#311 – Essential Writing Takeaways from Mobland – Season 1 Deep Dive into Character and Conflict PLUS an addition to our GOATs List!
Welcome to another episode of Spun Today, the podcast anchored in writing but unlimited in scope. This time, the conversation focused on Mobland Season 1, breaking down the series through the lens of storytelling and creative craft. The discussion explored how character relationships, personal motivations, and escalating stakes drive compelling narratives, always asking what writers and creatives can learn from these elements. A key theme that emerged was the idea of giving your protagonist indispensable skills and non-negotiable principles, as well as letting conflict arise organically from character dynamics rather than just plot contrivances. Several points were raised, including the importance of meaningful reveals, multidimensional villains, and satisfying resolutions that grow naturally from the characters’ values and actions. Mid-episode, the GOATs Doing GOAT Shit segment spotlights Shonda Rhimes, highlighting a motivational lesson in knowing your worth and value as a creative. If you’re passionate about storytelling and looking to fuel your writing journey with actionable insights, this is an episode you won’t want to miss.
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Links referenced in this episode
Mobland Season 1: https://www.imdb.com/title/tt31510819/
Hollywood Reporter: https://www.hollywoodreporter.com/features/shonda-rhimes-is-ready-to-own-her-s-the-game-changing-showrunner-on-leaving-abc-culture-shock-at-netflix-and-overcoming-her-fears
Fox Business: https://www.foxbusiness.com/media/shonda-rhimes-disneyland-pass-netflix
Deadline: https://deadline.com/2021/01/bridgerton-netflix-viewership-record-biggest-series-ever-1234681242/amp
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Transcript
Tony Ortiz [00:00:00]:
And the writing takeaway here is that conflict becomes much more interesting when it's generated by the characters' relationships and personal agendas. Maeve's actions aren't simply another plot complication. They're rooted in her personality, her history, and her desire to manipulate the people around her. The more specific those motivations are, the more organic the conflict feels. What's up, folks? What's going on? And 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 311 of the Spun Today Podcast, and in this episode, I'm going to give you my breakdown of Mobland season 1 from a writer's perspective.
Tony Ortiz [00:01:10]:
If you're a fellow creative like me, I think you'd appreciate all of the writing lessons and takeaways that I tease out of This great series of television. And I will be inducting another person into the Sponsore GOATs Doing GOAT Shit list. So definitely stick around to find out who made the cut this time. Before we jump into the episode, here is a quick way that you can help support this show if you so choose, and then we'll get right into it. The Sponsore newsletter is available to each and every one of my listeners absolutely for free. All you have to do is go to spuntoday.com/subscribe and drop in your email address. What I'm gonna do is brighten up everybody's least favorite day of the week by delivering 5 curated things within my weekly newsletter every Monday at noon. You're gonna receive a photo of the week, a recommended podcast of the week.
Tony Ortiz [00:02:09]:
I listen to tons of podcasts from an array of varied interests. I cherry-pick the very best ones. So that you can check them out. I also share a video of the week, which can be anything from a tasty recipe to a dope rap battle to an enlightening TED Talk. I also share a quote of the week. And finally, for my fellow wordsmiths out there, a word of the week so that you can step up your vocab. Again, this curated list is yours absolutely free by going to spun2day.com/subscribe and dropping in your email address. And you can unsubscribe at any time.
Tony Ortiz [00:02:45]:
Again, go to SpunToday.com/subscribe, drop in your email address, and you'll get the very next one. Mobland Season 1. First and foremost, as we like to do here on the Spun Today Podcast, I want to shout out the writers, those who make the show possible. Mobland was co-created by Guy Ritchie and Ronan Bennett. And it's written by Ronan Bennett, Jez Butterworth, and Esther Watson. Shout out to each and every one of them for putting together this amazing series that I'm really into. One of the things that immediately stood out to me about Mobland is the caliber of the actors that they assembled for this thing. We're talking Tom Hardy, Pierce Brosnan, Helen Mirren, Paddy Considine, and a whole host of other incredible talented actors.
