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Speaker 1: On this episode of News World. Palladium Pictures Incubator Program

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Speaker 1: is an initiative to fund and mentor the next generation

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Speaker 1: of right of center filmmakers. The program helps emerging filmmakers

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Speaker 1: produce outstanding short documentaries. Each participant receives funding, mentorship, and

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Speaker 1: assistance in distribution and marketing for a short documentary project.

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Speaker 1: Palladium Pictures is currently accepting application for twenty twenty five

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Speaker 1: class of Incubator Fellows and the deadline to apply is

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Speaker 1: December fifth, twenty twenty four. Here to talk about their

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Speaker 1: Incubator program of shaping future storytellers. I'm really pleased to

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Speaker 1: welcome Thomas Pack of Palladium Pictures. We welcome and thank

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Speaker 1: you for joining me on news World.

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Speaker 2: Thanks for having me net first time.

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Speaker 1: Tell us a little bit about Palladium Pictures, who founded

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Speaker 1: it and how did you get involved?

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Speaker 2: Sure? Absolutely, well, it was about a year ago that

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Speaker 2: I was on this podcast at the launch of the

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Speaker 2: program with my father, Michael Pack, who's our director producer here.

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Speaker 2: You know, my family has been making documentary films for

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Speaker 2: many decades. You know, we make long form documentaries, most

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Speaker 2: of them have been on PBS. We now have a

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Speaker 2: new series of short documentaries that we're doing with the

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Speaker 2: Wall Street Journal called Wall Street Journal Opinion Docs. We

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Speaker 2: have this experience in the documentary world, and we wanted

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Speaker 2: to start this program because we feel like, you know,

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Speaker 2: the culture matters, and for some reason, conservatives have more

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Speaker 2: or less given up fighting for the culture in the

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Speaker 2: space where it's really needs to be fought, which is film, entertainment,

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Speaker 2: the arts, and so we wanted to pass along some

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Speaker 2: of our knowledge of how to make mainstream documentaries that

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Speaker 2: can enter the cultural conversation but from a conservative or

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Speaker 2: right of center perspective.

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Speaker 1: When you say that, though, does this largely go to

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Speaker 1: like PBS where you just showed created equal Clarence Thomas

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Speaker 1: in his own words, where do the films go?

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Speaker 2: Sure? So we've just now wrapped our first set of

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Speaker 2: Incubator productions. So this year we had four people in

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Speaker 2: the Incubator, which means four up and coming filmmakers that

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Speaker 2: we're mentoring, we're executive producing. We also fully fund the

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Speaker 2: short project that we work on with them, and we

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Speaker 2: help them with distribution and promotion. So this year they're

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Speaker 2: all have been launched on Real Clear Politics, which has

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Speaker 2: been a great partner for US, and they're all doing

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Speaker 2: pretty well. They launched last week, so it's brand new.

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Speaker 2: They could be showed elsewhere, but you know, we think

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Speaker 2: Real Clear is a good partner in part because they

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Speaker 2: are part of I think the mainstream conversation. They're not

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Speaker 2: seen as far right media or anything like that, and

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Speaker 2: the response to them has been really positive.

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Speaker 1: I think as a result, people can go to Polladium

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Speaker 1: Pictures at Palladium Pictures dot com and see these products.

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Speaker 1: Is that right?

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Speaker 2: You can see them on our website, that's right, or

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Speaker 2: you can see them on the Real Clear website. There's

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Speaker 2: a page that has all of them, and there's individual pages.

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Speaker 2: They're also released on the Real Clear YouTube and x

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Speaker 2: so we watched for free.

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Speaker 1: Can you talk about these first four incubator films, because

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Speaker 1: I remember when we were first talking about it sort

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Speaker 1: of a dream you were going to do this, and

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Speaker 1: now here we are getting caught up with and you

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Speaker 1: did it. Can you walk us through the four films?

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Speaker 2: We did it, and we're excited about it. It's a

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Speaker 2: real reason to be enthusiastic because we think these four

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Speaker 2: people really represent the future of filmmaking that is outside

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Speaker 2: of the mainstream Hollywood orthodoxy. Would you like me to

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Speaker 2: go through them one at a time or give them

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Speaker 2: you all at once.

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Speaker 1: Let's do one at a time, because they're each are

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Speaker 1: worth thinking about it, talking about, and also explaining who

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Speaker 1: did it. I mean, part of what makes these exciting

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Speaker 1: is that you're bringing a whole new generation of filmmakers

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Speaker 1: out into the world.

