#306 – Writing Lessons from Daredevil Born Again Season 2: Complexity, Conflict, and Creative Takeaways PLUS a new addition to our GOATs doing GOAT Sh*t list!
Welcome to another episode of Spun Today, the podcast dedicated to exploring creativity and storytelling through the lens of writing. In this episode, the conversation focused on the second season of Daredevil: Born Again, diving deep into its morally complex characters, political intrigue, and the ways fiction can feel uncomfortably close to reality. A key theme that emerged was how great writing leverages gray areas—challenging black-and-white morality by making both sides question their own actions. The discussion explored writing techniques like escalating conflict, crafting characters with conflicting identities, and building dramatic irony, all while reflecting on why narrative momentum matters more than just narrative quantity. The episode also highlighted an inspiring "Goats Doing Goat Shit" inductee, in the segment where we celebrate those who go above and beyond in altruism. Stick around for a thoughtful blend of creative insight, pop culture analysis, and motivational energy—perfect for fueling your own creative journey.
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Links referenced in this episode
Daredevil Born Again Season 2: https://www.imdb.com/title/tt18923754/episodes/?season=2
Snap co-founder Evan Spiegel and Miranda Kerr donate millions to erase $550 million in medical debt for 261,000 Californians, following Jeff Bezos' ex-wife MacKenzie Scott’s model
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TRANSCRIPT
Tony Ortiz [00:00:00]:
One of the things that I like about morally complicated stories is when the writer refuses to make the audience's side completely clean. I mean, it's easy to write, you know, bad guy equals bad actions, good guy equals good actions, but it's much more interesting to ask what happens when good people become angry enough to do terrible things. And that gray area gives the story somewhere to go. What's up, folks? What's going on? Welcome to the Spun Today Podcast, the only podcast that is anchored in writing but unlimited in scope. I'm your host, Tony Ortiz, and I appreciate you listening. This is episode 306 of the Spun Today Podcast, and in this episode, I'm gonna give you the Spun Today breakdown and review of Daredevil: Born Again season 2. I'll also be adding, in addition to your favorite segment and mine, Goats Doing Goat Shit, where I like to highlight folks that go above and beyond, usually in some altruistic type of way. Stick around to find out who makes our very prestigious list.
Tony Ortiz [00:01:26]:
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Tony Ortiz [00:01:45]:
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Tony Ortiz [00:01:46]:
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Tony Ortiz [00:01:57]:
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Tony Ortiz [00:03:02]:
Daredevil: Born Again season 2 picks up with Wilson Fisk having essentially taken control of New York City under the guise of restoring order and curbing crime. Fisk uses martial law, political influence, and a heavily armed police task force to turn the city into something resembling his own personal kingdom. Daredevil has been branded a wanted vigilante and a terrorist and is forced into hiding, while Matt Murdock continues fighting Fisk through the legal system. But the season isn't simply another battle between Daredevil and Kingpin. It expands that conflict into something much larger, which is what happens when a powerful leader is allowed to operate without meaningful checks on his authority. We get political corruption, private policing, surveillance, propaganda, political violence, and the manipulation of public fear, which all become part of the story. Sound familiar? And that's one of the things that, for me, made the season particularly interesting. There's an uncomfortable feeling that some of what we're watching isn't entirely fictional anymore.
Tony Ortiz [00:04:17]:
Fisk's New York feels like an exaggerated version of real-world anxieties about political leaders consolidating power, institutions becoming compromised, and law enforcement being used as a weapon. And I thought the season was really good, but strangely it didn't grab me the way that the first season did. And I'm still trying to figure out exactly why. That actually became one of the more interesting things to me to think about from a writing perspective. And maybe you guys can help me figure that out as we go through my takeaways for the season. But before we jump in, as we like to do here on the Despontade Podcast, let's give the writers that put the season together a shout out. Daredevil: Born Again season 2 was written by Dario Scardopane, who's also the showrunner, Heather Belson, Chantelle M. Wells, Jesse Wiguto, and Devin Klieger.
