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Terry Joe 'TJ' Volner took a series of photos after allegedly killing the boy, Dusty Guenther, including one showing the dead boy's chin propped. I'm Terry Gross. . if it's really to be believable that this app is successful and in demand and huge, you that me and T.J. and Kumail Nanjiani and Zach Woods. So Richard is really angry and he goes to see Jack, the CEO. Meet the personalities behind 11 top Charlotte morning-radio shows Ace & TJ can't get away with the stunts they used to, but. . Supporting cast: Terry Hanson, Jeff Pillars, Marci “Tater” Moran, Andy Abdow (archivist), Jackie Curry (associate . 'This will live with me forever. Charlotte Observer App.
But he is too late to stop her and TJ boarding a flight to Morocco. Terry holds a grudge against Tom for losing him contact with his son and attacks Tom King on the morning of his wedding. When Tom is murdered on Christmas DayTerry is a prime suspect.
Shortly after Tom's death, Terry disappears and returns with TJ a few weeks later after going to Morocco and persuading Jean to give him back to him. He is questioned by the police as a suspect in the murder investigation but is released without charge. Terry's father, Duke, arrives in Emmerdale in June Duke's friend, Andrea Hayworth, persuades Terry to ask Duke to visit for a while in the hope they would reconcile.
They do not reconcile completely but learn to respect each other a little more. Duke hopes that Terry and Andrea will get together, as they are both being single parents. Andrea is keen to embark on a relationship but Terry is not. Terry is scared when TJ is admitted to hospital in after food poisoning strikes the village and the surrounding area.
TJ contracts E coli and a possible cause is Jo Sugden 's organic goat cheese. Jo is later cleared and Environmental Health tells Jo and Terry that a local supermarket is responsible. Since then, Terry concentrates on looking after his son and his business. After his former girlfriend, Viv Hope is imprisoned for fraud, Terry and Jamie ask Bob and their twins to move in with them.
Bob clearly needs company and the twins would be company for TJ, being his younger Aunt and Uncle. Terry later embarks on a relationship with Brenda Walker. TJ does not like her at first but comes round eventually. Brenda moves in with Terry and TJ. Brenda is later angry with Terry when she discovers that her adopted daughter Gennie had slept with Bob whilst Viv was in prison. Bob had told Terry but he did not tell Brenda or Viv. Terry lets Bob stay with him and TJ briefly after Viv throws him out.
Terry then begins working as a limousine driver with Rodney Blackstock. In DecemberTerry becomes close to Viv again after the shop is burgled numerous times.
He helps Viv install a new lock on the flat door and after injuring his hand he looks for a first aid kit and discovers items lost in the burglaries and an alleged mugging Viv claimed had occurred when she had been taking the money from the till to the bank.
Terry confronts Viv and she tells him that she faked some of the burglaries and the mugging in order to get Bob's attention as she had been feeling lonely after their split. Terry reassures Viv and she promises never to do anything like that again.
Terry later invites Viv over for drinks with him and Brenda and they get on well, much to Brenda's discomfort. After Christmas, Terry encourages Viv to move on from Bob and find a new boyfriend and take up salsa dancing classes again. Viv agrees and asks Terry to come with her as she felt he had been a good dance partner before. Terry agrees and decides not to tell Brenda for fear of her getting the wrong idea.
Viv mistakes Terry's friendliness as a sign that he wanted to restart their relationship and on 11 Januarywhen he drops her off at the cafe, she kisses him. Terry hesitates at first then goes home. He later confides in Bob what happened with Viv and he tells Bob that he intends to set her straight and goes to visit her. Unbeknownst to Terry, Brenda sees him as he enters the cafe. Viv is waiting in the flat with a bottle of wine and Terry explains to her that they cannot be together as he is with Brenda.
He also explains that she is a special friend to him and that he was trying to cheer her up. Viv accepts his explanation and Terry leaves and goes home. Brenda confronts him about his meetings and dance classes with Viv and accuses him of having an affair with her. Terry denies it but before he can tell her the truth, they hear Paddy knock on their door and are told the houses are on fire and that they should leave their home in case it spreads.
Terry packs a bag and gets TJ ready but Brenda continues to pester him about Viv. Terry finds out that Viv is trapped in the shop with the twins and he and Bob go into the building to rescue them, despite Brenda begging Terry not to go.
Bob gets out safely after rescuing the twins but Terry is not with him. The post office and shop explodes and Terry and Viv are killed. Brenda is devastated when the chief firefighter tells them that the ferocity of the blaze means that he had to remove his men from the building. Brenda breaks down as she comes to terms with the fact that Terry is dead and regrets arguing with him and Bob remarks that both his wife and his best friend have gone.