Tony Ortiz [00:03:45]:
This is a top-tier cast, and the show gives them a pretty juicy sandbox to play in. So at the center of the series, the center of the story, you have Harry D'Souza, played by Tom Hardy. Who is the right-hand man and fixer of the Harrigan crime family. Harry is one of those characters who seems to anticipate every possible angle of a situation before anyone else even realizes there is a situation. He's calm, collected, widely respected, and seemingly always a few steps ahead of everyone else. His demeanor is almost borderline sociopathic, which makes him fascinating to watch. But he's not just some cold-blooded mob fixer. He's also a husband to Jan, played by Joan Froggatt, who is threatening divorce and wants the two of them to go to couples therapy.
Tony Ortiz [00:04:46]:
They have a tenacious daughter in Gina, played by Teddy Allen. And Harry's personal life is very much its own ticking time bomb. All of that ratchets up the tension even more as he's pulled in multiple directions at the same time. Now, the season kicks off with 2 rival crime families, the Harrigans, which is the one that Harry works for, and the Stevensons, and they're pulled into a potential all-out war. Their early 20s or so year old grandsons from both the families are actually friends. And unbeknownst to their families, they're hanging out together from time to time, and they're hanging out one night at a club. And during one of those nights, Eddie Harrigan, played by Anson Boone, winds up stabbing a young man who is left in critical condition. Eddie and his friend Tommy Stevenson, played by Felix Edwards, Tommy Stevenson is the grandson of the rival crime family.
Tony Ortiz [00:05:50]:
They flee the scene. And then after that, Tommy winds up disappearing. So the Stevensons discover that the boys had been hanging out together and both families are furious about it. And then Richie Stevenson, which is the head of the Stevenson crime family, played by Jeff Bell. threatens war unless he gets answers about his missing grandson. And Harry is asked to figure out what the hell happened, both by his crime family and the other crime family, which again respects Harry both in his abilities to, to deliver and as someone that'll do things properly within the world that they operate in. Now what follows is a season of shifting alliances, family secrets, and escalating violence, with Harry continually being pulled deeper into the mess while trying to keep the Harrigans from destroying themselves. And under— underneath all of that, I think there's a really interesting writing lesson about what makes a compelling central character, how to build tension through conflicting loyalties, and how to keep escalating a story without simply repeating the same conflict over and over.
Tony Ortiz [00:07:10]:
So, let's speak to giving your protagonist a skill that makes them essential. Harry is a great example of a character whose specific skill set makes him indispensable to the story. He's not simply the toughest guy in the room, although he definitely is that. He's also the guy who can read a room, anticipate what people are going to do, understand the politics between competing factions, And figure out how to get ahead of a problem before it becomes an even bigger problem. When Harry is tasked with finding Tommy, the Harrigans have their own internal complications. Eddie, the grandson that Harry is supposed to be helping to protect, is difficult, impulsive, and a bit of a hothead. Especially Around this time and after what transpired. And Harry eventually discovers Tommy's body chopped up and stuffed into a travel chest.
Tony Ortiz [00:08:18]:
And that discovery is just the beginning of the shit show that ensues thereafter. And a useful writing takeaway for us here is to give your protagonist a skill that That isn't just impressive, but necessary to the story that you're telling. Harry's ability to navigate the criminal underworld is what allows the story to move through all of these different factions and complications. If you have a character who's supposed to be the fixer or the detective, the strategist, or the negotiator, for example, make sure the story gives them situations Where those specific abilities are actually put to the test. Don't just tell us they're good at what they do. Give them problems that require them to demonstrate it. Now let's speak more about letting your characters' relationships create the conflict. One of the more interesting dynamics in the show is the relationship between Conrad Harrigan, which is the head of the Harrigan crime family and played by Pierce Brosnan, and his wife Maeve, played by Helen Mirren.