Tony Ortiz [00:05:12]:
Shout out to each and every one of those writers that put this season together. Now let's get into the episode and let's talk about first when fiction starts feeling uncomfortably familiar. Wilson Fisk, played by Vincent D'Onofrio, has a stranglehold on New York. He puts the city under martial law under the justification of curbing crime and restoring order. Daredevil and Karen Page, played by Deborah Ann Woll, are branded wanted vigilantes and terrorists, forcing Daredevil into hiding. And Fisk isn't operating alone, and it's Purposefully gray at the beginning of the series where we see that the governor essentially steps aside and allows him to operate with extraordinary authority because she's up for reelection and he— his tactics, although extreme, are curbing some violence, statistically speaking. And we also see that the CIA is somehow involved in helping him smuggle munitions into the city. To help them get some black ops overseas operation re-upped with all of these weapons and using Fisk's underground connections to do so.
Tony Ortiz [00:06:25]:
Now, what struck me here was how, how much the fictional political landscape mirrors some of the anxieties we're seeing in the real world. Fears about leaders accumulating power, institutions becoming compromised, Corruption, private police forces, and the idea that the mechanisms designed to protect people can themselves become instruments of control. For example, the NYPD task force that Fisk unleashes is particularly disturbing because of how it operates. The tactics resemble the kinds of abuses associated with authoritarian policing— people being detained indefinitely, families not knowing where detainees have been taken, officers entering homes without warrants, and using intimidation and force to enforce Fisk's agenda. And a great writing takeaway for us as creatives is make the fictional world reflect the real one. One of the easiest ways to make speculative fiction feel relevant is to exaggerate something that already exists. And we've spoken about this tool, this writing tool, in some of the Black Mirror episode breakdowns that I've done here on the show, but this speaks to that as well. You don't necessarily need to invent an entirely new form of oppression or of technology or a political system.
Tony Ortiz [00:07:51]:
Sometimes the more effective approach is taking something your audience already recognizes and asking, what if this went even further? And that's what Fisk's New York does. The political circumstances are heightened, but the underlying fears are all still recognizable. That familiarity makes the fictional world feel more immediate and more unsettling. Now let's speak about the journalist who plays both sides, which has a much larger and important role here in season 2 than she did in season 1. BB, which is Ben Urich's niece, which we spoke about extensively in season 1, was an integral part of the story arc there. Bebe is played by Janaya Walton, who follows in her uncle's journalistic footsteps. She has, uh, at first, or like we saw from season 1 carrying over into season 2, she has a podcast and like a YouTube vlog type show, although probably for copyright reasons I don't think they call it YouTube. But she doesn't simply become an old school investigative reporter.
Tony Ortiz [00:08:58]:
She has a popular podcast where she's putting out essentially pro-Fisk content about how well New York is doing under his leadership, while at the same time she's secretly releasing damaging information and videos about Fisk, almost like the anonymous hacktivist movement has done in real life. And that creates an interesting character because she's navigating The same information ecosystem that exists today. Audience building, propaganda, independent journalism, anonymous leaks, and social media influence, all happening simultaneously. She's also connected to Fisk's right-hand man/deputy mayor, Daniel Blanks, played by James Gandolfini Jr., which makes her relationship with the administration even more complicated. Us as the audience members knowing that she's playing both sides and seeing how close she is to the, the administration inherently just ratchets up the tension from our perspective. And a great writing takeaway for us there is, give characters conflicting identities. BB isn't simply the journalist. She's simultaneously a public voice for Fisk's administration, an underground critic of Fisk, A podcaster, an investigative journalist, and someone with personal connections to people inside Fisk's organization.
