Gould & Ratner’s Chief Marketing Officer John Byrne on Legal Marketing Coffee Talk

VIEW HERE: https://fb.watch/7OB8qXsaGi/

We had a pretty fantastic – and free-wheeling – conversation with our friend John Byrne today. This may be one of my favorite shows we’ve done yet. To be honest, I’m not even quite sure how to recap it, other than this was an authentic conversation between people who respect and love each other. There might be some references to the bathroom habits of naughty cats, a general love of anything Disney, and appreciation for the unique attributes of the only child – AND an understanding that truth when delivered from the heart is always a good thing.

Shout outs in the show to … Susie Sexton, Don Sexton, Thor Hodges, Lisa Towey Simon, Anne Gallagher, Megan McKeon, Nancy Leyes Myrland, Nancy Slome, Brenda Pontiff, Andrew Laver, Michelle Friends, Kelly MacKinnon, Brenda Plowman, Amy Payton Verhulst, Laura Toledo, Lindsay Griffiths, Kevin Iredell, Dianne Rychlewski, William Fitzgerald, Linda Sedloff Orton, Stephen D Barrett, Jose’ Cunningham, Trish Desilets Lilley, #oklahoma, #themusicman, and more!

Facebook: https://fb.watch/7OB8qXsaGi/

LinkedIn: https://www.linkedin.com/posts/robkates_new-day-same-fabulous-guests-this-week-activity-6838603731827855360-5Euj

YouTube: https://youtu.be/rg5tObv3DdA

Support Laura Toledo’s cancer fight: https://www.gofundme.com/f/phjaa6-help-lauras-fight/donate

Taco 🌮 Tees! https://www.bonfire.com/lauras-taco-team/

SHOW DESCRIPTION:

It’s the show about legal marketing and the people that make it happen.

This week, Roy Sexton’s guest is fellow LMA International Board Member AND Midwesterner John Byrne, Chief Marketing Officer for Gould & Ratner LLP. John and Roy will not only reflect on nearly a decade of friendship and volunteer leadership together, but what trends they see in marketing, communications, and thought leadership in these neverending pandemic days. John, who also has worked as a practicing attorney and as a newspaper editor, will offer his observations on the intersectionality of legal and media and the opportunities represented for marketers therein. John and Roy are both only children who also have strong ties to the medical profession AND they both tend to enjoy the occasional shenanigan (or eight), so this conversation is sure to be heartfelt, free-ranging, and raucous!

Join our team of hosts: Jessica Aries, Tahisha Fugate, Andrew Laver and Roy Sexton , each week, as we talk to the leaders in the legal marketing community.

Legal Marketing Coffee Talk is brought to you by: By Aries and Kates Media.

It’s the show about legal marketing and the people that make it happen … THIS week’s guest: legendary John Byrne!

Excited to chat with wonderful John Byrne this week on Kates Media: Video Production’s Legal Marketing Coffee Talk with Rob Kates. Sponsored by Jessica Aries’ By Aries. Thank you to Katelynn Audrey Wynn McGuire for the promotional support.

Facebook Live: https://www.facebook.com/155057871244919/posts/4359729944111003/?d=n

LinkedIn Live: https://www.linkedin.com/posts/robkates_its-the-show-about-legal-marketing-and-the-activity-6838143821059104769-5Thc

YouTube: https://youtu.be/rg5tObv3DdA

It’s the show about legal marketing and the people that make it happen.

This week, Roy Sexton’s guest is fellow LMA International Board Member AND Midwesterner John Byrne, Chief Marketing Officer for Gould & Ratner LLP. John and Roy will not only reflect on nearly a decade of friendship and volunteer leadership together, but what trends they see in marketing, communications, and thought leadership in these neverending pandemic days. John, who also has worked as a practicing attorney and as a newspaper editor, will offer his observations on the intersectionality of legal and media and the opportunities represented for marketers therein. John and Roy are both only children who also have strong ties to the medical profession AND they both tend to enjoy the occasional shenanigan (or eight), so this conversation is sure to be heartfelt, free-ranging, and raucous!

Tune in this Friday, September 3rd, at 3:00 PM ET right here on Facebook.

Join our team of hosts: Jessica Aries, Tahisha Fugate, Andrew Laver and Roy Sexton , each week, as we talk to the leaders in the legal marketing community.

Legal Marketing Coffee Talk is brought to you by: By Aries and Kates Media.