Initially Brenda blames Andy Sugden for the fire and makes the village aware of her assumptions at Terry's funeral until she discovers it was Nick Henshall who started the blaze. Is that what the argument is about in the larger world where people fight over this? Terry, some clarification here - it's also one keystroke as opposed to, what, eight? Do the math on that.
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The argument - I guess what - once it - it goes through the compiler and then it's completely the same thing once it's running, once the - so it's all before that. There was a - Jeremy Stoppelman at Yelp was telling us about a guy - I think that's - who was so anal about it, he went in on - spent entire weekend converting everybody's tabs to spaces or the other way around.
Yeah, I think when he came in and took over a project, yeah, he spent something like 48 straight hours just deleting spaces and adding tabs even though, as we said, once it goes through the compiler, it's utterly irrelevant apparently. He just can't stand to see people doing that. And - yeah, and I guess the argument for the spaces is that if somebody else has their tabs set differently and you run it in theirs, then it throws it all off.
And it's just - I think that spaces is more pure I would just - Mike, why would you be adjusting the tab? I mean, what purpose? OK, I'm going to storm out of here. But one of the things we always try and do is, even though there is this very kind of technical debate going on, you know, we always try and turn it to what is sort of the most relatable part of it, which is that, you know, as long as the audience understands that these are two different things that are indistinguishable by most people But that people are incredibly particular and, you know, violently specific about them.
Like, that, I think, is where the comedy comes from. And, I mean, that could just as easily be, like, oh, I like to cut the butter this way and not dig - gouge the thing with my knife when I do.
But, you know, in one of those things with a couple where it's, like, you know, spaces versus tabs could be any of those things like toilet seat up-down or something, you know, and these little things that throw it all out of whack.
We'll talk more after a break. Let's get back to our interview about the HBO series "Silicon Valley," which satirizes tech startups and tech giants, the coders, executives and venture capitalists behind them and the constant clash between idealism and cutthroat capitalism.
My guests are Mike Judge, who co-created the series, Alec Berg, who's the co-showrunner with Judge, and Thomas Middleditch, who stars in the series as Richard Hendricks, the founder of the startup Pied Piper, which has created an algorithm to compress and store huge amounts of data.
I want to play another clip from "Silicon Valley. And they're trying to reverse engineer the file compression and storage algorithm that Richard's company has come up with. The character of Gavin Belson is the most, like, narcissistic head of a tech company who wants to be an inspirational leader, but is amoral. And he'll do anything, no matter how underhanded it is, to kind of get ahead of his competitors.
So he's very upset that his company's search engine is bringing up negative articles about him. And he wants that to stop. And this is a scene about that. As Galvin Belson How was everyone's morning?
Let me tell you about mine. I started my day as I always do, by typing my own name into Hooli search. I enjoy the ritual, which is designed to center me. But lately, it's been doing the opposite. Whose workstation is this? Observe, these are all remnants of a time before I wrote Nucleus down. Why are we allowing our own technology to dredge up our painful past? Why is it that when I type my own name into my own company's search engine, the [expletive] Internet rains [expletive] bolts down on me?
I want this to stop. As character These articles are part of the public record. As Gavin Belson Your point? As character Are you suggesting that we alter the fundamental neutrality of the Hooli search algorithm? That's a clear violation of the public trust. Yelp is threatening to sue Google for this very thing. I can't in good conscience order Hooli search engineers to do that. As Gavin Belson I never suggested anything of the sort.
No Hooli search engineer will ever be asked to alter the neutrality of the algorithm. As character And so Gavin doesn't want to see any more negative mentions of Nucleus on Hooli search. As character So we're going to alter the search algorithm?
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As character Of course not. That would be unethical. As character Then what are we supposed to do? Promote other websites to outrank the bad Nucleus news? Do you have any idea how big of a [expletive] job that is? As character Don't you swear at me. As character We don't work here anymore. As character For 10 more days you do, unless you'd all like to quit and walk away from your entire severance packages. That's a scene from "Silicon Valley.
At the beginning of each season, you go on a research trip to various parts of Silicon Valley to see what's happening and what you can learn that you might be able to write in in some way in the new season.
So how do you structure those trips? We'll try and talk to engineers, we'll try and look at some big companies. We'll tour some small companies. We'll meet with some VCs, some attorneys.
We try to sort of cast a wide net because we're finding, you know, we get interesting, really funny, weird story ideas from all different places. And there's no kind of rule as to where they come from. So when you're observing in Silicon Valley, do you pay special attention to what the offices look like?