Tony Ortiz [00:10:23]:
All those contradictions make her more interesting than if she were simply a hero fighting the villain. A character becomes more compelling when different parts of their identity are pulling them in different directions. Now, speaking to complicated characters, let's speak about Bullseye and how this season Doubles down on making a villain complicated. Benjamin Dex Poindexter, aka Bullseye, played by Wilson Bethel, gets one of the season's coolest sequences in my opinion. We see when he's introduced what appears to be a normal life. He lives in an unimposing apartment, he goes to a diner, everything initially looks almost mundane. Then he calls Fisk's task force And tells them that he spotted Frank Castle, played by Jon Bernthal, which was a huge thorn in Fisk's side, similar to Daredevil in season 1. But he makes this call to lure them into a trap.
Tony Ortiz [00:11:21]:
Bullseye has deliberately lured the task force there so he can kill as many of them as possible. And to do so, he uses his knives, he uses forks and knives that are in the diner, pens. anything with an edge, broken plates. And while all of this violence is unfolding, New York State of Mind is playing in the background, which I thought was such a cool touch because that juxtaposition is fantastic. The music creates this almost romantic, nostalgic image of New York while we're watching an absolutely brutal act of violence. And then Bullseye tells one of the, the diner patrons that is Completely shook that he's one of the, quote, good guys, as in telling them not to worry. And that's especially interesting because we know what he's done throughout season 1. He's responsible for killing Foggy Nelson, played by Elden Henson, killing the priest that essentially aided and abetted Daredevil.
Tony Ortiz [00:12:21]:
He's working with Fisk throughout season 1. So now Bullseye and Daredevil appear to have aligned interests because they're both fighting Fisk. But Daredevil has every reason to hate him. And a great writing takeaway for us there is, give your audience conflicting information. Bullseye is a great example of dramatic irony. We know things about him that the people around him don't, and that creates tension without requiring the character to constantly explain himself. And that, quote, one of the good guys That line is particularly effective because it's almost absurd coming from him after everything that we saw him do in season 1. And it raises an interesting moral question: can someone who has done terrible things become an ally without becoming redeemed? It's an interesting question in and of itself, and we as creatives don't necessarily need to answer that question immediately, which I think is Key.
Tony Ortiz [00:13:22]:
Sometimes it's more interesting to let the audience sit in the contradiction. Now, in adding to this season mirroring certain elements of reality, Fisk organizes a boxing event as a fundraising spectacle where he himself is boxing. And it has a very contemporary, like, celebrity boxing feel to it. The kind of event that we've seen around figures like Jake Paul, for example. But there's another purpose behind it. Fisk's idea is using the event to lure Bullseye out and kill him. Instead, Bullseye ultimately gets the upper hand and kills Vanessa Fisk, played by Aylette Zarare. And that's a particularly effective reversal because Fisk is trying to control the circumstances, right? He creates the environment, he creates the trap.
Tony Ortiz [00:14:17]:
And then the trap turns against them. And a good writing takeaway for us there is let the plan backfire. A character's plan becoming the mechanism of their downfall is one of the simplest ways to create a satisfying dramatic irony. I'll say that again. It's one of the simplest ways to create a satisfying dramatic irony. The important part is making sure the reversal Grows naturally from the character's own decisions. And we see that in this example where Fisk's desire to control creates the circumstances that ultimately cost him something that he cares deeply about. And the best twists don't come out of nowhere.
Tony Ortiz [00:15:00]:
They emerge from the thing the character was trying to accomplish in the first place. Now, I want to speak a little bit about a moment that stood out to me in an interesting way that I thought it shouldn't. If that makes sense, but it did. And it's where we're introduced to Jessica Jones's character, played by Krysten Ritter. So the head of Fisk's ATF private police force, to me, in this scene appeared to like possess some sort of superhuman ability that hadn't been revealed yet. I could be wrong on that, but when we see Jessica Jones, who shows up to To help Daredevil raid the warehouse where Fisk has moved his CIA weapons, Jessica, we see, is incredibly powerful. And she hits people and sends them flying across the room from one punch. But when she punches the head of the task force directly in the face, nothing happens.