Legendary Megan McKeon joins us on Legal Marketing Coffee Talk

(Screenshots by Nancy Leyes Myrland)

Thank you to my fabulous Clark Hill colleague Megan McKeon for joining Rob Kates and me on Kates Media: Video Production’s “Legal Marketing Coffee Talk,” sponsored by Jessica Aries’ By Aries. Thanks again to Katelynn Audrey Wynn McGuire for the wonderful promotional support.

Facebook VIDEO: https://fb.watch/7b2fOwyVov/

LinkedIn VIDEO: https://www.linkedin.com/posts/robkates_legalmarketingcoffeetalk-legalmarketing-lmct-ugcPost-6827996446755713025-4wjF

YouTube: https://youtu.be/kxzNIpDgjYw

We cover a LOT! 🤣 The relative merit of phone calls, being trapped in Facebook jail, the perils of pool repair, the joys of home associations, and the highs and lows of geriatric pet ownership.

MORE importantly we discuss trends in legal marketing and business development, the crucial differences between those two disciplines AND their complementary nature, how data drives smart decision-making and efficient resource deployment, how the Legal Marketing Association and a commitment to mentoring benefits firm culture, and more.

Shout outs in today’s show to Susan Ahern, Guinevere Lehman Anderson, Marceline Johnson, John Byrne, Timothy Corcoran, Anne Gallagher, Brenda Plowman, Jill Mason Huse, Kelly MacKinnon, Nancy Myrland, Brenda Pontiff, Amy Payton Verhulst, Gina Furia Rubel, Heather Morse-Geller, Gail Porter Lamarche, Gail Paul, Susie Sexton, Connie Harris, James Fisher, Eric Lewandowski, Nancy McKeon, Patrick Fuller, Jay Harrington, Glen Hanson, HunTees, Marlon Brando, and more.

Postscript

That’s me! Always on the cutting edge! LOL. Thanks for the shout out (below), Nancy Myrland of Myrland Marketing and Social Media. She writes, “‘Should You Give Stories A Chance?’ A LinkedIn notification related to Roy Sexton yesterday (discussed in this 2-minute, 22-second episode) is what caused me to record this episode.”

I admit I keep using the damn things as another piece of real estate, wondering if anybody’s paying attention. So she nailed exactly my psychology as a user in her assessment!

Post – postscript …

“You’re always sorry. And there’s always a speech. But we no longer care.” Dark Phoenix (and another thought or two on Hugh Jackman’s The Man. The Music. The Show. in Detroit)

[Image Source: Wikipedia]

Perhaps Dark Phoenix was a creative casualty of corporate wrangling via the finalized Disney/Fox combination that brought the previously Fox-licensed X-Men characters fully back into the Mouse House’s Marvel Cinematic Universe. Perhaps the X-Men movies should have called it a day (no pun intended) with the far superior Days of Future Past. (Don’t get me started on the candy coated cluster that was its follow-up Apocalypse.) Perhaps longtime writer/new-time director Simon Kinberg should have just stuck with the writing (though that isn’t very good either in Dark Phoenix and not up to par with his previous work). Or perhaps we all are just (finally) suffering from movie superhero fatigue.

All I know is that Dark Phoenix is a soapy bore, not unwatchable by any means, but not a hellvua lot of of fun either.

I began this week taking in erstwhile Wolverine Hugh Jackman’s sunny, zippy one-man The Man. The Music. The Show. at Detroit’s Little Caesars Arena, and I ended the week with this X-Men: Last Stand retread that made me long for Hugh to show up and sing a few more Peter Allen-penned show-tunes while swiveling his bedazzled 50-year-old-hips. Hugh was a wise man to finally walk away from this sputtering franchise and spend the summer doing what he does (and loves) best. Thank you, X-Men, for giving Hugh his start in this country … and, 20 years later, for setting him free.

Dark Phoenix attempts to right the wrongs of Last Stand, an over-baked muddle from 13 years ago that first told the tale of mutant Jean Grey’s descent into madness via a cosmic-based parasitic “Phoenix force.” I know to non-geeks it sounds absurd, but the original “Phoenix/Dark Phoenix” story-line by Chris Claremont and John Byrne from the late 70s is a beloved one, revolutionary in its day for its exploration of gender issues, agency/autonomy, and how absolute power can corrupt absolutely.

[Image Source: Wikipedia]

Don’t get me wrong. Dark Phoenix tries. Really, really hard. And that’s part of its problem. Too self-serious by half, yet slapdash in its execution, the film takes a solid cast – Michael Fassbender, James McAvoy, Nicholas Hoult, Jennifer Lawrence, Jessica Chastain, Evan Peters, Alexandra Shipp, and Sophie Turner (as the titular antihero) – portraying classic Marvel characters, all lovingly re-established in a fresh, postmodern way with X-Men: First Class, and squanders the whole shebang with heaps of illogical character motivation and turgid dialogue. As Fassbender’s Magneto cautions his bromantic rival James McAvoy’s Charles Xavier: “You’re always sorry. And there’s always a speech. But we no longer care.” True dat.