For instance, in this season, Rich's company moves basically from a house - with their new CEO, they move to this, like, big office that has, like, fabulous furniture and little game kind of things around and a professionally curated micro-kitchen laughter. Yeah, that was actually - we were at Quora and somebody had taken a watermelon, hollowed it out and put watermelon Jell-O in there and sliced it up like pieces of watermelon. We used that in the show. Yeah, there's a lot of details like that.
Actually, Richard Toy ph on our production designers goes up there also and takes a lot of pictures.
It is amazing when we tour companies how almost exactly like our sets they are. It seems like you can't hyperbolize it for a joke hard enough. I mean, even I - I did a brief visit at Google X. And they have these little push scooters that you can go from one end of the compound to the other. And the floors are very smooth to maximize efficiency of the push scooters. There's very robust ways of eating laughter To quote Tim Valaski ph that I want my coders hungry here and never here and pointing to his belly.
Like, that's like the - that's the thing. I think it was Google - right? Priceless little food stations all over the place. And then when we toured Google, they had this philosophy of they've organized their offices to - and I think their phrase was to hardcode serendipitous moments Which was basically meaning that, I mean, it was incredibly un-serendipitous, you know, way of saying that they wanted people who didn't know each other to be forced to interact with each other because who knows what could happen?
Yeah, there's a lot of that. There's a lot of, like, corporate harmony. It's namaste with a logo and everyone forced to be in a circle and say namaste. But, like, it's like Well, but I think that goes back to - and it's interesting - it goes back to, I think, the whole philosophy - I mean, it's the Bay Area, right?
It's like hippie culture that has run headlong into rampant capitalism. Well, you've coined several very idealistic-sounding slogans that are used in business models and for corporations within your TV series, "Silicon Valley. And, you know, the head of the company is ruthless. So I'm interested in hearing some of your favorite slogans that you've heard and or about slogans that you've written for the series.
And I think as writers, Mike and Alec, your ears are probably especially sensitive to slogans? Well, there was a Gavin Belson line in season two that, to me, sort of is the most kind of acute sum up of this sort of competitive altruism thing where Gavin Belson at one point is excoriating the board of the company.
And he's saying, I don't know about you people but I don't want to live in a world where someone else makes the world a better place better than we do. And to me, that sort of sums up Gavin Belson's kind of mindset, which is, you know, if there's any other jerk out there who's making the world a better place better than us, we better stomp them. And then you have some great, like, business kinds of slogans in there, like Jack, who, for a while, is the new CEO at Pied Piper, Richard's company.
He talks about the conjoined triangles of success. And we've all seen those kind of business models with interlocking circles. So what are the three conjoined triangles of success? Well, compromise is the shared hypotenuse of the conjoined triangles of success. That's the important thing to know. Yeah, one of our writers, John Levenstein, sort of made up the conjoined triangles of success. But the birth of that was we just were asking a lot of questions about what would a CEO for hire be like?
And a lot of people were saying, well, the big disconnect would be as opposed to engineers who just want to make cool stuff, this guy would have systems. You know, and he would have ways of doing things.
And he would consult org charts. And, you know, he would be very rigid in the way he organized stuff. You know, and a lot of that came from just asking questions about, you know, we were talking to engineers at - like, we went to Yelp and we would ask the engineers about, like, well, what would drive you insane about somebody coming in and imposing stuff from the outside?
And they all said meetings, engineers hate meetings, systems, ways of doing things, rules. Yeah, they have a thing at Yelp where there's one day of the week where there's just - no meetings are allowed.
I think it's a, like, Wednesday or something. We were having a meeting laughter. Yeah, but what was hilarious was that was the day that we went up there and met with them. And so they were saying, yeah, Wednesdays meetings are absolutely forbidden. And we're like, but isn't this a meeting? And all the engineers look at each other like, yeah laughter. Yeah, that's more of a therapy session, I guess.
Well, why don't we take a short break here and then we'll talk some more? We'll be right back. I know some shows like to change the writers every season or every other season so that there's always fresh blood and new ideas in the room. Do you do anything like that? I mean, there's always attrition. We get new people. There's a decent amount of consistency.
There's a few new people each year, and a few people move on to other things. But we don't have any kind of system in that - you know, it's not like You don't have any conjoined triangles? It's not like "Logan's Run" where, you know - oh, this is your 20th episode. Your time is up. Alec, one other show you worked on before "Silicon Valley" was "Seinfeld. And one of the most famous episodes of "Seinfeld" is where George leaves a message on a girl's answering machine and realizes he wants to erase the message.