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Speaker 2: Absolutely, yeah, I couldn't agree more so. The first one

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Speaker 2: is called High Country Murder, and it's actually a true

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Speaker 2: crime documentary. So our filmmaker is this woman, Kili Cavello.

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Speaker 2: She's on a team with her sister and they go

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Speaker 2: back to their hometown to solve a murder. And I

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Speaker 2: won't spoil how it ends, but it's extremely dramatic, as

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Speaker 2: you can imagine, So they kind of get closer and

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Speaker 2: close to finding out who the killer is. But also

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Speaker 2: it's beyond just being about a murder. It's really about

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Speaker 2: their hometown in Mendocino, California, and how it's changed. It

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Speaker 2: began as like Rancher Country with one type of American

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Speaker 2: and then at some point hippies came in and there're

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Speaker 2: this cultural clash of more hippie culture, free love, free

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Speaker 2: grow pot that kind of world with the rancher culture,

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Speaker 2: and this was twenty years ago, and since then it's

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Speaker 2: sort of descended, and there's cartels and there's a huge

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Speaker 2: number of unsolved murders coming out of this exact part

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Speaker 2: of town, partly because there's a lot of murder and

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Speaker 2: partly because the culture has changed that makes it difficult

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Speaker 2: for people to come forward and difficult to solve them.

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Speaker 2: So they uncover a lot of information about this murder,

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Speaker 2: but they also uncover the story of Mendocino, California. At

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Speaker 2: the same time.

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Speaker 1: When Kille Cavello decided to do this, who approached too

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Speaker 1: and said, let's turn this into a film? And were

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Speaker 1: the sisters going to go do it anyway or what's

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Speaker 1: the deal.

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Speaker 2: They're independent filmmakers and they make films about the West

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Speaker 2: in general. So their last documentary was also about ranchers.

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Speaker 2: It was not about a murder. Their whole thing, I

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Speaker 2: think is, you know, America needs more myths and heroes,

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Speaker 2: and we need to uncover the kind of drama of

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Speaker 2: the American West. This was a film on their mind

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Speaker 2: because it hit these themes about ranching culture. They've never

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Speaker 2: done a murder before. They pitched it to us through

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Speaker 2: this incubator, so they applied with the film idea. But

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Speaker 2: I think that it's ambitious to do a film that

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Speaker 2: is I think I'm going to solve a murder. And

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Speaker 2: they had to convince us that they could do it,

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Speaker 2: and they did, and they did a great job.

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Speaker 1: This is what the French would call cinema veries. You're

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Speaker 1: covering the raw edge of life as it's happening.

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Speaker 2: Yeah, And it's a tough thing to pitch for that

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Speaker 2: reason because you don't know what's going to happen. You

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Speaker 2: know when you're going to go shoot, and you've done

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Speaker 2: your research and you've talked to people ahead of time,

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Speaker 2: but things go wrong in production and it's actually a

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Speaker 2: little bit scary. You know. There's a lot of cartels

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Speaker 2: in this part of California.

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Speaker 1: That's what I was just thinking. The way you're describing

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Speaker 1: that town, I don't know that I would be the

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Speaker 1: guy walking around carrying a camera.

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Speaker 2: Yeah. Well they were very concerned about that too, I

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Speaker 2: think rightly. I think there's some act of bravery in

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Speaker 2: shooting this particular documentary.

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Speaker 1: Actually, So how long is High Country Murder?

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Speaker 2: High Country Murder? I thinks about twenty one minutes or

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Speaker 2: something like that.

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Speaker 1: That's amazing, all right, tell me what the.

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Speaker 2: Next Okay, So the next one is called The Bird

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Speaker 2: and the Bee and it's about the Babylon Bee and

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Speaker 2: it's fight with Twitter. So if you don't know the

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Speaker 2: Babylon b it's a Christian satire site. And they got

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Speaker 2: kicked off of Twitter for posting a what was called

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Speaker 2: transphobic tweet. And this film tells that story by talking

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Speaker 2: to the guys that work there, So these kind of

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Speaker 2: jokester comedians Seth Dylan, who's the CEO. They get to

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Speaker 2: tell their perspective of it and what did it feel

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Speaker 2: like to get kicked off of Twitter and have to

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Speaker 2: make this choice, which is do I click the button

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Speaker 2: that says yes, I'm a transphobe and then get back

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Speaker 2: on Twitter, or do I choose to stay off Twitter,

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Speaker 2: not knowing where my revenue is going to come from,

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Speaker 2: not knowing the future of my company, but am I

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Speaker 2: willing to kind of stick to my guns? And then

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Speaker 2: the end they get swept up into something bigger because

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Speaker 2: Elon Musk gets involved and talks to them and kind

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Speaker 2: of starts to use them as a explanation for why

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Speaker 2: he's buying Twitter and so these kind of comedians get

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Speaker 2: caught up in this very dramatic, bigger story about Twitter,

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Speaker 2: about free speech on the internet, and about censorship and comedy.

