WEBVTT 00:00:00.000 --> 00:00:02.439 Welcome to the Deep Dive, where we plunge into 00:00:02.439 --> 00:00:04.459 the fascinating lives and careers of individuals 00:00:04.459 --> 00:00:08.160 who truly defy easy categorization. You know, 00:00:08.160 --> 00:00:10.019 we often think of public figures in one dimension, 00:00:10.039 --> 00:00:12.119 don't we? We tend to box them into a neat little 00:00:12.119 --> 00:00:15.800 label, actor, writer, activist. But what makes 00:00:15.800 --> 00:00:18.859 a person's life a true deep dive? Often, it's 00:00:18.859 --> 00:00:22.620 not just a single well -trodden path, but a dazzling 00:00:22.620 --> 00:00:25.300 constellation of talents, passions, and a genuine 00:00:25.300 --> 00:00:27.480 willingness to speak out, even when it's uncomfortable. 00:00:28.320 --> 00:00:30.600 What happens when an individual simply refuses 00:00:30.600 --> 00:00:34.039 to be confined to a single box? That's precisely 00:00:34.039 --> 00:00:36.070 what we're here to explore today. We're looking 00:00:36.070 --> 00:00:37.929 at a truly remarkable example of someone whose 00:00:37.929 --> 00:00:39.990 career has unfolded across multiple disciplines, 00:00:40.210 --> 00:00:42.390 not just acting, but also writing, directing, 00:00:43.609 --> 00:00:46.429 and fierce advocacy. It really challenges our 00:00:46.429 --> 00:00:48.649 assumptions about celebrity and the diverse impactful 00:00:48.649 --> 00:00:51.409 roles artists can play in society. It proves 00:00:51.409 --> 00:00:53.250 that a public platform can be used for so much 00:00:53.250 --> 00:00:55.630 more than just entertainment. It can be, well, 00:00:55.909 --> 00:00:58.149 catalyst for change and a vehicle for profound 00:00:58.149 --> 00:01:00.670 personal expression. And that someone is Amber 00:01:00.670 --> 00:01:04.400 Tamblyn. Born on May 14th, 1983 in Santa Monica, 00:01:04.400 --> 00:01:07.120 California, she's an American actress, author, 00:01:07.280 --> 00:01:09.299 and director who, without a doubt, has lived 00:01:09.299 --> 00:01:12.079 a life of remarkable intentionality and creative 00:01:12.079 --> 00:01:15.079 purpose. So our mission in this deep dive is 00:01:15.079 --> 00:01:18.079 to explore how Tamlin transitioned from a child 00:01:18.079 --> 00:01:21.200 star to such a multifaceted public figure. We'll 00:01:21.200 --> 00:01:23.040 examine the different facets of her professional 00:01:23.040 --> 00:01:25.879 and personal life, uncovering how her early experiences 00:01:25.879 --> 00:01:27.959 informed her later outspokenness and creative 00:01:27.959 --> 00:01:30.500 endeavors. You'll see how her life seamlessly 00:01:30.500 --> 00:01:33.370 blends art and activism, demonstrating the power 00:01:33.370 --> 00:01:35.810 of a versatile and engaged voice that consistently 00:01:35.810 --> 00:01:38.530 pushes boundaries both her own and, well, those 00:01:38.530 --> 00:01:41.269 of societal expectations. So diving into her 00:01:41.269 --> 00:01:43.329 background, it becomes clear Amber Tamlin wasn't 00:01:43.329 --> 00:01:45.590 just a casual entrant into Hollywood. Her roots 00:01:45.590 --> 00:01:48.459 run incredibly deep. She was born into the entertainment 00:01:48.459 --> 00:01:50.680 industry, growing up in a family where performance 00:01:50.680 --> 00:01:52.799 wasn't just a hobby, but a generational thread 00:01:52.799 --> 00:01:55.659 woven through her very being. Her mother, Bonnie 00:01:55.659 --> 00:01:57.840 Camblin, is an accomplished singer and artist. 00:01:58.319 --> 00:02:00.219 Her father, of course, is the acclaimed actor 00:02:00.219 --> 00:02:02.799 Russ Camblin. Known for huge films, West Side 00:02:02.799 --> 00:02:06.780 Story, Peyton Place, iconic stuff. Exactly. But 00:02:06.780 --> 00:02:09.020 the artistic lineage stretches even further back, 00:02:09.419 --> 00:02:11.479 illustrating a remarkable history of performance 00:02:11.479 --> 00:02:14.349 in her family. Her paternal grandfather, Eddie 00:02:14.349 --> 00:02:17.469 Tamblyn, was a vaudeville performer. Wow, vaudeville. 00:02:17.669 --> 00:02:20.389 Yeah. That's like... The foundation of modern 00:02:20.389 --> 00:02:23.370 entertainment, almost. Right. Real pioneers of 00:02:23.370 --> 00:02:25.530 live variety entertainment popular in the early 00:02:25.530 --> 00:02:27.849 20th century, where performers did everything 00:02:27.849 --> 00:02:30.729 from singing to comedy to magic, often traveling 00:02:30.729 --> 00:02:33.389 extensively. Tough gig. Totally. And if that 00:02:33.389 --> 00:02:35.449 wasn't enough, her uncle, Larry Tamblyn, was 00:02:35.449 --> 00:02:37.830 the keyboardist in the incredibly influential 00:02:37.830 --> 00:02:41.530 1960s garage rock band, The Standles. Jerdy Water. 00:02:41.849 --> 00:02:44.189 That's the one. Famous hit. So this isn't just 00:02:44.189 --> 00:02:47.539 a family. It's a legacy. deeply embedded in various 00:02:47.539 --> 00:02:50.039 forms of performance arts across vastly different 00:02:50.039 --> 00:02:52.900 eras and cultural landscapes. If we connect this 00:02:52.900 --> 00:02:55.120 to the bigger picture, it really raises an important 00:02:55.120 --> 00:02:58.500 question. What unique impact might growing up 00:02:58.500 --> 00:03:00.740 surrounded by such a diverse creative lineage 00:03:00.740 --> 00:03:03.199 have on a young person's artistic sensibilities 00:03:03.199 --> 00:03:05.300 and career aspirations? I wonder about that. 00:03:05.599 --> 00:03:08.020 You mentioned vaudeville, which demanded incredible 00:03:08.020 --> 00:03:10.280 versatility, singing, dancing, comedic timing. 00:03:10.979 --> 00:03:13.460 dramatic presence, often all from one performer, 00:03:14.000 --> 00:03:16.560 honed through relentless touring schedules and 00:03:16.560 --> 00:03:18.699 direct audience feedback. Right, not just acting. 00:03:18.879 --> 00:03:20.919 No, it was the whole package. Then you have the 00:03:20.919 --> 00:03:24.860 60s, rock scene, raw energy, rebellion, a direct, 00:03:24.960 --> 00:03:27.099 often visceral connection with youth culture. 00:03:28.010 --> 00:03:31.150 Being exposed to those vastly different creative 00:03:31.150 --> 00:03:33.889 landscapes from birth, well, that certainly provides 00:03:33.889 --> 00:03:36.409 a rich, albeit complex, artistic foundation. 00:03:36.449 --> 00:03:39.169 It suggests an environment where self -expression 00:03:39.169 --> 00:03:41.729 was not just accepted, but celebrated and deeply 00:03:41.729 --> 00:03:44.150 understood. This kind of upbringing almost pre 00:03:44.150 --> 00:03:46.270 -wires an individual for a multidisciplinary 00:03:46.270 --> 00:03:49.409 approach, offering a kind of pre -existing fluency 00:03:49.409 --> 00:03:51.669 in performance, maybe even laying the groundwork 00:03:51.669 --> 00:03:54.520 for a multidisciplinary career. As we... clearly 00:03:54.520 --> 00:03:56.939 see with Amber Tamlin. It's a powerful and unique 00:03:56.939 --> 00:03:58.680 inheritance, you know? Absolutely, that makes 00:03:58.680 --> 00:04:00.939 perfect sense. Yeah, I wonder for someone growing 00:04:00.939 --> 00:04:03.400 up in such a celebrated artistic family, was 00:04:03.400 --> 00:04:06.020 there also an unspoken pressure perhaps to live 00:04:06.020 --> 00:04:09.439 up to that legacy or maybe to forge a path distinct 00:04:09.439 --> 00:04:11.639 enough to stand on her own? That's a good point. 