And he has to like break into the house and try to steal the cassette from the answering machine so that she never gets the message. And when you think of the difference technology-wise between the answering machine plot and the file compression and storage plot, laughter it's such a huge technological gap. Do you ever find yourself thinking about that? And a lot of times technology massively gets in the way of funny and interesting storytelling. Like there's - somebody put together a really interesting supercut on YouTube of instances and movies where people are just looking at their cell phones saying, there's no signal Because if you think about it like every kind of farcical story in the history of storytelling would be over if somebody just had a cell phone, right?
Like, I'll just call them. I don't have to go there. I don't - you know, and cell phones have destroyed so many good stories that people have just come up with this device of, oh, my battery is dead or there's no signal.
I mean, honestly, it's like a 9-minute long thing of there's no bars. I never thought about that how cell phones would be damaging to storytelling.
Well, look, we deal with it all the time. Like, Monica, who works at Raviga, comes over to the house to talk to the guys all the time. The reality is she probably would never set foot in that house. She'd just call them. But scenes are much more interesting to shoot and to play between humans who are interacting with each other as opposed to phone calls. She wouldn't even call, she would text, right? Well, that's actually - it was funny.
When we first started doing the show, I remember somebody's - one of the first kind of reviews of it we read was that some angry tech guy was like this show's totally unrealistic because in reality they'd be texting way more. And we're like, all right, so if that's your knock on the show is that people should be texting more That's what he wants to see.
Yeah, it's so fake. These people talking to each other and saying things and looking each other in the eye. And with that he crawled back under his rock and went to bed. At his mom's house. That's not my rock.
It's actually my mom's rock. What other TV comedies that you each grew up that seemed very state of the art at the time? He was a therapist. They seemed kind of fresh and new. And - but, you know, I'm old. Do you feel like you've borrowed from their shows in any way that they've been inspirations in what you've gone on to do? What was special about those pilots that inspired you? Well, I mean, those were just shows I loved and, you know - kind of workplace - or, you know, just seeing how they establish the characters right off the bat.
I mean, there's actually a moment - the Mary Tyler Moore one is good. There's one moment there, though, that's clearly a network executive note where she says to Rhoda, you seem like the type of girl someone could just really get to love. For no other purpose Yeah, and it's right towards the end in like, oh, we're worried no one's going to like her.
But, you know, you already like her and just because she's likable. And that was sort of an interesting, like, kind of lesson and, you know - like, that you don't need stuff like that really. Alec, what about you? I mean, to me, Lettermen was a massive, massive influence.
Because it just felt like a show where, you know, some kind of ne'er-do-wells had taken over a studio and were doing a show in the absence of any kind, you know, real authority or structure. He also had such a great attitude toward celebrities that nobody had had before, I thought Like, just made it feel like one of us has gone up there and But I definitely feel like, you know, we always talk about "Silicon Valley" as a show that's inherently about outsiders You know and that that whole to me - the whole Letterman vibe was this guy was just a perennial outsider.
He was never going to be show business establishment, you know? You know, and you were just waiting for somebody to come in and throw them out of the studio, and you could get back to work. So Letterman was huge to me.
And then the other one - when I was in college, "The Simpsons" came on. And that show was just in terms of just the density and the level of craft writing-wise, I don't think there's ever been a show - the first few seasons of that show are - I mean, I would watch those episodes.
Like for hours afterwards, I would just be despondent because I could watch those episodes, and I would think, you know, I could write for 20 years and not come up with any of the good stuff that's in that episode. Like they were just incredibly well-written and so funny and so tight. One day - one day you'll get there.
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And, Thomas, what about you? Well, I mean, I think it's a total departure as, you know, in terms of like what you see with Silicon Valley with Richard at least in terms of what I can play is quite grounded in the - very much in the real world. But the stuff that inspired me, especially when I was younger, is like really crazy, absurd character stuff. Like the "Monty Python" movies really spoke to me, spoke to my anglophile heritage.
It's one of the few entertainment pieces to come out of Canada that I can feel proud of. And those guys - they just had very absurd, weird sketches.
Some of them were like I don't even think supposed to be all that hilarious. Some of them were just supposed to be weird and styly and genrey. And then later on, you know, like British "Office" and "Extras" and I must admit "Seinfeld" were all sort of like inspirational.
Well, I want to thank all of you for talking with us. It's really been fun. Thanks for your series. I really enjoy it. And I wish you all well. Thank you so much. Alec Berg is the co-showrunner with Judge.