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Speaker 1: I would have thought that Musk would have loved this story.

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Speaker 1: I mean, it's the perfect example of what sort of

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Speaker 1: sets him off.

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Speaker 2: I think that sometimes when he talks about why he

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Speaker 2: bought Twitter, he does put this story front and center.

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Speaker 2: And I think that he probably bought Twitter for many

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Speaker 2: complicated reasons, but for his perspective, this is a good

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Speaker 2: one to point to because I think Americans feel differently

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Speaker 2: about the censorship of Saint Donald Trump or Alex Jones

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Speaker 2: or something. But many people think that this is a

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Speaker 2: bridge too far. It is like, Okay, now you're censoring

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Speaker 2: someone who's clearly making a joke. I think you're right.

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Speaker 2: It was a great thing for him to lean into

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Speaker 2: as here's the problem with Twitter.

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Speaker 1: And I think the Babylon Bee is a real asset

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Speaker 1: to the culture because they're a reverent They're a little

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Speaker 1: bit like Mad Magazine forty years ago. A free society,

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Speaker 1: you have to have some space to make fun of yourself.

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Speaker 2: Absolutely, it's hard to imagine a world and I think

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Speaker 2: this is why it bothers us so much to think

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Speaker 2: about comedy being censored is you know, I just think

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Speaker 2: the world is a much worse place if we're not

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Speaker 2: making fun of each other. And your point's more poignant.

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Speaker 2: I think often if there's some irony in it, I

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Speaker 2: think it's a great way to point out flaws in

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Speaker 2: each other's arguments.

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Speaker 1: What's your third film?

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Speaker 2: The third film is called Spears, and it's about embryonic adoption,

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Speaker 2: which is something that I frankly knew nothing about when

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Speaker 2: we started this project. So for people that like me,

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Speaker 2: didn't know about it. You know, when people go through IBF,

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Speaker 2: they create sometimes extra embryos, and they have a choice

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Speaker 2: about what to do with it. You can card the embryos,

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Speaker 2: you can keep them forever on ice, or you can

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Speaker 2: put them up for adoption. Often, I think lost in

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Speaker 2: the conversation about IVF is that IVF doesn't necessarily mean

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Speaker 2: destroying embryos. There are other solutions. So embryonic adoption is

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Speaker 2: there are these people that are adopting other people's embryos.

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Speaker 2: So the film talks to some families that chose to

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Speaker 2: give up their embryos for adoption and some families that

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Speaker 2: adopted other people's embryos and kind of gets into the

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Speaker 2: interesting ethics and different life that you get when you

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Speaker 2: get pulled into this sort of relatively new embryonic technology.

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Speaker 1: Your fourth film, okay.

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Speaker 2: The fourth film is called The Secret Game, and it's

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Speaker 2: about this basketball game that happened in the nineteen forties.

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Speaker 2: It's the first interracial basketball game. So it happened. There's

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Speaker 2: this all white duke team undefeated, can't find anyone that

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Speaker 2: could beat them. And then across the street there's this

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Speaker 2: all black n C Central team that is having the

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Speaker 2: same problem. They're running up the score against everyone they play,

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Speaker 2: and so obviously, you know, these kids just want to

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Speaker 2: play basketball and find out who's better. I mean, these

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Speaker 2: are dominant teams. The politics of the time prevented it

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Speaker 2: because it was illegal to play basketball, obviously, and also

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Speaker 2: there were other tensions between blacks and whites in the

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Speaker 2: Jim Crow Durham, North Carolina. So they played this game,

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Speaker 2: the secret underground game that an oral history of survives.

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Speaker 2: So our film tells the story of that game.

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Speaker 1: A couple of questions. I can't resist who won.

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Speaker 2: The nca Central team won, As maybe you might have guessed.

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Speaker 1: Which would have been an enormous shock had that been

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Speaker 1: a public event.