Tony Ortiz [00:09:28]:
Conrad is the head of the family, but Maeve is a wild card. She's constantly encouraging Eddie's worst impulses and seems to have her own agenda when it comes to the rivalry with the Stevensons. Once Harry successfully defuses the situation and essentially lets the Stevensons know that He's found Tommy, that he is dead, but makes sure to blame the— makes sure that the blame is cast in a different direction from Eddie or the Harrigans. The Stevensons eventually invite the Harrigans to Tommy's funeral as both a way to show their respects and as a signal that they had nothing to do with his death. That was like their way of being able to show face. Without going into an all-out war. But Maeve feels disrespected during the funeral, and rather than allowing the truce between the families to carry on, she has a car bomb planted in Richie Stevenson's wife's car. And the car explodes the following day when she's about to go out shopping.
Tony Ortiz [00:10:40]:
And this is where the show really starts to demonstrate how dangerous Maeve is. She's not simply reacting to the circumstances, she's actively creating them. And Maeve, we find out, also has some history with Richie, like a romantic history, and she seems to be itching for the families to go to war. She winds up tipping Richie off about the whereabouts of her own son Brendan, played by Daniel Betts, and her stepdaughter Serafina, played by Mandy Dillon, seemingly hoping Richie will take out Serafina, while— who we know at this point that, you know, Maeve has always butted heads with— but while not hurting her son Brendan. At least that was her expectation. But Richie winds up zeroing in on the location that Maeve gave him They wind up killing everyone there except Brendan and Serafina. They were doing some sort of jewel deal. And then Richie winds up kidnapping them both.
Tony Ortiz [00:11:46]:
And the writing takeaway here is that conflict becomes much more interesting when it's generated by the characters' relationships and personal agendas. Maeve's actions aren't simply another plot complication. They're rooted in her personality. Her history and her desire to manipulate the people around her. The more specific those motivations are, the more organic the conflict feels. Rather than having a villain do something simply because the story needs another obstacle, give them a personal reason to make the situation worse. And sometimes the most dangerous character in your story isn't the one who's openly threatening everyone. It's the one who's quietly manipulating the people around them, which leads us to escalating the stakes by making the consequences personal.
Tony Ortiz [00:12:39]:
Now, the kidnapping of Brendan and Serafina takes the conflict to another level. Obviously, Richie winds up getting a Mexican cartel that he works with involved, and the 2 Harrigan siblings are taken to be brutally murdered with a chainsaw on video. And Richie actually sends the Harrigans a video link so they can watch everything unfold. Now, Harry, in the meantime, is desperately trying to track them down while watching the horrifying footage unfold. He's able to pinpoint where they are. I forget how, but is a ways away and winds up stealing a motorcycle and like rushing over there. Towards the direction where they are. And then Harry winds up making one phone call.
Tony Ortiz [00:13:28]:
He calls a character by the name of Kat McAllister, played by Janet McTeer, which is a woman in pajamas who apparently has enough influence over the head of the cartel to shut the entire operation down immediately. Kat winds up making one phone call, bypasses Richie entirely. And stops the execution. But she's only able to save Serafina because by that point Brendan has already been killed on video with a chainsaw. And now Harry owes Kat a favor. Now this is the first time we're introduced to this Kat character, and I thought this was a really effective escalation because the stakes aren't simply that another character might die, The show takes someone who's supposed to be protected by the family and puts them in an almost impossible situation. And the solution introduces another powerful player into the story in Kat, while simultaneously creating a debt that Harry will eventually have to deal with. And a writing takeaway for us there is that escalation doesn't always have to mean making the next threat bigger in a physical sense.
Tony Ortiz [00:14:47]:
It can mean making the consequences more personal, more emotionally difficult, or more complicated for your protagonist. The question isn't simply, what's the worst thing that can happen? It's also, what's the worst thing that can happen to this particular character given what they care about? And when your protagonist manages to get out of a situation, consider having that victory come with a cost. Harry saves Serafina, but now he's indebted to Kat. The problem is resolved, but the story has created a new complication. Another major revelation comes when we learn that Eddie is actually Conrad's biological son, not Kevin's. Kevin Harrigan, played by Paddy Considine, is the other son and heir apparent to the Harrigan throne, if you will, and is best friends with Harry. He's the one actually that got Harry involved with the family, and Harry became who he was, or who he is, over time. But we learned that Kevin has raised Eddie as his own son, despite Conrad having previously been involved with Kevin's now wife, Bella Harrigan, played by Laura Pulver.
