When SportsCenter icon Dan Patrick said goodbye to ESPN, he had no idea what was next. For someone who never dreamed of anything but being a sportscaster, leaving the network he helped build took more career balls than Nolan Ryan ever threw. But such risks are usually mitigated in direct proportion to how much you love what you do. And Patrick loves to talk about sports, which he decided to do from his attic, and now does on one of the most successful—and unique—shows on national radio (or TV). What he doesn’t love is toeing anyone’s line but his own. His irreverence, intelligence, and ability to put sports in a larger cultural context put The Dan Patrick Show in a league of its own.
One of the best hosts in the biz talks about calling his own shots, what makes great radio and why you should be concerned with the amount of wood paneling in your boss’s office. This is a guy who finds motivation in every challenge, and for whom “every day is the Super Bowl.” So should we be concerned he’s eyeing the Off Camera host slot? As Patrick himself might say, “You can’t stop him, you can only hope to contain him.” We’re not sure we even did that. Let’s go to the highlights…
Joanne Froggatt is now quite clear that performing in front of the TV doesn’t mean you’re actually on TV, but when she was three, all she knew was she needed to get in that box and live the exciting lives of its inhabitants. At 16 she did, as an unwed teen mom on Coronation Street, a role that still informs her craft today, but did little to prepare her for the phenomenon of Downton Abbey. Audiences worldwide fell in love with the show, and Froggatt’s Anna Bates, a servant whose kindness, honesty and bravery made us question whether the manor’s true ladies were living upstairs or down.
Now that Froggatt is no longer required to maintain discreet restraint, we talk about her early career struggles, the art of conveying emotion as a character whose job de-pends on not showing any, and why neither she nor our host became veterinarians. We were also curious what one does after six years on one of the most acclaimed shows in TV history. “You chuck a brick and run after it.” Well, that clears that right up.
When SportsCenter icon Dan Patrick said goodbye to ESPN, he had no idea what was next. For someone who never dreamed of anything but being a sportscaster, leaving the network he helped build took more career balls than Nolan Ryan ever threw. But such risks are usually mitigated in direct proportion to how much you love what you do. And Patrick loves to talk about sports, which he decided to do from his attic, and now does on one of the most successful—and unique—shows on national radio (or TV). What he doesn’t love is toeing anyone’s line but his own. His irreverence, intelligence, and ability to put sports in a larger cultural context put The Dan Patrick Show in a league of its own.
One of the best hosts in the biz talks about calling his own shots, what makes great radio and why you should be concerned with the amount of wood paneling in your boss’s office. This is a guy who finds motivation in every challenge, and for whom “every day is the Super Bowl.” So should we be concerned he’s eyeing the Off Camera host slot? As Patrick himself might say, “You can’t stop him, you can only hope to contain him.” We’re not sure we even did that. Let’s go to the highlights…
Joanne Froggatt is now quite clear that performing in front of the TV doesn’t mean you’re actually on TV, but when she was three, all she knew was she needed to get in that box and live the exciting lives of its inhabitants. At 16 she did, as an unwed teen mom on Coronation Street, a role that still informs her craft today, but did little to prepare her for the phenomenon of Downton Abbey. Audiences worldwide fell in love with the show, and Froggatt’s Anna Bates, a servant whose kindness, honesty and bravery made us question whether the manor’s true ladies were living upstairs or down.
Now that Froggatt is no longer required to maintain discreet restraint, we talk about her early career struggles, the art of conveying emotion as a character whose job de-pends on not showing any, and why neither she nor our host became veterinarians. We were also curious what one does after six years on one of the most acclaimed shows in TV history. “You chuck a brick and run after it.” Well, that clears that right up.
Joanne Froggatt is now quite clear that performing in front of the TV doesn’t mean you’re actually on TV, but when she was three, all she knew was she needed to get in that box and live the exciting lives of its inhabitants. At 16 she did, as an unwed teen mom on Coronation Street, a role that still informs her craft today, but did little to prepare her for the phenomenon of Downton Abbey. Audiences worldwide fell in love with the show, and Froggatt’s Anna Bates, a servant whose kindness, honesty and bravery made us question whether the manor’s true ladies were living upstairs or down.
Now that Froggatt is no longer required to maintain discreet restraint, we talk about her early career struggles, the art of conveying emotion as a character whose job de-pends on not showing any, and why neither she nor our host became veterinarians. We were also curious what one does after six years on one of the most acclaimed shows in TV history. “You chuck a brick and run after it.” Well, that clears that right up.
Pretense of any kind is just too much work for The National frontman Matt Berninger. It shows in the honesty of his songs, which tend towards dark laments, poems of human longing and occasionally, downright funny observationals. There’s even less charade in the oddly touching band-documentary-that-wasn’t, Mistaken For Strangers. But putting it all out there is probably pretty easy once you’ve decided to abandon an established day job late in life to make it as in indie rock band. The National had a slow start, but its eventual success didn’t come from sticking to a formula; Berninger and the band court new uncertainties with almost every new release, and fans and critics have largely followed. He still seems mildly surprised that his music career hasn’t remained a solo one consisting of a basement, an 8-track, cigarettes and cheap red wine. His is an unusual story, but then, he’s an unusual songwriter. Berninger joins us to discuss the importance of discomfort, his side project EL VY, and the possibility that his mom always liked his brother best.
Pretense of any kind is just too much work for The National frontman Matt Berninger. It shows in the honesty of his songs, which tend towards dark laments, poems of human longing and occasionally, downright funny observationals. There’s even less charade in the oddly touching band-documentary-that-wasn’t, Mistaken For Strangers. But putting it all out there is probably pretty easy once you’ve decided to abandon an established day job late in life to make it as in indie rock band. The National had a slow start, but its eventual success didn’t come from sticking to a formula; Berninger and the band court new uncertainties with almost every new release, and fans and critics have largely followed. He still seems mildly surprised that his music career hasn’t remained a solo one consisting of a basement, an 8-track, cigarettes and cheap red wine. His is an unusual story, but then, he’s an unusual songwriter. Berninger joins us to discuss the importance of discomfort, his side project EL VY, and the possibility that his mom always liked his brother best.
Pretense of any kind is just too much work for The National frontman Matt Berninger. It shows in the honesty of his songs, which tend towards dark laments, poems of human longing and occasionally, downright funny observationals. There’s even less charade in the oddly touching band-documentary-that-wasn’t, Mistaken For Strangers. But putting it all out there is probably pretty easy once you’ve decided to abandon an established day job late in life to make it as in indie rock band. The National had a slow start, but its eventual success didn’t come from sticking to a formula; Berninger and the band court new uncertainties with almost every new release, and fans and critics have largely followed. He still seems mildly surprised that his music career hasn’t remained a solo one consisting of a basement, an 8-track, cigarettes and cheap red wine. His is an unusual story, but then, he’s an unusual songwriter. Berninger joins us to discuss the importance of discomfort, his side project EL VY, and the possibility that his mom always liked his brother best.
