsteen and Barack Obama. Their all-new adventures in audio join more longstanding projects from the likes of David Tennant, Oprah, Jessie Ware, Chelsea Peretti, Kate Hudson, Snoop Dogg, Gwyneth Paltrow, Lena Dunham and many, many more.
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Along with Barack and Bruce, recent converts to the audio cause include Louis Theroux, Jeremy Paxman, Bill Clinton, Katherine Ryan, Julie Andrews, Minnie Driver, Gary Kemp, Rob Brydon, Sophie Ellis-Bextor, Joss Stone, Paris Hilton, Rob Lowe, Jason Bateman, and the Duke and Duchess of Sussex.
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Right now, it is almost easier to count the actors, comedians, influencers, musicians, reality TV stars and retired politicians who do not have a podcast than those who do. As a result, the celebrity podcast has become the bindweed of the audio industry, hoovering up budgets, threatening to smother the competition and, in some cases, heralding a dispiriting drop in quality. While much of the entertainment industry has been devastated by the pandemic, podcasting has proved largely virus-proof, making it an attractive proposition to those who, a year earlier, might not have given it a second look. The celebrity series has been a growth area for some time, but the last 12 months have brought a surge in projects from famouses who have found themselves at a loose end over lockdown. In launching the Spotify series Renegades, they brought together two distinctive audio trends: the old-friends-chew-the-fat series, and the now-ubiquitous celebrity podcast. The difference in this instance was that the friends were Barack Obama and Bruce Springsteen. Of the two million or so podcast series in existence (that’s 48m episodes and counting), a large proportion is made up of groups of men talking about themselves and laughing at their own jokes. E arlier this year, two men launched a podcast made up of meandering conversations about their friendship and the state of the world.