Tony Ortiz [00:16:05]:
Eddie discovers this through Maeve, who continues to manipulate him and play him like a fiddle in order to just create chaos, apparently. And when Eddie confronts his mother about the truth that his dad isn't his dad and his grandfather is actually his dad, he, he nearly chokes her to death before someone winds up intervening. And what's interesting here is that the revelation doesn't just add a piece of information to the story. It fundamentally changes the way we understand the relationships between these characters. Kevin has raised Eddie as his son. Conrad is his biological father. Bella is caught in the middle, and Maeve is using the secret as a weapon. And a good writing takeaway for us here is that a good reveal should do more than surprise the audience.
Tony Ortiz [00:17:02]:
It should change the meaning of what we've already seen. The secret is effective because it creates new emotional complications for characters who already have complicated relationships, and it gives Eddie another reason to act out while also potentially changing the way we perceive Kevin's relationship with him. So, when you're developing a twist, Or a character secret, ask yourself, once the audience learns this information, what changes? Does it alter the character's motivation? Does it change the dynamic between 2 characters? Does it make a previously understood scene take on a different meaning? If the answer is yes to any of those, then the revelation has the potential to do Much more than simply shock your audience. Now let's speak about making the villain's power extend beyond the criminal world. And obviously we're dealing with rival crime families, so ostensibly everyone's a villain. But just since we're seeing the story through the eyes of the Harrigan family, and mainly Harry, he's in the position of the protagonist, right? So Richie Stevenson eventually aligns himself with the police who have been trying to convince him to cooperate with them in exchange for immunity and helping to take down the Harrigans. And this is where the conflict expands beyond the 2 families. The police are able to plant evidence against Conrad and Maeve for crimes they didn't even commit.
Tony Ortiz [00:18:46]:
And ultimately Getting them arrested. So Richie isn't just fighting the Harrigans with guns and violence anymore. He's using the system itself as a weapon. And I thought that was interesting as a story development because it changes the nature of the threat, right? The Harrigans are accustomed to operating in a world where violence, intimidation, and loyalty are the currencies. But now they're dealing with a threat That can use institutions and legal authority against them. And a good writing takeaway for us is to think about your antagonist's power and how it can operate in different arenas. If your villain is already physically dangerous, perhaps the next escalation isn't giving them more muscle. Maybe it's giving them political influence or institutional Leverage or the ability to manipulate the protagonist's reputation.
Tony Ortiz [00:19:46]:
The more dimensions your antagonist has, the more difficult it becomes for your protagonist to simply defeat them through the same tactics they've been using all along, which ultimately make your protagonist have to grow in some way. Now, let's speak about one of my favorite elements of the show. And the concept of giving your protagonist a non-negotiable principle. So Harry's loyalty to the Harrigans is one of the defining characteristics of his character. At one point, Kat McCallister, that all-powerful person we were introduced to, offers Harry the opportunity to take out the Harrigans, take over their operation, And work for her instead. And it's a tempting offer, especially considering all the chaos and dysfunction that he's been dealing with and cleaning up for them. But Harry declines. And when Kat threatens his family, meaning Harry's wife and daughter, Harry checks her and makes it clear that his loyalty to the Harrigans isn't something she's going to be able to manipulate.
Tony Ortiz [00:20:58]:
And we learned that this is a red button for Harry. Whenever his loyalty is questioned in any way, shape, or form, and by whomever, including the Harrigan family or someone as powerful as Kat McCallister, which is seemingly above them all, or if he's ever asked to do something disloyal like the advances actually from Kevin's wife, that's where he draws the line. And I think that's a great character tool For us as writers. Give your protagonist a principle that they refuse to compromise, even when doing so would make their life easier. A character's values become much more interesting when they're tested. It's one thing for a character to say that they're loyal. It's another thing for them to turn down a potential lucrative offer, risk their own safety, Or make a difficult decision because the loyalty means something so much more to them. And that principle, by the way, doesn't necessarily have to be something noble.