00:04:11.719 --> 00:04:13.659 It could go either way. Because what's particularly 00:04:13.659 --> 00:04:16.459 striking is that despite her family's deep roots 00:04:16.459 --> 00:04:19.519 and performance, her early education was far 00:04:19.519 --> 00:04:22.639 from conventional. She attended the Santa Monica 00:04:22.639 --> 00:04:26.269 Alternative Oh, yeah, I read about that. Which 00:04:26.269 --> 00:04:30.110 she herself described as Very unorthodox, no 00:04:30.110 --> 00:04:33.290 letter grades. No grades, wow. Right. It immediately 00:04:33.290 --> 00:04:36.430 paints a picture of an environment that prioritized 00:04:36.430 --> 00:04:41.149 creativity, individual expression, and intrinsic 00:04:41.149 --> 00:04:44.009 motivation over rigid academic structures or 00:04:44.009 --> 00:04:46.689 external validation. And it was within this non 00:04:46.689 --> 00:04:48.910 -traditional setting that her discovery as an 00:04:48.910 --> 00:04:52.129 actress happened at the tender age of 10. 10, 00:04:52.209 --> 00:04:54.470 that's young. So young. She was playing Pippi 00:04:54.470 --> 00:04:56.769 Longstocking in a school. Play a role that, when 00:04:56.769 --> 00:04:59.660 you think about it, captures a spirited, independent, 00:04:59.660 --> 00:05:02.259 young girl who defies conventions. Kind of fitting, 00:05:02.300 --> 00:05:04.939 actually. Totally. Her father's agent, Sharon 00:05:04.939 --> 00:05:06.959 DeBoard, happened to be attending as a family 00:05:06.959 --> 00:05:09.699 friend, saw her performance, and was so impressed. 00:05:09.779 --> 00:05:12.839 Just happened to be there. Yeah. Convinced her 00:05:12.839 --> 00:05:15.800 father to let Amber go on auditions. This is 00:05:15.800 --> 00:05:18.930 a classic Hollywood story. Moment right. the 00:05:18.930 --> 00:05:21.529 child plucked from obscurity. But what's truly 00:05:21.529 --> 00:05:24.189 fascinating here is how that unconventional educational 00:05:24.189 --> 00:05:26.629 environment might have actively fostered that 00:05:26.629 --> 00:05:29.970 unique sense of creativity, independence, and 00:05:29.970 --> 00:05:32.930 a willingness to explore different avenues. It 00:05:32.930 --> 00:05:35.290 might have even paved the way for a multidisciplinary 00:05:35.290 --> 00:05:37.970 career by encouraging self -directed learning. 00:05:38.230 --> 00:05:40.009 Makes sense, without the pressure of grades. 00:05:40.310 --> 00:05:43.069 Exactly. A no -letter grade system often shifts 00:05:43.069 --> 00:05:46.410 the focus from rote memorization to genuine understanding 00:05:46.410 --> 00:05:49.699 and creative problem -solving. This early discovery 00:05:49.699 --> 00:05:52.379 is indeed a classic, serendipitous moment, but 00:05:52.379 --> 00:05:54.379 it's notable that it occurred within such a non 00:05:54.379 --> 00:05:56.420 -traditional setting. Right, the setting matters. 00:05:56.779 --> 00:05:58.839 It suggests a blend of innate talent that's shown 00:05:58.839 --> 00:06:01.420 brightly and an environment that actively encouraged 00:06:01.420 --> 00:06:04.000 and cultivated self -expression rather than stifling 00:06:04.000 --> 00:06:07.160 it within strict academic confines. This foundational 00:06:07.160 --> 00:06:09.399 experience likely instilled in her a comfort 00:06:09.399 --> 00:06:11.920 with carving her own path rather than strictly 00:06:11.920 --> 00:06:13.759 adhering to conventional expectations. Which 00:06:13.759 --> 00:06:15.699 definitely seems crucial for her later career 00:06:15.699 --> 00:06:18.939 choices. Absolutely. venturing into so many different 00:06:18.939 --> 00:06:21.540 artistic realms. It's almost as if her early 00:06:21.540 --> 00:06:23.620 life experiences preferred her to be a creative 00:06:23.620 --> 00:06:26.019 free spirit. So this unconventional upbringing 00:06:26.019 --> 00:06:29.420 and fortuitous discovery led her straight into... 00:06:29.279 --> 00:06:31.939 Well, the intensive training ground of soap operas. 00:06:32.079 --> 00:06:34.459 Right into the deep end. Pretty much. Tamplin's 00:06:34.459 --> 00:06:37.439 first significant TV role was as Emily Bowen, 00:06:37.579 --> 00:06:40.579 later Emily Quartermaine, on the venerable daytime 00:06:40.579 --> 00:06:43.680 soap opera General Hospital. A classic. She played 00:06:43.680 --> 00:06:46.379 this role for a remarkable six years, from 1995 00:06:46.379 --> 00:06:49.399 to 2001, starting at the incredibly young age 00:06:49.399 --> 00:06:52.430 of 11. Six years, from age 11. That's... That's 00:06:52.430 --> 00:06:55.149 a huge chunk of her childhood. It is. And six 00:06:55.149 --> 00:06:57.670 years on a major daytime soap opera is, for any 00:06:57.670 --> 00:07:01.129 actor, an incredibly intense, fast -paced, and 00:07:01.129 --> 00:07:03.430 demanding training ground that builds immense 00:07:03.430 --> 00:07:06.290 resilience. Think about what that builds. An 00:07:06.290 --> 00:07:08.610 actor's muscle memory for emotions, the ability 00:07:08.610 --> 00:07:10.949 to instantly turn it on for a scene. And the 00:07:10.949 --> 00:07:13.189 lines. The sheer volume of dialogue they have 00:07:13.189 --> 00:07:16.430 to memorize. Oh, absolutely. Maintaining continuity 00:07:16.430 --> 00:07:19.730 across fragmented shooting days, absorbing massive 00:07:19.730 --> 00:07:22.540 scripts overnight. Often with minimal rehearsal, 00:07:22.920 --> 00:07:25.220 she had to consistently hit complex emotional 00:07:25.220 --> 00:07:29.500 beats, joy, sorrow, anger, heartbreak, sometimes 00:07:29.500 --> 00:07:31.980 several times within a single episode. All within 00:07:31.980 --> 00:07:33.879 that rapid -fire production schedule typical 00:07:33.879 --> 00:07:37.459 of daytime TV. Exactly. This extensive early 00:07:37.459 --> 00:07:39.800 experience must have honed her acting skills 00:07:39.800 --> 00:07:43.100 in an almost unparalleled way, developing an 00:07:43.100 --> 00:07:45.019 immense sense of discipline and preparing her 00:07:45.019 --> 00:07:48.259 for the rigors and pace of later, more high -profile 00:07:48.259 --> 00:07:50.560 roles. It's foundational experience that often 00:07:50.560 --> 00:07:52.720 forges young actors into incredibly versatile 00:07:52.720 --> 00:07:55.220 and resilient performers. It really gave her 00:07:55.220 --> 00:07:58.220 a professional grounding few child stars ever 00:07:58.220 --> 00:08:00.639 receive. She truly learned the craft from the 00:08:00.639 --> 00:08:03.139 ground up on the job under intense pressure. 00:08:03.560 --> 00:08:05.319 It's quite remarkable, isn't it, to consider 00:08:05.319 --> 00:08:08.000 that kind of boot camp for an actor? Like acting 00:08:08.000 --> 00:08:10.600 boot camp. Totally. And what's truly fascinating 00:08:10.600 --> 00:08:12.779 here is the immediate critical recognition she 00:08:12.779 --> 00:08:15.759 received in a lead role so early in her prime 00:08:15.759 --> 00:08:18.079 time career, directly following her extensive 00:08:18.079 --> 00:08:21.509 soap opera run. Quite the transition. She transitioned 00:08:21.509 --> 00:08:24.310 from General Hospital to a starring role on the 00:08:24.310 --> 00:08:27.689 CBS drama series Joan of Arcadia, portraying 00:08:27.689 --> 00:08:30.769 the title character Joan Girardi, a teenage girl 00:08:30.769 --> 00:08:33.250 who receives frequent visits from God, often 00:08:33.250 --> 00:08:36.389 in unexpected, even mundane forms. Like a fellow 00:08:36.389 --> 00:08:39.750 student or? Or a dog walker, yeah. The show ran 00:08:39.750 --> 00:08:43.129 from 2003 to 2005, and for this role, Tamblyn 00:08:43.129 --> 00:08:45.509 received both Primetime Emmy and Golden Globe 00:08:45.509 --> 00:08:49.259 nominations in 2004. Huge nominations for a young 00:08:49.259 --> 00:08:52.440 actor. That's massive It really signifies not 00:08:52.440 --> 00:08:54.700 just popular appeal but a significant talent 00:08:54.700 --> 00:08:57.659 emerging capable of carrying a complex and often 00:08:57.659 --> 00:09:00.320 spiritually profound narrative and This raises 00:09:00.320 --> 00:09:02.960 an important question. How does a role like Joan 00:09:02.960 --> 00:09:06.059 dealing with profound faith? existential questions, 00:09:06.340 --> 00:09:08.580 the nature of good and evil. How does that challenge 00:09:08.580 --> 00:09:11.120 a young actor? It must demand so much. It requires 00:09:11.120 --> 00:09:13.840 a remarkable level of conviction, introspection, 00:09:14.100 --> 00:09:16.240 and the ability to convey a deep internal life, 00:09:16.779 --> 00:09:18.720 making conversations with God feel authentic 00:09:18.720 --> 00:09:21.039 and grounded. It marked her as someone capable 00:09:21.039 --> 00:09:23.759 of truly deep, thoughtful, and nuanced performances. 