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Speaker 2: Yeah. Well, the interesting thing is, so the coach of

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Speaker 2: the NC Central team is this guy John McClendon, who

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Speaker 2: had a very illustrious Hall of Fame career and was

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Speaker 2: integrating the NBA later, and he started under Nasmith, and

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Speaker 2: he invented the full court press, the fast break, like

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Speaker 2: he was thinking differently about basketball. So he had this

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Speaker 2: team that played this radically different style of fast paced,

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Speaker 2: fast break basketball. And so it was blacks and whites.

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Speaker 2: It's also two styles of play colliding and basketball actually

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Speaker 2: changed forever because of the fast break.

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Speaker 1: That particular film would make an unbelievable commercial movie as

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Speaker 1: a drama.

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Speaker 2: I agree. We have a bit of a dramatization in

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Speaker 2: the film because he brought some kids from local high

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Speaker 2: school to kind of reenact the game itself.

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Speaker 1: But can you imagine in the conversation, if you made

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Speaker 1: it a full length film and you have the conversations,

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Speaker 1: you have the whole process of build up, figuring out

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Speaker 1: how to do it secretly. When did it finally become public?

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Speaker 2: That's a good question. So there's one journalist that was

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Speaker 2: not allowed to write anything about it. That was in

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Speaker 2: the stands, and then otherwise was just the players. So

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Speaker 2: over time it sort of seeped out that it had happened.

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Speaker 2: There was a book written about it, people have known

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Speaker 2: about it for a long time, but I don't think

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Speaker 2: a movie like that has ever happened, and it has

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Speaker 2: all the drama as you're saying of just a great

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Speaker 2: sports movie.

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Speaker 1: Are a number of the players still alive, So.

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Speaker 2: This happened in the nineteen forties, so mostly not. I mean,

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Speaker 2: we interviewed some family members of John McClendon, who was

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Speaker 2: the coach, so he ended up being sort of the

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Speaker 2: main character of our film. And so there are people

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Speaker 2: still alive that are close to the story and know

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Speaker 2: about it.

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Speaker 1: Given the technology that period, nobody would have filmed it.

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Speaker 2: And nobody was allowed to film it.

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Speaker 1: Let's talk from minute about these four independent producers. What

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Speaker 1: motivates each of these people when you deal with them,

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Speaker 1: when you say, what is it you see in them

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Speaker 1: that makes you want to have them be the creative

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Speaker 1: people you work with.

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Speaker 2: So when we put this call out, you know, a

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Speaker 2: year ago, and we made this push to find you know,

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Speaker 2: documentary producer directors. By the way, at least one of

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Speaker 2: these four heard about his first on Nuts World, so

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Speaker 2: we reached out to them this sort of way. But

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Speaker 2: when we did this, it turns out I think that

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Speaker 2: conservatives are coming from a moral alternative way, I mean

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Speaker 2: more alternative paths. We don't have a clear ecosystem in

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Speaker 2: film and entertainment the way that the left does with

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Speaker 2: film schools and other training programs. So they all had

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Speaker 2: different paths. I talked about Keeley who makes sort of

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Speaker 2: rancher movies. We have Jason who did Spares. He runs

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Speaker 2: an AI film studio, so he's trying to stay on

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Speaker 2: the cutting edge of new technology and film and using

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Speaker 2: aiart and AI music and other details like this, you know.

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Speaker 2: We have Matt Parol who made the Babylon B film.

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Speaker 2: Comes from the world of Catholic filmmaking. He works for

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Speaker 2: Catholic Media Company and wanted to sort of make something

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Speaker 2: and do some independent work as well, and so this

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Speaker 2: is sort of a divergence for him. And then Greg

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Speaker 2: Dedug who worked on The Secret Game, has a lot

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Speaker 2: of experience in sort of conservative nonprofit space in the

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Speaker 2: video world. So they all come from different paths. We

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Speaker 2: picked the people that we thought were sort of coachable.

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Speaker 2: I mean they're far enough along in their careers. Isn't

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Speaker 2: an entry level program. They'd all shot documentaries before it

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Speaker 2: and knew how to do that. But we took people

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Speaker 2: that we thought we're coachable and also had a deep

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Speaker 2: understanding and create a vision for what a documentary is

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Speaker 2: and how to put one together.

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Speaker 1: If somebody is accepted in the incubator program, what's the advantage.

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Speaker 2: Well, we fully fund their documentary short So these are

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Speaker 2: fifteen twenty or some minute documentaries. We fully fund it

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Speaker 2: up to thirty five thousand dollars for the production, and

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Speaker 2: at the end we do distribution and then an additional

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Speaker 2: cost up for us, we do promotion for it. So

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Speaker 2: I think a lot of people do this because they

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Speaker 2: like the idea of free money and help with distribution.