Tony Ortiz [00:22:00]:
It could be pride, it could be revenge, it could be family, ambition, or something else entirely. The important thing is that the audience understands what the character stands for and that the story constantly puts that belief under pressure. Now eventually, Harry and Kevin discover that the Harrigans' family attorney has been a rat all along and giving family secrets to Richie Stevenson. Harry and Kevin leverage that information to set up the Stevensons, and the Harrigans wind up taking out the entire gang, including Richie. And I like how This resolution ties back to the relationships and the skills that have been established throughout the season. Harry's ability to anticipate angles, Kevin's involvement in the family and wanting to be their heir apparent, and the attorney's betrayal all become part of the final move against the Stevensons. The conflict isn't resolved through some random new character showing up or some convenient solution that the audience couldn't have anticipated. It's resolved through information, relationships, and characters and their established abilities.
Tony Ortiz [00:23:21]:
And the writing takeaway for us there is to make sure your resolution feels like the culmination of the story you've actually been telling. The ending doesn't have to be predictable. In fact, it shouldn't be. But when it arrives, The audience should be able to look back and recognize how the pieces fit together. The most satisfying resolutions often make us think, of course, that makes sense, or I should have seen that coming. Now let's speak about ending the season with a question that changes the dynamic. Now let's speak about ending the season with a question that changes the dynamic. The season ends with a couple of pretty significant cliffhangers.
Tony Ortiz [00:24:07]:
Harry's wife, Jan, accidentally stabs him in the chest. They're like, she's like chopping vegetables at like a kitchen counter and they're arguing about something and she's like, she just puts her arm up but doesn't notice he's like, he like turns into her at the same time and winds up stabbing him in the chest. And it doesn't appear to be fatal, but the show definitely leaves His fate ambiguous. And given that Harry is clearly the heart of the series, it's a pretty effective way to leave the audience wondering what's going to happen next. And then there's Maeve, who tells Conrad that she's like Mother Nature. Everyone comes back to her even after all the chaos, destruction, and death that she causes, including the deaths of children. So she likes being This wild card manipulative black hole of sorts. Then meanwhile, Conrad, who's in prison at this point, is in his element in prison, acting like a complete thug or an animal while like the other inmates applaud and cheer him.
Tony Ortiz [00:25:12]:
And he's just like soaking all of it up, banging his chest and screaming and roaring, so on and so forth. And what I found interesting about these endings is that they don't simply wrap up the season's central conflict. They leave us with a new set of questions about the characters and the dynamics between them. Harry's injury puts the central protagonist in jeopardy. Maeve's declaration reveals how she sees herself and her place within the family. And Conrad's behavior in prison suggests that even stripped of his power on the outside, He may still be a force to be reckoned with, irregardless. And a good writing takeaway for us related to that is that a cliffhanger is most effective when it creates a question the audience genuinely cares about. It's not just about withholding information.
Tony Ortiz [00:26:07]:
It's about placing a character in a situation where the outcome could meaningfully change the story. And when you're ending a season or a book or a story, Consider whether the cliffhanger is simply asking, what happens next? Or whether it's also asking, what does this mean for the character we've been following? And the latter is what often keeps audience members emotionally invested. Now, in closing, I'll say that one of the things Mobland does well throughout the first season Is create a world where loyalty, family, and power are constantly in conflict. Harry is a fixer whose loyalty is repeatedly tested. Maeve is a manipulator who seems to thrive on chaos. Conrad is a patriarch whose power extends beyond the criminal world, and the younger generation is caught in the middle of A family legacy that they may not fully understand. The writing takeaway I want to leave you with is this: build your conflict around what your characters value, and then put those values in direct opposition to one another. The more personal the conflict becomes, the more compelling it can be.