Tony Ortiz [00:15:55]:
And she actually hurts her hand, we see. Which to me was either an indication of how— she winds up mentioning later on that her powers sometimes fade in and out. after having had a child. Or what I mentioned earlier, which is that Powell, which is the head of the ATF task force played by Hamish Allen Headley, has some sort of power that we're unaware of yet. But then Daredevil hits him in the back of the head and knocks him out cold. And I just like the simplicity of that moment. Nothing really breathtaking happened, but It still surprised me, which is the writing takeaway for us here, which is just surprise the audience's expectations while you're creating. If you've established that one character, for example, is physically dominant, the audience naturally assumes they will solve physical problems.
Tony Ortiz [00:16:48]:
So when they don't, we're immediately curious, which is what happened in my case. Sometimes you can create a memorable moment simply by breaking the expectation that you've spent time establishing. So when the audience thinks Jessica Jones punches someone, problem solved. Instead, make it Jessica Jones punches someone, oh shit, what's this guy? That's pretty efficient storytelling. Now let's go back to speak about Daniel and his choice in this season. Daniel, who again was played by James Gandolfini Jr., is ordered to deliver BB to Buck Cashman. played by Artie Frusciante, because they find out that she's behind the anonymous videos that are criticizing Wilson Fisk and making him look bad. But Daniel chooses to protect his friend even though he knows what that decision could cost him, and Buck beats the living shit out of him and ultimately kills him.
Tony Ortiz [00:17:46]:
And the writing takeaway for us there is character is revealed Through choice. This is one of the oldest storytelling tools and one of the most reliable ones. Don't tell us that Daniel is a good person. Give him a choice where doing the right thing costs him something. The moment tells us who he is, and because his decision has consequences, the scene also reinforces something important: choices in good stories should matter. Now let's speak to one of the climaxes of the season, which is where Daredevil finally goes public. So at this point, Fisk legitimately has Karen Page arrested for assisting a vigilante. And I use quote legitimately lightly because it's under the Feghazy martial law that he's established, but on paper it's legitimate.
Tony Ortiz [00:18:39]:
So Matt Murdock, which is Daredevil, and played by Charlie Cox, takes on the case as co-counsel. And eventually, in an effort to expose Fisk while simultaneously making it impossible for the court to not free Karen, Matt reveals publicly that he is Daredevil. And that changes everything and ultimately works in Matt Murdock's favor. He establishes that he can Prove by his testimony that Wilson Fisk was behind the CIA's smuggling of arms, not known to be actually linked to the CIA, but just the smuggling of arms and the destruction of the ship that was smuggling them in in the first place by his orders. If Daredevil were to show up to try to foil the plan, so on and so forth. So by admitting that It was like one of those scenes of like, how do you know? It's like, because I was there, I'm Daredevil, that type of thing. But it's a, you know, a televised event. Fisk doesn't think that he'll do it because he knows he doesn't want to admit that he's Daredevil, you know.
Tony Ortiz [00:19:49]:
I mean, he's a masked vigilante for a reason, but he does, and that decision winds up costing him, as we'll see. But before exiting the courthouse Bullseye, who has posted up across the street of this televised court circus, takes a shot at Fisk but accidentally hits Buck instead in the stomach. After that happens, the city erupts. People begin splitting into pro-Fisk and anti-Fisk factions, and the conflict we see is no longer simply Fisk versus Daredevil, or Fisk versus Matt Murdock and Kingpin versus Daredevil. It's become, what does New York believe? And the writing takeaway there is, escalate the conflict. Find ways to ratchet it up. This is an important structural move because the first level of the conflict is personal, then it becomes professional, then political, then societal. That's how you scale a story without simply making the villain stronger.