00:09:23.940 --> 00:09:26.669 Definitely distinguished her. Absolutely. It 00:09:26.669 --> 00:09:29.409 profoundly impacted her perception in the industry, 00:09:30.009 --> 00:09:31.850 distinguishing her from many of her child star 00:09:31.850 --> 00:09:35.169 peers and adding a wonderfully personal layer 00:09:35.169 --> 00:09:39.190 to this. Her father, Russ Tamblyn, notably made 00:09:39.190 --> 00:09:41.809 several appearances as God in various guises 00:09:41.809 --> 00:09:44.090 on the show. Oh wow, I didn't know that. Yeah, 00:09:44.389 --> 00:09:46.610 often in the unassuming form of a dog walker. 00:09:46.730 --> 00:09:49.330 It must have been a unique and special experience 00:09:49.330 --> 00:09:51.669 for them both, blending their personal relationship 00:09:51.669 --> 00:09:54.049 with this incredible professional success. That's 00:09:54.049 --> 00:09:56.590 a fantastic point about the depth required for 00:09:56.590 --> 00:09:59.049 Joan of Arcadia. I imagine playing someone who 00:09:59.049 --> 00:10:01.730 literally talks to God requires a remarkable 00:10:01.730 --> 00:10:05.070 level of conviction, making those abstract conversations 00:10:05.070 --> 00:10:07.970 feel incredibly real. And it's a testament to 00:10:07.970 --> 00:10:09.889 her talent that she earned those nominations. 00:10:10.490 --> 00:10:13.070 But her television journey demonstrates an even 00:10:13.070 --> 00:10:15.889 broader, truly remarkable versatility beyond 00:10:15.889 --> 00:10:19.899 that. Before Joan of Arcadia, she had early guest 00:10:19.899 --> 00:10:22.360 -starring roles on popular shows like Buffy the 00:10:22.360 --> 00:10:24.679 Vampire Slayer. Oh, Buffy. Who was she on that? 00:10:24.899 --> 00:10:27.139 She played Janis Penshaw, the best friend of 00:10:27.139 --> 00:10:29.379 Michelle Trachtenberg's character, Dawn Summers. 00:10:29.379 --> 00:10:32.580 Okay. She also appeared on the legal drama Boston 00:10:32.580 --> 00:10:36.240 Public and the popular procedural CSI, Miami. 00:10:36.920 --> 00:10:40.220 And, in a lighter, almost quintessential early 00:10:40.220 --> 00:10:43.200 2000s moment, she even appeared on Punk'd. Oh 00:10:43.200 --> 00:10:45.860 my gosh, Punk'd. What happened? Ashton Kutcher, 00:10:46.179 --> 00:10:48.940 in true Ashton fashion, tricked her into thinking 00:10:48.940 --> 00:10:53.000 she'd lost someone else's dog. No. That's brutal. 00:10:53.200 --> 00:10:56.139 Can you imagine? The sheer panic? It really adds 00:10:56.139 --> 00:10:58.580 a touch of relatable humor to her early resume, 00:10:58.820 --> 00:11:01.220 showing she could even navigate the unscripted 00:11:01.220 --> 00:11:04.600 chaos of a prank show, which is a different kind 00:11:04.600 --> 00:11:06.659 of performance entirely. That truly highlights 00:11:06.659 --> 00:11:08.779 her range, doesn't it? From intense drama to 00:11:08.779 --> 00:11:11.019 lighthearted prank. And her career continued 00:11:11.019 --> 00:11:13.059 to showcase this incredible adaptability in the 00:11:13.059 --> 00:11:15.860 years that followed. In 2007, she starred in 00:11:15.860 --> 00:11:18.620 the CVS pilot Babylon Fields. Right, the undead 00:11:18.620 --> 00:11:21.320 comedy drama. Yeah, an apocalyptic comedic drama 00:11:21.320 --> 00:11:23.519 about the undead attempting to resume their former 00:11:23.519 --> 00:11:26.500 lives, an ambitious concept that unfortunately 00:11:26.500 --> 00:11:28.779 wasn't picked up. Didn't it compete with Moonlight? 00:11:28.970 --> 00:11:32.330 Reportedly, yes, CBS's other undead -themed drama 00:11:32.330 --> 00:11:34.389 at the time, but it showed her willingness to 00:11:34.389 --> 00:11:37.250 jump into unique genre -bending material. Then 00:11:37.250 --> 00:11:39.970 in 2009, she took on a very different role as 00:11:39.970 --> 00:11:43.210 the sharp but unconventional NYPD homicide detective 00:11:43.210 --> 00:11:45.590 Casey Schrager in The Unusuals. That was a quirky 00:11:45.590 --> 00:11:47.669 word. Yeah, it blended police procedural with 00:11:47.669 --> 00:11:50.450 quirky humor. She also had a recurring role alongside 00:11:50.450 --> 00:11:52.529 her eventual husband, David Cross. That's Todd 00:11:52.529 --> 00:11:54.929 Margaret. The increasingly poor decisions of 00:11:54.929 --> 00:11:57.730 Todd Margaret. Exactly. A satirical British -American 00:11:57.730 --> 00:12:01.970 sitcom. From 2010 to 2011, she captivated audiences 00:12:01.970 --> 00:12:04.669 as the morally driven and highly intelligent 00:12:04.669 --> 00:12:07.509 medical student, Martha M. Masters, in the seventh 00:12:07.509 --> 00:12:09.750 season of House. Oh, I remember her on House. 00:12:09.830 --> 00:12:12.129 She was great. Yeah. She returned for the series 00:12:12.129 --> 00:12:15.009 finale in 2012, too. Playing Martha required 00:12:15.009 --> 00:12:17.809 not just dramatic chops, but also mastering complex 00:12:17.809 --> 00:12:20.409 medical jargon and a very specific intellectual 00:12:20.409 --> 00:12:22.230 intensity. Definitely. You have to sound like 00:12:22.230 --> 00:12:23.690 you know what you're talking about. For sure. 00:12:23.850 --> 00:12:26.929 And then, in 2013, she joined the long -running 00:12:26.929 --> 00:12:29.750 high -profile sitcom Two and a Half Men as Jenny 00:12:29.750 --> 00:12:32.429 Harper, Charlie Harper's long -lost lesbian daughter. 00:12:32.690 --> 00:12:35.350 Opposite Ashton Critcher again, and John Cryer. 00:12:35.669 --> 00:12:38.190 Right. This really shows her ability to step 00:12:38.190 --> 00:12:41.149 into established high -profile shows and make 00:12:41.149 --> 00:12:44.190 an immediate, impactful mark, even when joining 00:12:44.190 --> 00:12:46.659 a cast later in a series run. If we connect this 00:12:46.659 --> 00:12:48.299 to the bigger picture, what we're seeing here 00:12:48.299 --> 00:12:51.059 is a crucial insight. In an industry that often 00:12:51.059 --> 00:12:54.320 tries to box actors, Tamblyn's early diverse 00:12:54.320 --> 00:12:56.659 TV work wasn't just about gaining experience. 