It’s a shame. It truly is. The series could have gone out on a high-note, pulling all the topsy turvy threads of time travel, lost souls, and marginalized identity into one super nova of an ending … if they’d just have followed the blueprint of the original damn comics. Seriously, look at how many Oscar winners/nominees are in the cast; yet, at times, I thought I was watching Guiding Light: The Mutant Years.

[Image Source: Wikipedia]

C’est la vie. The plot, as it is, details how young Jean Grey was orphaned (or was she?) by telepathic powers run amok. Charles Xavier rescues her (or does he?) and raises her as his own, always wary of the limitless powers at her disposal. One epic space shuttle tragedy later, a now-adult Jean Grey finds herself imbued with the nuclear power of a thousand solar systems, but she really just wants to mope around, glare a bit, and throw her enemies into the sides of buildings. Chastain as some alien despot with the albino aesthetic of Edgar Winter seeks Jean’s newfound power for herself. And, blah, blah, blah … more moping, more glaring, more throwing.

Jennifer Lawrence’s Mystique notes to Xavier, “By the way … we women are always saving the men around here. You might want to change the name of this group to X-WOMEN.” Now, THAT’s a movie I think I would have preferred to see. And, as poorly written as that line is, it says something about Lawrence’s uncanny abilities that it lands like the best zinger you’ve ever heard from a Noel Coward comedy. Otherwise, Lawrence is clearly just collecting a paycheck here, waiting for her contract obligations to final run out.

Photos taken by my parents Monday night in Detroit

Back to Hugh. If Dark Phoenix truly is the death knell of the X-Men movie universe, perhaps the rest of the cast should follow suit and launch their own respective concert tours. As noted here earlier, his show is an absolute delight … and also a bit surreal, given that it is the culmination of Jackman’s wildly varied career, plus a melange of influences and experiences close to his heart. It is, in essence, a two-hour midlife crisis, Vegas-style, but a kicky, charming, loving, unmissable one. [Photo album here.]

What I also learned this week is that there are two kinds of people: those who know that Hugh Jackman sings … and those that don’t. As to the former, all I had to do was mention I saw him in concert, and they rattled forth rapturous perspectives on which songster Hugh they loved the most: Les Miserables, Greatest Showman, Oklahoma, The Boy from Oz … all of which were featured in Monday night’s show. As to the latter, I was met with a quizzical gaze and a “what did he do for two hours?!”

Ah, what didn’t he do? Tap dancing to AC/DC’s “Thunderstruck”? Check. Channeling his best Gene Kelly for a Singin’ in the Rain homage? Check. Working through what felt like some Freudian confessionals about family, romance, and fatherhood? Check. Offering a salute to the atrocities experienced by the aboriginal peoples of his Australian homeland, complete with didgeridoo? Check.

There were some missteps Monday night. A blown mic … or three. Some faulty projection screens. Heartfelt but at times overly fawning tributes to Detroit (we ate it up … but at times it got a bit thick). A strangely sequenced second act that seemed to jettison the chronological overview of the first act for a random grab-bag of themes and ideas. I also admit that I wouldn’t have minded a bit more attention paid to his Tony-winning role in The Boy From Oz. The medley of Allen’s more obvious (for American ears) pop tunes was understandable as was the Rip Taylor-style vamping in the audience; yet, I longed for more of Peter Allen, the brilliant singer/songwriter and a bit less of the theme park character flash on display. That said, these are all minor quibbles in an otherwise extraordinary evening.

My hunch is that our singing, dancing, jazz-hand flinging former-“Wolverine” will be riding this arena-gig until the wheels fall off. The Hugh Jackman on display Monday night was simply too exquisitely blissed out not to, and, as a result, I’m sure he will be playing every arena, concert venue, and state fairgrounds into which he can get his twinkly visage booked. Given what I just experienced this afternoon watching Dark Phoenix, that’s one damn smart career move!

[Image Source: Wikipedia]

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Shiny pop metaphor for how much harm we do ourselves through inaction and anxiety … X-Men: Days of Future Past

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image Source: Wikipedia]

How many Oscar winners and nominees does it take to put together a successful comic book adaptation? Apparently, a boatload.