Tony Ortiz [00:20:51]:
Instead, of increasing the size of his punch, increase the number of people affected by the conflict. And as that crowd becomes more of a threat, we see another mirroring of reality where there's this January 6th-style storming of City Hall. Ironically, the pro-Daredevil crowd storms the building chanting, kill Fisk! And everyone who had been in the court earlier, before the shot was fired becomes barricaded inside of the court within different rooms. So you have Fisk and his crew in one place, Matt Murdock and Karen and their crew in another place, the judges, the other attorney, so on and so forth. The ATF task force is there, Jessica Jones is there, and Fisk goes on a rampage, fucking up and killing protesters. with his bare hands. Jessica Jones joins Daredevil and helps him fight Fisk and his task force who are just looking to find and kill Matt Murdock/Daredevil. And this is where the story becomes especially interesting because the supposed fight for justice begins producing its own form of mob violence.
Tony Ortiz [00:22:07]:
The people who are opposing authoritarianism are themselves becoming capable of authoritarian behavior. And the writing takeaway for us there is, don't let the good side stay comfortable. One of the things that I like about morally complicated stories is when the writer refuses to make the audience's side completely clean. I mean, it's easy to write, you know, bad guy equals bad actions, good guy equals good actions, but it's much more interesting to ask, What happens when good people become angry enough to do terrible things? And that gray area gives the story somewhere to go. Now let's speak about the ending of season 2 and who actually winds up paying the price. By the end, Matt Murdock is in jail for Daredevil's alleged crimes as a vigilante. The Dirty Police Task Force is also in jail. Alongside with him.
Tony Ortiz [00:23:06]:
And Fisk is offered a deal: resign and leave New York, but avoid prison. Meanwhile, BB follows in her Uncle Ben Urich's footsteps and gets a legitimate journalism job at his old newspaper. And it's an interesting ending because justice isn't necessarily clean. The hero is imprisoned, the corrupt institution is partially dismantled, the authoritarian leader escapes meaningful punishment, And the next generation of journalists carries the torch forward. And from a writing perspective, a good takeaway for us to take there is that resolution doesn't have to mean justice. Sometimes a satisfying ending isn't one where everyone gets what they deserve, but it is one where the consequences of the story have permanently changed the characters and the world. And Bibi becoming a journalist is particularly useful because it gives the story a sense of continuation. Something was lost, something was broken, but something was also passed forward.
Tony Ortiz [00:24:14]:
And we also see those similar scenarios play out when we see that Luke Cage returns to New York and to Jessica Jones from being overseas where he was doing black ops work for for the CIA, which now, by the way, recruited Bullseye to do that work for them, who completely flourishes under like a structured order, as we saw throughout season 1. So I'll raise the question again that I mentioned in the open, which is, why didn't season 2 hook me as much as season 1 did? And this is the question that I wanted to revisit toward the end of the segment, because despite all of this, I came away feeling Like, I really liked season 2, but I wasn't as hooked as I was by season 1. And I don't think that's necessarily a criticism of the season's quality. It might actually be a lesson about narrative momentum versus narrative quality. Season 2 has a shitload of things happening. There are political stakes, there's multiple villains, there are shifting alliances, there are vigilantes. There are superheroes, there are police conspiracies, political violence, there are personal betrayals. There's the revelation that Matt is Daredevil.
Tony Ortiz [00:25:32]:
There's Fisk's political machine and its dismantling. There's Bullseye, there's Jessica Jones. There's the question of whether Fisk's regime can survive all this. And yet, maybe that's the problem. Sometimes the story can become so full of compelling things that the audience doesn't know exactly what they're supposed to emotionally hold on to. Season 1, in my opinion, may have had a stronger emotional spine, whereas season 2 just may have had more stuff happen within it. And that's something worth thinking about as writers, I think, because more story isn't necessarily more momentum. And that's the takeaway that I'd probably emphasize most.
Tony Ortiz [00:26:17]:
A story can have more characters, more villains, bigger stakes, more twists, more action, more political commentary, more subplots, and still feel less propulsive. Because momentum isn't necessarily created by the number of things that happen. It's created by the audience understanding, what does this character desperately want? What's preventing them from getting it? And what happens if they fail? And sometimes the most effective story isn't the one with the most moving pieces. It's the one where every moving piece is pulling us toward the same question. And maybe that's what I was responding to without consciously realizing it. And in closing, I'd say that what I found most interesting about Daredevil: Born Again season 2 wasn't necessarily whether I thought it was good or bad, because I did think it was good. I thought it was really good. It was entertaining, ambitious, politically relevant, which I like, and full of moments that worked.