00:12:56.740 --> 00:12:59.840 It was a master class in adaptability, securing 00:12:59.840 --> 00:13:02.720 her longevity by refusing to be limited to a 00:13:02.720 --> 00:13:06.379 single type of role or genre. Her ability to 00:13:06.379 --> 00:13:08.759 move seamlessly between dramatic and comedic 00:13:08.759 --> 00:13:11.419 roles and across diverse network and cable shows, 00:13:11.779 --> 00:13:14.039 like her memorable appearances on Inside Amy 00:13:14.039 --> 00:13:16.669 Schumer. milk lemonade sketch that was something 00:13:16.669 --> 00:13:20.809 else right and also portlandia comedy bang bang 00:13:20.809 --> 00:13:23.110 various adult swim productions like the heart 00:13:23.110 --> 00:13:26.629 she holler it showcases a profound artistic versatility 00:13:26.629 --> 00:13:28.870 yeah she's not afraid to get weird exactly this 00:13:28.870 --> 00:13:31.309 isn't just taking jobs it's a deliberate exploration 00:13:31.309 --> 00:13:33.429 of different character types and storytelling 00:13:33.429 --> 00:13:36.529 formats what does this reveal about an actor's 00:13:36.529 --> 00:13:39.330 longevity and creative impulse in a dynamic and 00:13:39.330 --> 00:13:42.129 often unpredictable industry well it suggests 00:13:42.129 --> 00:13:45.639 a deep well of talent a willingness to experiment, 00:13:46.399 --> 00:13:48.580 and an understanding that true artistry lies 00:13:48.580 --> 00:13:51.159 in embracing diverse challenges, rather than 00:13:51.159 --> 00:13:53.879 settling into a comfortable niche. Right. And 00:13:53.879 --> 00:13:56.399 most recently, she continued to demonstrate this 00:13:56.399 --> 00:13:59.279 dramatic prowess by starring opposite Diane Lane 00:13:59.279 --> 00:14:02.080 in the critically acclaimed FX series Why? The 00:14:02.080 --> 00:14:05.779 Last Man in 2021. Another complex, yon rebending 00:14:05.779 --> 00:14:09.279 piece based on a beloved comic book series, still 00:14:09.279 --> 00:14:12.139 pushing boundaries. OK, so moving on. Let's turn 00:14:12.139 --> 00:14:14.139 our attention to her film career, which began 00:14:14.139 --> 00:14:16.220 with some very personal connections. Right, her 00:14:16.220 --> 00:14:18.759 dad's movies. Yeah. Tamblyn launched her film 00:14:18.759 --> 00:14:20.779 journey with bit parts in her father's movies, 00:14:20.960 --> 00:14:23.139 like Rebellious and Johnny Misto, Boy Wizard, 00:14:23.460 --> 00:14:26.490 and appeared in Live Nude Girls in 1995. These 00:14:26.490 --> 00:14:28.490 were her initial steps into the cinematic world, 00:14:28.769 --> 00:14:31.169 often alongside family, giving her an early taste 00:14:31.169 --> 00:14:33.169 of the big screen. Kind of a built -in entry 00:14:33.169 --> 00:14:36.889 point. For sure. But her first truly major film 00:14:36.889 --> 00:14:39.649 role came in 2005 with The Sisterhood of the 00:14:39.649 --> 00:14:42.370 Traveling Pants. Ah, yes. Tibby? She played Tibby 00:14:42.370 --> 00:14:45.629 Rollins, the cynical but deeply loyal aspiring 00:14:45.629 --> 00:14:49.009 filmmaker, co -starring with Alexis Bledel, America 00:14:49.009 --> 00:14:52.100 Ferrera, and Blake Lively. What a cast that turned 00:14:52.100 --> 00:14:55.000 out to be. Seriously. And she reprised the role 00:14:55.000 --> 00:14:58.200 in the 2008 sequel. The Sisterhood films brought 00:14:58.200 --> 00:15:01.000 her widespread recognition and solidified her 00:15:01.000 --> 00:15:03.320 place in popular culture. They allowed her to 00:15:03.320 --> 00:15:05.399 connect with the broad audience through a beloved 00:15:05.399 --> 00:15:08.600 franchise about female friendship, self -discovery, 00:15:08.759 --> 00:15:10.700 and the challenges of growing up. Yeah, it wasn't 00:15:10.700 --> 00:15:13.179 just a hit movie. It became a cultural touchstone 00:15:13.179 --> 00:15:16.179 for many young women. Totally. It resonated deeply 00:15:16.179 --> 00:15:18.740 with the generation and established her as a 00:15:18.740 --> 00:15:21.100 relatable figure who understood the complexities 00:15:21.100 --> 00:15:23.659 of those formative years. It's fascinating how 00:15:23.659 --> 00:15:26.179 those roles truly launched her into mainstream 00:15:26.179 --> 00:15:28.759 recognition. Yet what's equally fascinating is 00:15:28.759 --> 00:15:31.220 how her horror film career, which began slightly 00:15:31.220 --> 00:15:34.019 earlier, positioned her firmly within popular 00:15:34.019 --> 00:15:36.659 genre cinema. It showcased a different facet 00:15:36.659 --> 00:15:39.159 of her acting talent. Right, like The Ring. Exactly. 00:15:39.600 --> 00:15:42.179 Her horror debut was a memorable, albeit brief, 00:15:42.220 --> 00:15:44.600 appearance in the impactful opening scene of 00:15:44.600 --> 00:15:48.179 2002's The Ring. While her character, Katie Embry, 00:15:48.220 --> 00:15:51.080 is on screen for only a few minutes, her shocking 00:15:51.080 --> 00:15:54.200 death sets a terrifying, suspenseful tone for 00:15:54.200 --> 00:15:57.159 the entire movie. Oh, yeah. That scene is legendary 00:15:57.159 --> 00:15:59.259 in horror circles. It became one of the most 00:15:59.259 --> 00:16:02.480 iconic horror openings of its era. She also appeared 00:16:02.480 --> 00:16:06.019 in the Japan set The Grudge 2 in 2006, which 00:16:06.019 --> 00:16:08.820 debuted at number one at the North American box 00:16:08.820 --> 00:16:11.080 office. With Sarah Michelle Geller, another Buffy 00:16:11.080 --> 00:16:13.679 connection. Right. These roles showcased her 00:16:13.679 --> 00:16:16.120 ability to convey intense, visceral emotions 00:16:16.009 --> 00:16:19.470 and contribute significantly to suspense, delivering 00:16:19.470 --> 00:16:22.230 a powerful performance, even in brief but crucial 00:16:22.230 --> 00:16:24.990 appearances. Proving her capability to excel 00:16:24.990 --> 00:16:27.409 in high stakes, high tension narratives within 00:16:27.409 --> 00:16:29.929 mainstream film, he gave her a commercial footprint 00:16:29.929 --> 00:16:32.289 that broadened her appeal. And it's at this point 00:16:32.289 --> 00:16:34.649 that her journey takes a truly fascinating turn 00:16:34.649 --> 00:16:36.909 into independent cinema. This allowed her to 00:16:36.909 --> 00:16:39.690 delve into profoundly complex and often dark 00:16:39.690 --> 00:16:42.509 subject matter, moving far beyond her earlier, 00:16:42.529 --> 00:16:44.870 more mainstream roles. This is where things get 00:16:44.870 --> 00:16:50.190 really Yeah. In 2006, Tamlin won the prestigious 00:16:50.190 --> 00:16:53.049 Bronze Leopard at the Locarno International Film 00:16:53.049 --> 00:16:55.889 Festival for her performance in the title role 00:16:55.889 --> 00:16:59.350 of Stephanie Daly. Locarno? That's a serious 00:16:59.350 --> 00:17:01.909 Film Festival award. It really is. This critically 00:17:01.909 --> 00:17:04.369 acclaimed film, which also won an award at the 00:17:04.369 --> 00:17:07.390 2006 Sundance Film Festival, featured Tamlin 00:17:07.390 --> 00:17:09.829 as a 16 -year -old who kills her baby moments 00:17:09.829 --> 00:17:13.539 after birth. Wow. That's... incredibly heavy 00:17:13.539 --> 00:17:16.220 material. Immense emotional and psychological 00:17:16.220 --> 00:17:19.240 weight. The sheer intensity and raw vulnerability 00:17:19.240 --> 00:17:22.359 required for that role really highlight her dramatic 00:17:22.359 --> 00:17:24.599 depth and courage as an actress. Her willingness 00:17:24.599 --> 00:17:26.720 to tackle material that most performers would 00:17:26.720 --> 00:17:28.940 shy away from. Absolutely. She was also nominated 00:17:28.940 --> 00:17:31.660 for Best Supporting Actress at the 22nd Independent 00:17:31.660 --> 00:17:34.079 Spirit Awards for this role, appearing alongside 00:17:34.079 --> 00:17:36.599 powerhouse talents like Tilda Swinton and Timothy 00:17:36.599 --> 00:17:39.019 Hutton. That's major recognition, especially 00:17:39.019 --> 00:17:41.019 alongside names like that. It shows she held 00:17:41.019 --> 00:17:43.559 her own. That role in Stephanie Daly was a pivotal 00:17:43.559 --> 00:17:46.720 moment, truly establishing her as an actor committed 00:17:46.720 --> 00:17:49.160 to artistic challenge. Definitely set a new course. 00:17:49.500 --> 00:17:52.420 And that commitment to complex, often emotionally 00:17:52.420 --> 00:17:55.599 taxing material continued. She appeared in other 00:17:55.599 --> 00:17:59.299 notable films like 127 Hours in 2010. The James 00:17:59.299 --> 00:18:01.619 Franco survival drama. Right, where she played 00:18:01.619 --> 00:18:03.980 one of the hikers who encounters Aaron Ralston. 