Tony Ortiz [00:27:31]:
And when the characters are forced to make choices that reveal who they really are, The story becomes more than just a series of violent events. It becomes a story about people, and that's what makes Mobland so compelling to watch. Hit me up @SpunToday on everything. Comment in the show notes, or in the comment section under the show notes rather, and let me know what you guys thought about season 1 of Mobland. Check out season 1 of Mobland streaming now. On Paramount Plus. Goats doing goat shit. This is a segment where I like to highlight folks, usually creatives, that go above and beyond in some sort of way, that show exceptional integrity, loyalty, or just smarts, whether it be through some lucrative financial deal that they, you know, teach those of us creatives Different paths or approaches or highlight landmines to steer away from, so on and so forth.
Tony Ortiz [00:28:37]:
And this episode's inductee to the Spawn Today GOATs Doing GOAT Shit list is none other than the creative juggernaut, Shonda Rhimes. Shonda Rhimes created Grey's Anatomy, Scandal, How to Get Away with Murder, which was a really good show that I was into for a while. Uh, Grey's Anatomy I never saw, but it's, you know, I know it and my wife loved the show. I like Shonda as, as a creative, uh, as well, just, you know, what she represents. I've listened to her TED Talks, which were great. I think I featured it as a video of the week once upon a time at the, uh, good old Spun Today newsletter, which is completely free for folks to subscribe to, spuntoday.com/subscribe. But over 15 years, she reportedly made Disney more than $2 billion— billion with a B. And part of her deal gave her all-access Disneyland passes for herself and her nanny.
Tony Ortiz [00:29:38]:
Now, one day she needed an extra pass so that her sister could take her daughter to the park, and Disney wound up pushing back and then reluctantly agreed. And when they got to the gate, one pass was working and the other one was not. So then Shonda wound up calling the Disney exec who set everything up, who allegedly told her, don't you have enough? Mind you, she's made this company $2 billion. I want to keep highlighting that. Now let that sink in. $2 billion. And the question on the table was, about a $150 ticket to a theme park. Now, Shonda had already been feeling stuck according to, you know, interviews of hers, um, after the fact.
Tony Ortiz [00:30:30]:
So she was feeling stuck at Disney. She felt like she was dying creatively. She was pushing the same ball up the same hill. And Netflix was already knocking. So she didn't really argue with the exec. She didn't plead. She thanked him and hung up the phone and then immediately called her lawyer with a simple instruction: get me out of my Disney deal and over to Netflix. And how did that go? Her very first scripted show for Netflix was Bridgerton, which according to Netflix, 82 million households watched.
Tony Ortiz [00:31:08]:
within the first 28 days. And it was the biggest series launch in the company's history at the time. So that one exec that saved Disney $150 handed Netflix a creative juggernaut with a proven track record and who knows how many millions upon millions upon millions. And that's the lesson, at least for me. And why I wanted to induct Ms. Shonda Rhimes into the Spun Today GOATs Doing GOAT Shit list. It's know your worth, know your leverage, and never let somebody who's getting rich off of your work make you feel like you're asking for too much. And with that, Ms.
Tony Ortiz [00:31:52]:
Shonda Rhimes, welcome to the Spun Today GOATs Doing GOAT Shit list. And that, folks, was episode 311 of the Spun Today Podcast. Thank each and every one of you for taking the time to listen. I really enjoy putting together these episodes for you, and I hope that you guys get something from it. I definitely do in putting them together and, and making connections between scenes and Dialogue and just moments within series or movies or books that resonate with me and trying to tie them into actual creative takeaways and writing lessons helps me in my own writing journey of trying to become the best writer that I can be. So I hope that it's doing that for some other folks as well. Definitely check out the back catalog episodes of the Sponsor Day podcast. Where I do what I did here with other TV shows, movies, books, so on and so forth.