Tony Ortiz [00:27:20]:
But the fact that I could enjoy all of those individual pieces and still feel less emotionally hooked than I was during season 1 is probably the more valuable observation for a writer, because sometimes the problem isn't that your story isn't good. Because this is all subjective at the end of the day, right? I'm sure many of you listening to this may have loved season 2 way more than season 1. But for those who also didn't, sometimes the problem is that the audience has lost sight of what they're supposed to be emotionally chasing. And that's a very different problem to solve. Either way, check out Daredevil: Born Again season 2, streaming now on Disney+. Goats doing goat shit. This is the segment where I like to highlight individuals who go above and beyond within their field or outside of it and do something unexpected, unnecessary for them to do, altruistic, that I'd like to shine a light on. And in this episode's induction into the Sponsade Goats Doing Goat Shit list, I'd like to welcome Evan Spiegel and his wife Miranda Kerr.
Tony Ortiz [00:28:37]:
Evan Spiegel is the co-founder and CEO of Snap, which is the technology company behind the multimedia messaging app Snapchat. Spiegel launched the app in 2011, initially named Peekaboo, by the way, alongside co-founder Bobby Murphy. He ultimately became the youngest billionaire in the world in 2015 at the age of 24. And he led Snap's IPO in 2017. But none of this is why he is being inducted into the Spun Today GOATs Doing GOAT Shit list. Evan Spiegel and wife Miranda Kerr erased $550 million in medical debt. They donated to undo medical debt in a way that will eliminate $550 million in medical debt for more than 261,000 Californians. The debt relief is expected to reach recipients through official notices, and Kerr specifically explained that they wanted recipients to recognize the letters as legitimate and not just think that they were scams.
Tony Ortiz [00:29:43]:
And of course, being inducted into the Spontaneity Goats Doing Goat Shit list is going to help get that messaging across. No, but in all seriousness, In my opinion, this isn't just, you know, we donated X amount of dollars to charity. They're eliminating a burden that people often have because they got sick, not because they made some irresponsible financial decision, for example. They didn't just give people money. They gave people back the ability to stop worrying about money. And for that reason, Evan Spiegel and Miranda Kerr, welcome to the Spun Today GOATs Doing goat shit list. And that, folks, was episode 306 of the Spun Today Podcast. Thank each and every one of you for taking the time to listen.
Tony Ortiz [00:30:34]:
If you'd like to support this show, please go to spuntoday.com, click on shop at the top of the page to check out all the new and improved merch. Cop yourself a t-shirt, a hoodie, a tank top, a notebook, coffee mug. Of course, check out all of my writing and my books. Go to spontaneity.com/books for all the links that you'll need there. And here are a few other ways that you can help support the podcast if you so choose. Your support means a ton, helps keep the proverbial lights on here at Spontaneity Studios, and motivates me to continue putting out content just like this. Check out spontaneity.com, and here are a few ways you can help support the show. I'll check you guys out next time.
Tony Ortiz [00:31:19]:
Peace.
Tony Ortiz [00:31:19]:
What's up folks, Tony here. I hope you're enjoying the Spun Today Podcast as much as I enjoy producing it for you. Here are a few ways you can help support the show. You can support the Spun Today Podcast financially by going to spuntoday.com/support. There you will find a couple different ways that you can do just that, some of which will actually not even cost you a dime. Such as using my Amazon affiliate link. When you go to spuntoday.com/support, you'll see my affiliate link to Amazon. Click on it and it will take you to Amazon's website where you can do your shopping like normal.