00:18:04.359 --> 00:18:07.119 Again, showing her ability to contribute to intense 00:18:07.119 --> 00:18:09.740 real -life narratives. She also starred in The 00:18:09.740 --> 00:18:12.240 Russell Girl in 2008, where she played a woman 00:18:12.240 --> 00:18:14.319 suffering from disease and mental anguish. And 00:18:14.319 --> 00:18:17.259 another emotionally demanding role. Further demonstrating 00:18:17.259 --> 00:18:20.180 her capacity for roles requiring significant 00:18:20.180 --> 00:18:23.039 emotional nuance and a deep dive into character 00:18:23.039 --> 00:18:25.640 psychology. Other appearances include the thriller 00:18:25.640 --> 00:18:28.539 Blackout, 2008, the comedy Spring Breakdown, 00:18:28.559 --> 00:18:31.900 2009 with Amy Poehler, Rachel Dratch, and Parker 00:18:31.900 --> 00:18:34.720 Posey. That one sounds lighter. A bit. Also the 00:18:34.720 --> 00:18:37.319 drama Main Street, 2010. Three Nights in the 00:18:37.319 --> 00:18:40.880 Desert 2012 and Girlfriend's Day 2015 with Bob 00:18:40.880 --> 00:18:43.819 Odenkirk. OK, quite a mix even within indie film. 00:18:44.039 --> 00:18:45.839 And for a fun connection to her family legacy, 00:18:45.880 --> 00:18:47.799 which we discussed earlier, she made a cameo 00:18:47.799 --> 00:18:49.900 appearance with her father, Russ Camblin, in 00:18:49.900 --> 00:18:52.220 Quentin Tarantino's Django Unchained in 2012. 00:18:52.400 --> 00:18:55.119 Oh, cool. Bring it full circle. Pretty much. 00:18:55.599 --> 00:18:59.140 Almost a nod to her origins. These roles collectively 00:18:59.140 --> 00:19:01.200 showcase not just a commitment to challenging 00:19:01.200 --> 00:19:04.440 material, but a remarkable capacity for deeply 00:19:04.440 --> 00:19:07.609 nuanced, dramatic performances. It's almost as 00:19:07.609 --> 00:19:10.269 if the more complex and raw the character, the 00:19:10.269 --> 00:19:13.690 more she thrives a testament to an artist constantly 00:19:13.690 --> 00:19:16.390 pushing her own boundaries rather than resting 00:19:16.390 --> 00:19:19.109 on commercial success. Her filmography clearly 00:19:19.109 --> 00:19:21.769 demonstrates an actor unafraid to explore the 00:19:21.769 --> 00:19:24.390 full spectrum of human experience, but what's 00:19:24.390 --> 00:19:27.170 truly compelling is how her ambition wasn't limited 00:19:27.170 --> 00:19:28.869 to performing in front of the camera. Right, 00:19:28.970 --> 00:19:32.170 she moved behind it. Exactly. In 2016, she made 00:19:32.170 --> 00:19:34.529 a significant leap by making her directorial 00:19:34.529 --> 00:19:37.509 debut with the film Painted Black, starring Alia 00:19:37.509 --> 00:19:40.250 Shakad. Alia Shakad, great choice. Yeah. The 00:19:40.250 --> 00:19:42.970 film was based on Janet Fitch's 2006 novel of 00:19:42.970 --> 00:19:45.369 the same name. What's particularly illustrative 00:19:45.369 --> 00:19:48.339 here is the evolution of her involvement. Tamblyn 00:19:48.339 --> 00:19:50.279 initially optioned the rights to the book in 00:19:50.279 --> 00:19:52.779 2012 with the intention of producing and starring 00:19:52.779 --> 00:19:54.799 in the movie with Courtney Hunt directing. Okay, 00:19:55.000 --> 00:19:56.960 so initially just acting and producing. Right, 00:19:57.240 --> 00:20:00.000 but by 2014 she had taken on both writing and 00:20:00.000 --> 00:20:02.380 directing duties herself. Wow, took the reins 00:20:02.380 --> 00:20:05.000 completely. Yeah, showcasing her ambition and 00:20:05.000 --> 00:20:07.819 comprehensive career vision. It speaks volumes 00:20:07.819 --> 00:20:10.599 about her desire for full artistic control and 00:20:10.599 --> 00:20:12.660 her confidence in bringing a narrative to life 00:20:12.660 --> 00:20:14.900 from every angle. If we connect this to the bigger 00:20:14.900 --> 00:20:17.660 picture... Her transition to writing and directing 00:20:17.660 --> 00:20:21.619 paint. It Black reflects a common, yet significant 00:20:21.619 --> 00:20:23.819 trajectory for actors who seek more creative 00:20:23.819 --> 00:20:26.460 control. They want to tell stories from a distinct, 00:20:26.920 --> 00:20:29.339 authorial perspective. Makes sense, after years 00:20:29.339 --> 00:20:32.119 of interpreting others' visions. Exactly. And 00:20:32.119 --> 00:20:34.180 the critical reception for Paint It Black was 00:20:34.180 --> 00:20:37.339 truly remarkable, with an 88 % rating on Rotten 00:20:37.339 --> 00:20:39.519 Tomatoes. That's really good for a debut feature. 00:20:39.839 --> 00:20:43.140 Very strong. Critics praised her astute direction, 00:20:43.779 --> 00:20:46.519 noting how she deftly captured the novel's melancholic 00:20:46.519 --> 00:20:49.339 atmosphere and the raw, compelling performances, 00:20:50.000 --> 00:20:53.099 especially from Elias Chakot. It validated her 00:20:53.099 --> 00:20:55.640 transition, demonstrating that her deep understanding 00:20:55.640 --> 00:20:58.339 of performance wasn't just for acting, but for 00:20:58.339 --> 00:21:01.420 shaping an entire artistic vision. This raises 00:21:01.420 --> 00:21:04.619 an important question. How does an actor's deep 00:21:04.619 --> 00:21:07.180 understanding of performance, the nuances of 00:21:07.180 --> 00:21:09.839 character, emotion, storytelling from the inside 00:21:09.839 --> 00:21:12.559 out, inform their approach to directing? They 00:21:12.559 --> 00:21:15.440 must have a unique insight into guiding actors. 00:21:15.619 --> 00:21:17.980 Undoubtedly. It gives them a unique lens through 00:21:17.980 --> 00:21:20.720 which to guide other actors, to craft authentic 00:21:20.720 --> 00:21:23.339 emotional arcs, and to shape the overall narrative 00:21:23.339 --> 00:21:25.680 and visual language in a way that truly serves 00:21:25.680 --> 00:21:27.880 the story. It's not just about performing a role 00:21:27.880 --> 00:21:30.420 anymore. It's about shaping the entire artistic 00:21:30.420 --> 00:21:33.230 statement. A powerful shift in her career. While 00:21:33.230 --> 00:21:35.450 her film and television career soared and she 00:21:35.450 --> 00:21:37.730 even stepped behind the camera, it's fascinating 00:21:37.730 --> 00:21:40.210 to remember that Amber Tamblyn's foundational 00:21:40.210 --> 00:21:42.769 love for performance began on the stage. Right, 00:21:42.829 --> 00:21:45.630 back to her roots. It's almost as if she consistently 00:21:45.630 --> 00:21:48.450 returns to those theatrical roots for rejuvenation 00:21:48.450 --> 00:21:51.130 and challenge, reminding us of her early immersion 00:21:51.130 --> 00:21:53.789 in the craft. She attended a grade school for 00:21:53.789 --> 00:21:56.849 theatrical arts from ages 5 to 14, where, as 00:21:56.849 --> 00:21:59.670 we mentioned, she even starred in Pippi Longstocking. 00:21:59.829 --> 00:22:02.369 So that early theater training was really formative. 00:22:02.710 --> 00:22:05.309 Clearly instilled a lasting appreciation for 00:22:05.309 --> 00:22:08.329 the immediate visceral connection that only theater 00:22:08.329 --> 00:22:11.680 can provide. Then in 2014, she originated the 00:22:11.680 --> 00:22:14.859 role of Daisy Domergue for the live reading of 00:22:14.859 --> 00:22:17.039 Quentin Tarantino's The Hateful Eight at the 00:22:17.039 --> 00:22:19.400 Ace Theater in Los Angeles. A live reading of 00:22:19.400 --> 00:22:21.579 a Tarantino script. That's cool. Super cool. 00:22:21.960 --> 00:22:25.200 She was handpicked by Tarantino himself alongside 00:22:25.200 --> 00:22:27.819 an all -star cast including luminaries like Samuel 00:22:27.819 --> 00:22:30.660 L. Jackson and Kurt Russell. Wow. To be in that 00:22:30.660 --> 00:22:34.460 room chosen by QT himself. Speaks volumes about 00:22:34.460 --> 00:22:36.359 her talent and reputation within the industry. 