Tony Ortiz [00:33:00]:
And if you'd like to help support the Spontaneity Podcast, you can do so by going to spontaneity.com/support. There you'll find a myriad of affiliate links where you can get discounts for things that you may be already shopping for, and you can check out my merch, so on and so forth. Here are a few ways you can help support the Spontaneity Podcast if you so choose. Which I definitely do appreciate. Please don't forget to subscribe, rate, and review wherever it is that you're listening, and I will check you guys out next time. Peace. What's up folks, Tony here. I hope you're enjoying the Spun Today Podcast as much as I enjoy producing it for you.
Tony Ortiz [00:33:43]:
Here are a few ways you can help support the show. You can help support the Spun Today Podcast by shopping my merch section. Go to spuntoday.com/support and navigate to the merch section. Here you'll find the iconic Podcast vs. Anybody tee, which comes in many different color schemes and all different sizes. There are a bunch of other designs available as well, including writing-themed shirts, cycling shirts, and the classic Dominican escudo, and much, much more. And if t-shirts aren't your thing, all designs also come in Pullover hoodies, zip-up hoodies, sweatshirts, and tank tops. You can also shop the Spun Today coffee mugs, which has the Spun Today logo on one side and the tagline that I end every episode with on the other, which is start taking steps in the general direction of your dreams.
Tony Ortiz [00:34:34]:
Once again, for all Spun Today merch, go to spuntoday.com/support and navigate to the merch section. Another great way for you to help support the show and also take care of your foundational health is by going to spuntay.com/support and clicking on my affiliate link for Athletic Greens, AKA AG1. One scoop of AG1 in your water helps to fill nutrient gaps, promote gut health, and support whole body vitality. Just one serving delivers a comprehensive blend of 9 products. a multivitamin, minerals, prebiotics, probiotics, adaptogens, and more, all of which work together for the strongest foundation for better health. I personally take AG1 and really appreciate the peace of mind of knowing that my foundational health bases are covered even when I know I'm not eating as healthily as I should be. Also, by using my affiliate link at sponsay.com/support, you will get 1 free year of vitamin D3 as well as 5 AG1 travel packs absolutely for free. Again, go to spuntoday.com/support and click on the banner for AG1.
Tony Ortiz [00:35:46]:
If you're a fellow creative, a cool way that you can help support the Spun Today podcast and actually be part of the podcast is by filling out my 5-question questionnaire located at spuntoday.com/questionnaire. Here you'll find 5 open questions related to your craft, your art, what inspires you to create, what type of unrelated hobbies you're into, And what motivates you to get your work done? You can choose to remain anonymous or plug your website and your work. And once you submit your questionnaire, I read your responses on a future episode of the Spun Today podcast. It's completely free at no cost to you. And what I like to say about it is that if your responses could potentially spark inspiration in someone else, why not share that? spuntoday.com/questionnaire. The Spun Today newsletter is available to each and every one of my listeners absolutely for free. All you have to do is go to spuntoday.com/subscribe and drop in your email address. What I'm gonna do is brighten up everybody's least favorite day of the week by delivering 5 curated things within my weekly newsletter every Monday at noon.
Tony Ortiz [00:36:54]:
You're gonna receive a photo of the week, a recommended podcast of the week, I listen to tons of podcasts from an array of varied interests. I cherry-pick the very best ones so that you can check them out. I also share a video of the week, which can be anything from a tasty recipe to a dope rap battle to an enlightening TED Talk. I also share a quote of the week, and finally, for my fellow wordsmiths out there, a word of the week so that you can step up your vocab Again, this curated list is yours absolutely free by going to SpunToday.com/subscribe and dropping in your email address, and you can unsubscribe at any time. Again, go to SpunToday.com/subscribe, drop in your email address, and you'll get the very next one. And as always, folks, substitute the mysticism with hard work and start taking steps in the general direction of your dreams. Thanks for listening. I love you, Aiden.
Aiden and Grayson [00:38:07]:
I love you, Daddy.
Tony Ortiz [00:38:09]:
I love you, Grayson.
Aiden [00:38:11]:
I love you, Daddy.