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Speaker 2: These are great reasons. It's a good springboard for people's

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Speaker 2: careers to get different kind of eyeballs on their film

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Speaker 2: than what they're used to do. But I think the

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Speaker 2: main thing they get out of it is they get mentorship.

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Speaker 2: We work with them, We check in every week, we

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Speaker 2: do site visits, we look at every cut, and my father,

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Speaker 2: Michael Pack, is a very well established documentary producer director,

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Speaker 2: and so his sort of wisdom and mentorship. I think,

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Speaker 2: having now done it for a year, I can tell

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Speaker 2: you I feel really confident that these four filmmakers are

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Speaker 2: better at their craft than they were before. And I

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Speaker 2: think that is the most important advantage, is actually becoming

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Speaker 2: a better filmmaker.

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Speaker 1: When you get a group of applications and my hunches.

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Speaker 1: As your program gets better known, you'll get more and

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Speaker 1: more applications. What's the art sek, what are the principles

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Speaker 1: by which you measure an applicant to be part of

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Speaker 1: your increbator program.

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Speaker 2: Yeah, it's a good question. So our goal, really broadly speaking,

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Speaker 2: is to start to create the future culture shapers, you know,

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Speaker 2: people that are going to impact the way Americans think

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Speaker 2: about the world. Documentaries have a long history of doing

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Speaker 2: this in an important way. Yes, we want these projects

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Speaker 2: to be successful, and we're really glad that these four

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Speaker 2: are so far being very successful. We want to pick

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Speaker 2: filmmakers that we believe in in a major way. So

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Speaker 2: criteria for that has a lot to do with whether

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Speaker 2: they understand the importance of the art side of documentary

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Speaker 2: filmmaking and the journalism side, whether they're going to be

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Speaker 2: honest and straightforward and ask the right questions and whether

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Speaker 2: they're going to be filmic and story oriented. And when

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Speaker 2: these sort of art and journalism pieces come together, those

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Speaker 2: are the key ingredients we think into a great documentary filmmaker.

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Speaker 1: In the long run, if you look out, say ten years,

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Speaker 1: what do you hope to have achieved, will you routine

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Speaker 1: lea twere to get four year?

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Speaker 2: Yeah? So I think in the long run, you know,

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Speaker 2: we'd like to have more Our films are on PBS

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Speaker 2: and speak to the mainstream, and we'd like filmmakers that

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Speaker 2: came out of our program. We had a good number

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Speaker 2: of them that were picking up the mantle of our company.

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Speaker 2: But I think even in a more sort of aspirational sense,

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Speaker 2: I see this as kind of the tip of the spear.

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Speaker 2: I'm hoping that we have four great filmmakers and four

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Speaker 2: great films that are out, and I'm hoping that this

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Speaker 2: sort of proves something to the conservative donor class or

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Speaker 2: whoever it is that decided that conservatives can't make good

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Speaker 2: films and aren't good artists, and we get more programs.

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Speaker 2: I mean, the left has a huge and like incredibly

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Speaker 2: vast ecosystem that is supporting their filmmakers, not just training them,

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Speaker 2: but also they fund all these film festivals and these

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Speaker 2: film schools. There's a lot of like healthy amount of resources,

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Speaker 2: which is I think they are to be commended for

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Speaker 2: creating this, but the right need it too. And the

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Speaker 2: reason that we don't make as good movies is because

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Speaker 2: we're not fostering talent. So I'm hoping that this program

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Speaker 2: is the first of many, and that we don't have

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Speaker 2: to start all of them, but that we start a

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Speaker 2: trend toward let people that have perspective that is outside

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Speaker 2: of the mainstream start fostering culture changing programs like this.

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Speaker 1: As a general principle, I understand it they probably should

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Speaker 1: have made at least one film before they apply.

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Speaker 2: That's right. I think we have got kind of a

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Speaker 2: unique niche for this program because you can't be entry

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Speaker 2: level like just out of film school. You apply with

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Speaker 2: a work sample, So you have to be able to

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Speaker 2: demonstrate to us that you can make a film. We're

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Speaker 2: going to give you some funds and you're gonna have

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Speaker 2: to put a crew together, You're gonna have to do

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Speaker 2: some research, you're gonna have to shoot it. You have

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Speaker 2: to already be a competent filmmaker, but you can't be

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Speaker 2: so far along in your career that you don't need mentorships.