00:22:36.559 --> 00:22:39.160 That same year, she also starred in Neil LaBute's 00:22:39.160 --> 00:22:41.140 critically acclaimed play, Reasons to Be Pretty, 00:22:41.240 --> 00:22:43.539 at the Geffen Playhouse. LaBute's work is often 00:22:43.539 --> 00:22:45.900 intense, too. Yeah, and the production garnered 00:22:45.900 --> 00:22:48.299 significant praise. Her continued engagement 00:22:48.299 --> 00:22:51.160 with live theater, from her early schooling to 00:22:51.160 --> 00:22:53.619 these high profile professional productions and 00:22:53.619 --> 00:22:56.440 readings, highlights a sustained and profound 00:22:56.440 --> 00:22:59.339 commitment to the craft of acting in its most 00:22:59.339 --> 00:23:01.779 immediate form. It's clearly important to her. 00:23:01.940 --> 00:23:04.960 This dedication to theater. undoubtedly enriches 00:23:04.960 --> 00:23:08.000 her overall artistic practice, providing a different 00:23:08.000 --> 00:23:10.460 kind of challenge and fulfillment than film or 00:23:10.460 --> 00:23:13.480 television. Theater demands a sustained performance, 00:23:13.980 --> 00:23:17.019 an unbroken emotional arc, and an immediate connection 00:23:17.019 --> 00:23:19.539 with an audience. Skills that translate everywhere. 00:23:20.180 --> 00:23:22.019 Absolutely. Skills that undoubtedly strengthen 00:23:22.019 --> 00:23:24.720 her work across all mediums. What's more, she 00:23:24.720 --> 00:23:27.160 actively contributes to the theatrical community 00:23:27.160 --> 00:23:29.900 institutionally, not just as a performer. How 00:23:29.900 --> 00:23:32.039 so? By serving on the board of directors for 00:23:32.039 --> 00:23:34.319 SoHo Rep Theater in New York. Oh, interesting. 00:23:34.539 --> 00:23:37.380 Giving back. Exactly. This demonstrates her commitment 00:23:37.380 --> 00:23:39.420 not just to performing, but to fostering the 00:23:39.420 --> 00:23:42.559 arts. A holistic artistic spirit that seeks to 00:23:42.559 --> 00:23:45.000 both create and support the creative landscape. 00:23:45.309 --> 00:23:48.329 So after exploring her extensive work on screen 00:23:48.329 --> 00:23:52.049 and stage, let's pivot for a moment to another 00:23:52.049 --> 00:23:55.690 incredibly significant facet of her career. Her 00:23:55.690 --> 00:23:58.509 powerful voice as a poet and cultural critic. 00:23:58.710 --> 00:24:01.089 Right, the writing side. Yeah. Which is also 00:24:01.089 --> 00:24:04.230 substantial. Absolutely. Now, an actor with a 00:24:04.230 --> 00:24:06.670 budding Hollywood career publishing a book of 00:24:06.670 --> 00:24:09.890 poetry written through her teenage years. That's 00:24:09.890 --> 00:24:12.069 not the typical trajectory you expect, is it? 00:24:12.130 --> 00:24:14.910 Not at all. It's quite unique. In 2005, Simon 00:24:14.910 --> 00:24:16.869 & Schuster Children's Publishing released her 00:24:16.869 --> 00:24:19.809 debut book of poems, Free Stallion, a collection 00:24:19.809 --> 00:24:22.470 of works written between the ages of 11 and 21. 00:24:22.690 --> 00:24:25.150 So really spanning her formative years. Exactly. 00:24:25.190 --> 00:24:27.369 And this wasn't just a celebrity vanity project. 00:24:27.410 --> 00:24:29.670 It was met with a genuine critical reception. 00:24:29.710 --> 00:24:32.910 and explored deep themes. The school library 00:24:32.910 --> 00:24:35.670 journal described it as, a compilation of poetry 00:24:35.670 --> 00:24:37.829 that amounts to a portrait of the artist as a 00:24:37.829 --> 00:24:40.369 teenager. Many of the selections are appropriately 00:24:40.369 --> 00:24:42.569 self -absorbed, but move beyond journalistic 00:24:42.569 --> 00:24:45.289 catharsis to real insight and stunning language 00:24:45.289 --> 00:24:47.730 for one so young. High praise, especially the 00:24:47.730 --> 00:24:50.349 stunning language part. Yeah. And even the late 00:24:50.349 --> 00:24:53.289 revered poet laureate Lawrence Ferlinghetti lauded 00:24:53.289 --> 00:24:56.490 it, calling it, a fine fruitful gestation of 00:24:56.490 --> 00:24:59.599 throbbingly nascent sexuality awakened in young 00:24:59.599 --> 00:25:03.200 new language. Wow, that's serious literary cred. 00:25:03.359 --> 00:25:06.259 It really is. This early dedication to poetry 00:25:06.259 --> 00:25:09.039 demonstrates a significant creative outlet beyond 00:25:09.039 --> 00:25:12.539 acting, suggesting a deep -seated literary inclination 00:25:12.539 --> 00:25:15.559 from a very young age. It truly hints at the 00:25:15.559 --> 00:25:17.839 intellectual curiosity and introspection that 00:25:17.839 --> 00:25:20.319 would later define her more public critical works, 00:25:20.920 --> 00:25:22.740 showing an artist who needed to express herself 00:25:22.740 --> 00:25:24.839 not just through characters, but through her 00:25:24.839 --> 00:25:27.000 own words. And what's fascinating here is the 00:25:27.000 --> 00:25:29.740 evolution of her poetic themes and the sophisticated 00:25:29.740 --> 00:25:32.400 artistic collaboration she cultivated as her 00:25:32.400 --> 00:25:35.059 literary career progressed. Her second collection 00:25:35.059 --> 00:25:38.259 of poetry, Bang Ditto, was published in 2009, 00:25:38.700 --> 00:25:41.299 continuing to explore her unique voice and poetic 00:25:41.299 --> 00:25:44.420 landscape. OK. But then in 2015, HarperCollins 00:25:44.420 --> 00:25:47.000 published her third collection, Dark Sparkler. 00:25:47.140 --> 00:25:48.900 Dark Sparkler, I've heard of this one, which 00:25:48.900 --> 00:25:51.500 was a hybrid of poetry and art. This book notably 00:25:51.500 --> 00:25:53.799 explored the often tragic lives and deaths of 00:25:53.799 --> 00:25:56.299 child star actresses, becoming a critical success 00:25:56.299 --> 00:25:58.900 and bestseller. A topic she knows intimately. 00:25:59.220 --> 00:26:01.359 Exactly. It delved into a world she understands 00:26:01.359 --> 00:26:03.960 firsthand, offering a poignant and insightful 00:26:03.960 --> 00:26:06.920 commentary on the pressures and perils of early 00:26:06.920 --> 00:26:10.619 fame, making it particularly resonant. The project 00:26:10.619 --> 00:26:13.460 was also a stunning multidisciplinary collaboration. 00:26:14.099 --> 00:26:16.359 It featured accompanying original art from prominent 00:26:16.359 --> 00:26:19.460 figures like, well, the artist Marilyn Manson. 00:26:19.680 --> 00:26:23.190 Really? Yeah, director David Lynch, Marcel Desma, 00:26:23.490 --> 00:26:26.069 and the renowned cartoonist Adrian Tumming. That's 00:26:26.069 --> 00:26:28.529 an incredible roster of artists, very diverse. 00:26:28.609 --> 00:26:30.809 An amazing group lending their unique vision 00:26:30.809 --> 00:26:33.950 to her words. For the book's launch, Pamblin 00:26:33.950 --> 00:26:37.130 and the acclaimed indie rock band Yolatango even 00:26:37.130 --> 00:26:39.849 created an hour -long poetry and music show. 00:26:39.950 --> 00:26:42.509 Poetry and music, cool. Performing in New York 00:26:42.509 --> 00:26:44.650 and Los Angeles, transforming the book into an 00:26:44.650 --> 00:26:47.589 immersive cross -disciplinary experience. This 00:26:47.589 --> 00:26:50.529 raises an important question. How does an artist 00:26:50.529 --> 00:26:53.390 leverage their own lived experiences, even the 00:26:53.390 --> 00:26:55.650 challenging ones like child stardom and the work 00:26:55.650 --> 00:26:58.089 of others, to create a broader, more profound 00:26:58.089 --> 00:27:01.289 commentary on complex societal issues? It shows 00:27:01.289 --> 00:27:03.710 a real depth, doesn't it? It speaks to a deep 00:27:03.710 --> 00:27:06.869 capacity for self -reflection, artistic collaboration, 00:27:07.450 --> 00:27:10.069 and a desire to use art as a lens for social 00:27:10.069 --> 00:27:12.339 critique. It's clear she's not just writing for 00:27:12.339 --> 00:27:14.759 self -expression, but engaging deeply with contemporary 00:27:14.759 --> 00:27:17.559 social and political issues, particularly through 00:27:17.559 --> 00:27:19.539 the lens of feminism. Yeah, that becomes really 00:27:19.539 --> 00:27:22.380 prominent. In 2019, Penguin Random House published 00:27:22.380 --> 00:27:25.640 Era of Ignition, coming of age in a time of rage 00:27:25.640 --> 00:27:28.150 and revolution. a collection of her cultural 00:27:28.150 --> 00:27:30.710 criticism and memoir essays. The book offers 00:27:30.710 --> 00:27:33.329 a deeply personal exploration of feminism during 00:27:33.329 --> 00:27:36.349 what she identifies as divisive times, reflecting 00:27:36.349 --> 00:27:38.450 on the current political and social landscape. 