Tony Ortiz [00:31:55]:
This will not cost you anything extra, but Amazon will pay me for driving traffic to their website. If you'd like to support the podcast more directly, you can do so by becoming a patron at spuntoday.com/support. You'll also find my Patreon link. This is where creators such as myself can be paid directly by patrons like you. You can either make a one-time donation or schedule recurring donations if you so choose. There are also different tiers of support, and depending on which you decide to go with, you'll also receive some perks in return, such as early access to content, free digital copies of my books, free bookmarks, etc. That is, again, by supporting via my Patreon link. Available at spontaneity.com/support.
Tony Ortiz [00:32:39]:
Similar to Patreon, at that same location, you'll also find my Ko-fi link as well as my Buy Me a Coffee link. They work very similar to Patreon and are different ways that you can help support the show financially. And last but certainly not least, you have the good old-fashioned PayPal donation button. Any which way that you choose to support is greatly appreciated. It all helps me do more of what I love, which is writing, And podcasting. Again, go to spuntoday.com/support. You can also support the Spun Today podcast by rating and reviewing the show wherever it is that you're listening to this episode.
Tony Ortiz [00:33:14]:
I'd really appreciate it because it really does help.
Tony Ortiz [00:33:17]:
Also, follow me on all socials, @spuntoday on X, formerly known as Twitter, @spuntoday on Instagram, and @spuntoday on YouTube. Where you'll not only find the full-length episodes of the podcast, but also chopped-up clips and additional content. And of course, you can follow the Facebook page at facebook.com/spuntoday. Another way you can help support the Spun Today podcast and also upgrade that stale wardrobe of yours is by going to spuntoday.com/support and clicking on the banner for Stitch Fix. Once you do, you'll enjoy a $25 discount to your first purchase.
Tony Ortiz [00:33:57]:
And the way Stitch Fix works is pretty cool.
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I use it and I've never been disappointed. You'll set up a profile, you'll put in all the sizes for your clothes, as well as all the different brands and types of clothes that you like to wear. It's really simple and intuitive to set up. They'll show you pictures and pretty much give you a thumbs up or thumbs down option on if you would wear something or not, and you get to select all the brands that you already are used to wearing. With this information, their thousands of passionate trendsetting stylists will curate a Stitch Fix box for you. They'll send you 5 items that you get to preview before they mail it to you, and you'll get to select based on the image if you like it or not. If not, they'll replace it with something else, and if so, they'll mail it to you absolutely for free. You can try everything on, and you have a few days to send everything back or keep the stuff that you want to keep.
Tony Ortiz [00:34:47]:
Then you can use that $25 credit that I mentioned towards your purchase of those items. Again, to freshen up your wardrobe and also support the Spun Today podcast, go to spuntoday.com/support and click on my affiliate link banner for Stitch Fix and enjoy your $25 credit.
Tony Ortiz [00:35:05]:
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Tony Ortiz [00:35:14]:
Well, here's how.
Tony Ortiz [00:35:15]:
Use the podcast host Libsyn. That's who I use to bring the Spun Today podcast to you, and now you can use them the same way. Using the promo code SPUN, S-P-U-N, you can open up your Libsyn account today and get 2 months of free podcast hosting.
Tony Ortiz [00:35:34]:
Here's how it works.
Tony Ortiz [00:35:35]:
Once you record your show, you upload it to your Libsyn account where you can fill in your episode notes, upload your podcast art, and schedule when you want your episodes to release. Once you do that, Libsyn will take care of the rest. They'll distribute your show to Spotify, Apple Podcasts, YouTube, and all the other podcatchers that you choose instantaneously and seamlessly. Again, go to Libsyn.com and use the promo code S-P-U-N, to get 2 months free, or use the affiliate link that's in the episode notes. Again, that's Libsyn.com, promo code SPUN. Take that great podcast idea from out of your head and put it out into the world. And as always, folks, substitute the mysticism with hard work and start taking steps in the general direction of your dreams. Thanks for listening.
Tony Ortiz [00:36:41]:
I love you, Aiden. I love you, Daddy. I love you, Grayson. I love you, Daddy.