The per capita of Academy Awards/nominations among the cast in X-Men: Days of Future Past is astounding: Ian McKellen, Jennifer Lawrence, Anna Paquin, Halle Berry, Hugh Jackman, Ellen Page, Michael Fassbender … not to mention talented folks like Peter Dinklage, Nicholas Hoult, James McAvoy, Evan Peters, and even director Bryan Singer who likely may find themselves on the receiving end of a nod or a statuette of their own one day.

As comic book adaptations go, this is about as good as they get, marrying a bit of the self-serious sermonizing of Christopher Nolan’s Dark Knight films with the gee whiz ironic whimsy of Jon Favreau’s and Shane Black’s respective Iron Man movies.

Having Singer return to the franchise (he rather unsuccessfully left to direct the bloated Superman Returns) is a stroke of much-needed genius. Other than last summer’s quietly effective The Wolverine, directed by James Mangold, or the zippy promise of Matthew Vaughn’s retro romp X-Men: First Class (Vaughn gets a writing credit on Days of Future Past), the series had started to lose its way with over-marketed, under-delivering, freakishly-merchandised failures like X-Men: The Last Stand (yeah, I’m a Brett Ratner hater too) or clunkily titled X-Men Origins: Wolverine (directed by Gavin Hood who went from Tsotsi and Rendition to X-Men Origins: Wolverine … wtf?)

Singer, not unlike J.J. Abrams with his seamless Star Trek reboot, brings us quite literally full-circle, mining all that has come before and brilliantly weaving the series’ best and crispest elements into a crackerjack narrative. The plot is a riff on Chris Claremont’s/John Byrne’s iconic “Days of Future Past” comics storyline from the early 80s. It details Wolverine’s mind-bending time travel leap from a dark dystopian future full of death and pain and murky CGI to a swinging 1970s full of death and pain and cheesy poly blends, all to avert a handful of historical moments that spark the creation of mutant-murdering robot Sentinels whose nefarious deeds bring about that nasty future everyone wants to avoid.

Clear as mud? It doesn’t matter ’cause the ride is a helluva lot of fun. The film isn’t perfect. I found this grim future-shock framing set-up with its overbaked Holocaust allusions, its bleak visuals, and its mopey characters and their endlessly ominous pronouncements rather tedious. Halle Berry (so miscast from the very first film) as weather-manipulating Storm still seems like she’s phoning her performance in from some all-inclusive Caribbean resort where they supply her an infinite series of bad white/gray wigs. And as much as I love McKellen and his comrade-in-arms Patrick Stewart as Magneto and Professor Charles Xavier respectively, they both appear to be marking time and collecting a paycheck (albeit a pretty hefty one).

However – and this is so key – all that Charles Dickens-meets-Philip K. Dick dreariness is essential to the fun once our time traveling mutant everyman (that would be Jackman with a crackling world-weary wit as Wolverine) hits the Me Decade. Everything comes alive.

McAvoy is so good – funny and haunting – as the young Xavier who has let his life (and fabulous mansion/school) go to seed. Fassbender (young Magneto) as the chillingly beautiful Malcolm X yin to McAvoy’s Martin Luther King yang is sharp as ever. The film smartly returns to Singer’s core hook: that mutant persecution is a righteous summer-blockbuster allegory for all the -isms/-phobias that plague our society and for the tension that always has and always will exist between the philosophies of blending/integration and of fighting/individualism.

All the players in the 1970s portion of the film acquit themselves nicely, from Lawrence’s fiery person-on-a-mission Mystique to Hoult’s worried caretaker Beast to Dinklage’s well-intentioned, quite-misguided military industrialist Trask.

The film’s best moments come from Evan Peters’ much-too-brief screen-time as speedster Quicksilver. He rocks every single freaking moment he has, like nothing I’ve ever seen in one of these tentpole epics. He wrings comic gold out of one word (“whiplash”) and has an absolute Bugs Bunny-esque ball torturing a gaggle of Pentagon guards, all set to the strain’s of Jim Croce’s time-warped classic “Time in a Bottle.” Give this character/actor his own movie. Now.

The smartest move of all in this very smart film? There is no villain. There is no mustache-twirling, blow-up-the-world, video-game-destructo fool in a cape leading us to a predictably cacophonous denouement. Nope. Everyone is their own worst enemy in this movie. Just like life. Fear and hate, self-loathing and prejudice those are the villains in this film, a movie which serves as a shiny pop metaphor for how much harm we do ourselves through inaction and anxiety.

Most importantly, X-Men: Days of Future Past leaves us with hope. No situation and no person are ever beyond redemption, as Stewart tells McAvoy in one of the film’s trippiest and most heartfelt moments. Amen to that.

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Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.