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Speaker 2: But for that niche, there's a lot of independent filmmakers

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Speaker 2: out there that really could use this kind of a break.

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Speaker 2: And if you're not saying what the mainstream orthodox message

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Speaker 2: wants you to say, there's not a lot of resources.

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Speaker 2: So we're hoping to reach those people.

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Speaker 1: I'm just trying to understand this. You were able to

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Speaker 1: bring in four films wildly different topics for about thirty

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Speaker 1: five or less each. Is that correct?

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Speaker 2: Yeah, Actually last year was thirty This year we're going

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Speaker 2: up to thirty five. So they spent thirty thousand on

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Speaker 2: their productions.

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Speaker 1: They obviously are pretty frugal.

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Speaker 2: Yeah, People I think sometimes don't know how much goes

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Speaker 2: into these types of movies. It was a lot of

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Speaker 2: their own sweat equity. They all worked super hard on it,

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Speaker 2: and they all kind of had to figure out how

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Speaker 2: to make these relatively low budget films. But they did

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Speaker 2: have the additional resource of our support. Beyond that, we

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Speaker 2: help them where we can, and then there's additional funds

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Speaker 2: that went into distribution and promotion. This is what we

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Speaker 2: did with thirty thousand eights. So imagine what these four

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Speaker 2: people are going to do next. I think it's really

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Speaker 2: exciting to think about the next step of their careers.

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Speaker 1: I'm curious to your standpoint. I mean, you sort of

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Speaker 1: grew up inside a filmmaking family. Was it kind of

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Speaker 1: preordained that you were going to be making movies?

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Speaker 2: No, not at all. I actually never thought I would

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Speaker 2: be here. I spent a good amount of time working

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Speaker 2: in educational nonprofits. I worked at the Intercolugion Studies Institute

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Speaker 2: ORRE as director student programs. I worked as a head

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Speaker 2: of operations at a small arts and education organization. I

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Speaker 2: liked running programs in educational space, and so you know,

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Speaker 2: when my folks were starting an educational program, which is

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Speaker 2: what this is, they wanted me to come back and

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Speaker 2: run it. I'm also associate producing our films, including these shorts,

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Speaker 2: through doing for Wall Street Journal and loving that. But

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Speaker 2: it's funny how the world works. It was around film

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Speaker 2: my whole life, never quite expecting that to be where

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Speaker 2: I would spend my professional life, and yet here I am.

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Speaker 2: And it's great, and there's a lot of advantages to

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Speaker 2: working for your parents. There's some really nice things about that.

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Speaker 1: What you are doing in this whole program, the Palladium

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Speaker 1: Pictures in program. This is exactly the kind of continuous growth,

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Speaker 1: continuous exploration that has made this country so astonishing. And

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Speaker 1: you're reaching out to what are really entrepreneurs. I mean,

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Speaker 1: people who are there on their own making films are

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Speaker 1: entrepreneurs as much as somebody who invents something. I think

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Speaker 1: it's very exciting. I'm just delighted to Thomas and you

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Speaker 1: agreed to join us. I hope our listeners can find

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Speaker 1: out more about Palladium Pictures Incubator program at Palladium Pictures

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Speaker 1: dot com, slash Incubator and watch the films. I want

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Speaker 1: to remind everyone the deadline for applying to be part

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Speaker 1: of the Incubator program next year is Thursday, December fifth.

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Speaker 1: And thank you again Thomas for joining me today.

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Speaker 2: Thanks so much for having me.

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Speaker 1: Thank you to my guest, Thomas Pack. You can learn

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Speaker 1: more about Palladium Pictures Incubator program on our show page

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Speaker 1: at newsworld dot com. New World is produced by Gaglish

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00:23:00,440 --> 00:23:06,240
Speaker 1: and iHeartMedia. Our executive producer is Guarnsey Slow. Our researcher

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00:23:06,680 --> 00:23:10,520
Speaker 1: is Rachel Peterson. The artwork for the show was created

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Speaker 1: by Steve Penley. Special thanks to the team at Ginglish

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Speaker 1: three sixty. If you've been enjoying Newtsworld, I hope you'll

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00:23:17,480 --> 00:23:20,399
Speaker 1: go to Apple Podcast and both rate us with five

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Speaker 1: stars and give us a review so others can learn

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Speaker 1: what it's all about. Right now, listeners of Newtsworld can

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Speaker 1: sign up for my three freeweekly columns at gingwishtree sixty

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Speaker 1: dot com slash newsletter. I'm newt Gingriish. This is Newtsworld.