00:27:38.730 --> 00:27:41.289 So moving beyond poetry into essays and criticism. 00:27:41.470 --> 00:27:43.869 Right. This work marks her significant expansion 00:27:43.869 --> 00:27:46.450 into cultural commentary and memoir, demonstrating 00:27:46.450 --> 00:27:48.950 her direct engagement with current social and 00:27:48.950 --> 00:27:51.829 political discourse. It really solidifies her 00:27:51.829 --> 00:27:54.609 role as a public intellectual and an outspoken 00:27:54.609 --> 00:27:57.259 voice on issues she cares deeply about, moving 00:27:57.259 --> 00:27:59.880 beyond performance to direct advocacy through 00:27:59.880 --> 00:28:02.380 prose, showing a powerful commitment to using 00:28:02.380 --> 00:28:05.559 her voice for social impact, encouraging dialogue 00:28:05.559 --> 00:28:07.980 and reflection in her readers. And if we connect 00:28:07.980 --> 00:28:10.660 this to the bigger picture, her literary efforts 00:28:10.660 --> 00:28:13.640 extend well beyond her personal writing to actively 00:28:13.640 --> 00:28:17.339 promoting poetry and other women poets. demonstrating 00:28:17.339 --> 00:28:19.519 a broader commitment to the literary community 00:28:19.519 --> 00:28:23.019 and artistic advocacy. Oh, interesting. How so? 00:28:23.180 --> 00:28:25.259 Well, she has also self -published two chapbooks 00:28:25.259 --> 00:28:28.079 of poetry, which are, you know, essentially small, 00:28:28.200 --> 00:28:30.940 often handbound collections. Right, like zines 00:28:30.940 --> 00:28:33.700 for poets? Kind of. Titles are of the dawn and 00:28:33.700 --> 00:28:35.799 plenty of ships, and she actively participates 00:28:35.799 --> 00:28:38.559 in various poetry readings. The Loneliest, published 00:28:38.559 --> 00:28:41.920 in 2005, is a unique poem book inspired by jazz 00:28:41.920 --> 00:28:45.039 icon Thelonious Monk, featuring her haiku poetry 00:28:45.039 --> 00:28:47.500 coupled with evocative collages by artist George 00:28:47.500 --> 00:28:50.720 Herms. Haiku and collage. Very cool combo. Yeah. 00:28:51.559 --> 00:28:53.660 She appeared in the poetry concert film The Drums 00:28:53.660 --> 00:28:56.880 Inside Your Chest in 2002 and began blogging 00:28:56.880 --> 00:28:59.460 for the Poetry Foundation's respected blog Harriet 00:28:59.460 --> 00:29:03.019 in 2009, further cementing her place and influence 00:29:03.019 --> 00:29:06.000 in the poetry world. Her poem, Bridget Anderson, 00:29:06.359 --> 00:29:08.200 was even featured in Saul Williams' powerful 00:29:08.200 --> 00:29:11.279 book chorus in 2011. But her impact is not just 00:29:11.279 --> 00:29:13.980 through her own creative output. In 2007, she 00:29:13.980 --> 00:29:16.700 co -founded Right Now Poetry Society. A non -profit. 00:29:16.859 --> 00:29:19.220 Yeah, dedicated to creating unique and quality 00:29:19.220 --> 00:29:22.079 poetry programming. This organization has a long 00:29:22.079 --> 00:29:24.640 history with the Getty Museum, curating innovative 00:29:24.640 --> 00:29:26.920 poetry events in conjunction with art openings, 00:29:27.460 --> 00:29:29.599 like 2011's Dark Blushing, which commissioned 00:29:29.599 --> 00:29:32.640 new poems based on art by Dante, Gabriel Rossetti, 00:29:32.700 --> 00:29:34.779 and William Blake. Wow, connecting poetry and 00:29:34.779 --> 00:29:37.039 visual art directly. Demonstrating her innovative 00:29:37.039 --> 00:29:39.259 approach to making poetry accessible and relevant. 00:29:39.720 --> 00:29:42.240 And since 2011, Tamblyn has regularly reviewed 00:29:42.240 --> 00:29:44.759 books of poetry by women for the iconic feminist 00:29:44.759 --> 00:29:48.220 magazine BST Magazine. So she's actively championing 00:29:48.220 --> 00:29:51.309 other women poets. Absolutely. This demonstrates 00:29:51.309 --> 00:29:53.930 a comprehensive commitment to fostering a broader 00:29:53.930 --> 00:29:56.950 literary community and actively elevating diverse 00:29:56.950 --> 00:30:00.069 voices within the world of poetry, making her 00:30:00.069 --> 00:30:02.589 a true champion of the art form and its practitioners. 00:30:02.990 --> 00:30:05.430 Her artistic range and deep engagement are truly 00:30:05.430 --> 00:30:07.990 remarkable. Now let's navigate some of the complexities 00:30:07.990 --> 00:30:10.210 of public life that come with such a prominent 00:30:10.210 --> 00:30:12.549 and outspoken voice. Yeah, the advocacy part 00:30:12.549 --> 00:30:15.329 often brings scrutiny. Exactly. This brings up 00:30:15.329 --> 00:30:17.349 an important question about public discourse. 00:30:17.890 --> 00:30:20.910 How do allegations of past misconduct play out 00:30:20.910 --> 00:30:23.269 in the media, and what are the broader societal 00:30:23.269 --> 00:30:25.950 implications of such narratives, particularly 00:30:25.950 --> 00:30:29.210 concerning issues of belief and disbelief? In 00:30:29.210 --> 00:30:32.329 September 2017, Tamblyn made public allegations 00:30:32.329 --> 00:30:34.849 via a series of tweets and an open letter published 00:30:34.849 --> 00:30:37.109 in Teen Vogue. Teen Vogue has become quite a 00:30:37.109 --> 00:30:39.750 platform for that. It has. She stated that actor 00:30:39.750 --> 00:30:42.470 James Woods tried to seduce her and a friend 00:30:42.470 --> 00:30:45.769 when both were 16. Woods denied these allegations, 00:30:45.769 --> 00:30:48.450 calling them a lie. And just to be clear, we 00:30:48.450 --> 00:30:50.190 are simply reporting on the content of these 00:30:50.190 --> 00:30:52.809 publicly shared events here. Tamblyn later expanded 00:30:52.809 --> 00:30:55.130 on her experience in an essay for The New York 00:30:55.130 --> 00:30:57.609 Times in which she reflected on Woods' denial. 00:30:57.740 --> 00:31:00.960 She said, it sent me back to that day in that 00:31:00.960 --> 00:31:03.619 producer's office and back to all the days I've 00:31:03.619 --> 00:31:06.619 spent in the offices of men of feeling unsure, 00:31:07.039 --> 00:31:10.119 uneasy, questioned, and disbelieved, no matter 00:31:10.119 --> 00:31:12.440 the conversation. That's a powerful reflection 00:31:12.440 --> 00:31:15.180 on that feeling of disbelief. It is. And the 00:31:15.180 --> 00:31:18.039 use of multiple platforms, from media tweets 00:31:18.039 --> 00:31:20.599 to a detailed open letter in a prominent youth 00:31:20.599 --> 00:31:23.420 publication and then a reflective essay in a 00:31:23.420 --> 00:31:26.210 major national newspaper. demonstrate how public 00:31:26.210 --> 00:31:28.509 figures utilize different mediums to share their 00:31:28.509 --> 00:31:31.230 stories and their reflections on those experiences, 00:31:31.769 --> 00:31:33.650 shaping and engaging with the ongoing public 00:31:33.650 --> 00:31:36.690 conversation around such sensitive topics. Her 00:31:36.690 --> 00:31:38.869 reflections shed light on the pervasive challenges 00:31:38.869 --> 00:31:41.460 women can face when speaking out. This highlights 00:31:41.460 --> 00:31:43.859 the immense scrutiny public figures face when 00:31:43.859 --> 00:31:46.299 sharing personal experiences that touch on broader 00:31:46.299 --> 00:31:49.680 community issues. In March 2018, Tamblyn faced 00:31:49.680 --> 00:31:51.880 significant criticism for tweets about New York 00:31:51.880 --> 00:31:54.079 City's Hasidic Jewish community. Okay, I remember 00:31:54.079 --> 00:31:56.660 this controversy. The controversy arose after 00:31:56.660 --> 00:31:59.079 an incident in Brooklyn where she stated she 00:31:59.079 --> 00:32:02.079 was nearly struck by a van driven by a Hasidic 00:32:02.079 --> 00:32:04.440 Jewish man while walking with her daughter in 00:32:04.440 --> 00:32:07.519 a stroller. She tweeted that this is not the 00:32:07.519 --> 00:32:09.960 first time a man from the Hasidic community in 00:32:09.960 --> 00:32:12.660 NYC has attempted to harm me or other women I 00:32:12.660 --> 00:32:15.619 know. Any woman riding a bike through South Williamsburg 00:32:15.619 --> 00:32:18.859 can attest, I hope this guy is caught. OK, so 00:32:18.859 --> 00:32:21.180 a specific incident, but then a broader statement. 00:32:21.579 --> 00:32:24.259 Right. Following this, journalist Leo Leibovitz, 00:32:24.420 --> 00:32:27.740 writing in Tablet, criticized Tamblyn for speaking 00:32:27.740 --> 00:32:30.460 so hurtfully about an entire community of underprivileged 00:32:30.460 --> 00:32:33.339 people. Tamblyn subsequently denied accusations 00:32:33.339 --> 00:32:36.509 of anti -Semitism. This incident sparked significant 00:32:36.509 --> 00:32:38.630 public debate and brought accusations of prejudice, 00:32:38.890 --> 00:32:41.349 which, again, she publicly denied. It really 00:32:41.349 --> 00:32:43.730 underscores how quickly statements made on social 00:32:43.730 --> 00:32:45.809 media, even when recounting a personal experience, 00:32:45.910 --> 00:32:48.269 can become charged and subject to intense criticism, 00:32:48.470 --> 00:32:50.650 regardless of initial intent. Yeah, social media 00:32:50.650 --> 00:32:53.170 is a minefield sometimes. It reveals the challenges 00:32:53.170 --> 00:32:55.829 of navigating public discourse, particularly 00:32:55.829 --> 00:32:58.549 when personal anecdotes are perceived to generalize 00:32:58.549 --> 00:33:01.430 or characterize an entire community, highlighting 00:33:01.430 --> 00:33:04.130 the fine line public figures walk when engaging 00:33:04.130 --> 00:33:09.579 with sensitive social topics online. Beyond specific 00:33:09.579 --> 00:33:12.660 controversies, Tamlin's consistent political 00:33:12.660 --> 00:33:15.579 engagement and her role as a co -founder of Time's 00:33:15.579 --> 00:33:18.160 Up illustrate a profound and sustained commitment 00:33:18.160 --> 00:33:21.440 to social justice and using her platform for 00:33:21.440 --> 00:33:23.700 systemic change. This isn't passive advocacy. 00:33:24.079 --> 00:33:26.220 It's active organizational leadership and public 00:33:26.220 --> 00:33:28.559 action. Definitely seems proactive. She supported 00:33:28.559 --> 00:33:30.779 and campaigned for Hillary Clinton during the 00:33:30.779 --> 00:33:33.180 2016 United States presidential election, for 00:33:33.180 --> 00:33:36.299 example, and publicly urged voters to check voter 00:33:36.299 --> 00:33:39.450 ID requirements, citing as a crucial resource. 00:33:40.049 --> 00:33:41.630 Crucially, she is one of the founders of the 00:33:41.630 --> 00:33:43.589 nonprofit organization, Time's Up. Which had 00:33:43.589 --> 00:33:46.769 a huge impact. Massive impact. Created to combat 00:33:46.769 --> 00:33:49.150 workplace sexual harassment, an organization 00:33:49.150 --> 00:33:51.730 that has had a significant global impact in raising 00:33:51.730 --> 00:33:54.829 awareness and fostering change. She openly identifies 00:33:54.829 --> 00:33:57.369 as a feminist, which informs much of her advocacy 00:33:57.369 --> 00:34:01.210 and creative work. More recently, in October 00:34:01.210 --> 00:34:04.630 2023, she signed the artist's four ceasefire 00:34:04.630 --> 00:34:07.440 open letter to President Joe Biden. calling for 00:34:07.440 --> 00:34:10.920 a ceasefire between Israel and Gaza. This raises 00:34:10.920 --> 00:34:14.559 an important question. How does celebrity influence 00:34:14.559 --> 00:34:17.159 the effectiveness and reach of social and political 00:34:17.159 --> 00:34:19.360 movements? It certainly brings attention. Her 00:34:19.360 --> 00:34:21.719 involvement brings visibility and resources that 00:34:21.719 --> 00:34:24.980 can amplify these critical conversations, showcasing 00:34:24.980 --> 00:34:27.940 her commitment to tangible action beyond individual 00:34:27.940 --> 00:34:30.699 statements, moving from rhetoric to real world 00:34:30.699 --> 00:34:33.659 organizing. This next point is deeply personal 00:34:33.659 --> 00:34:35.960 and offers a really candid reflection on the 00:34:35.960 --> 00:34:38.719 hidden complexities of early success and how 00:34:38.719 --> 00:34:41.119 it can intertwine with family dynamics, even 00:34:41.119 --> 00:34:43.619 in loving relationships. Okay. In a New York 00:34:43.619 --> 00:34:47.039 Times essay in June 2021, Tamlin expressed solidarity 00:34:47.039 --> 00:34:49.980 with Britney Spears' efforts to end her conservatorship. 00:34:50.000 --> 00:34:52.159 Ah, connecting her experience to Britney's situation. 00:34:52.400 --> 00:34:55.539 Exactly. In this powerful essay, Tamblyn candidly 00:34:55.539 --> 00:34:57.699 discussed her own experience of becoming financially 00:34:57.699 --> 00:35:00.380 successful at 21, particularly with her starring 00:35:00.380 --> 00:35:02.800 role in Joan of Arcadia. She shared that her 00:35:02.800 --> 00:35:04.820 father became her co -manager and her mother 00:35:04.820 --> 00:35:07.280 her business manager. Wow, keeping it in the 00:35:07.280 --> 00:35:09.320 family. Yeah, and that this arrangement, while 00:35:09.320 --> 00:35:11.440 rooted in good intentions and coming from a place 00:35:11.440 --> 00:35:14.880 of love, damaged their relationship and that 00:35:14.880 --> 00:35:17.980 it was deeply painful for all three of us when 00:35:17.980 --> 00:35:20.559 it came time to disentangle their personal and 00:35:20.559 --> 00:35:23.480 professional relationships. That sounds incredibly 00:35:23.480 --> 00:35:26.440 difficult. She recounted feeling like everybody's 00:35:26.440 --> 00:35:30.119 ATM, a bank that was nonetheless unconditionally 00:35:30.119 --> 00:35:33.559 loved as her money often paid for our vacations, 00:35:33.800 --> 00:35:36.840 dinners out and sometimes even the bills. However, 00:35:36.880 --> 00:35:39.539 she also made a crucial distinction, noting that 00:35:39.539 --> 00:35:43.139 unlike Spears, she had a healthy and loving relationship 00:35:43.139 --> 00:35:45.579 with my parents for the most part, and her parents 00:35:45.579 --> 00:35:47.960 were supportive and ethical in every way. So 00:35:47.960 --> 00:35:50.219 it wasn't exploitation, but still damaging. Right. 00:35:50.349 --> 00:35:53.050 This essay offers a unique nuanced perspective 00:35:53.050 --> 00:35:55.610 on the often unseen pressures and challenges 00:35:55.610 --> 00:35:58.230 of financial success at a young age, especially 00:35:58.230 --> 00:36:00.190 when family members are involved in management. 00:36:00.670 --> 00:36:02.630 It powerfully connects her personal experience 00:36:02.630 --> 00:36:05.349 to a broader cultural conversation about celebrity, 00:36:05.949 --> 00:36:08.110 wealth, autonomy, and the inherent complexities 00:36:08.110 --> 00:36:11.070 of family ties in the public eye. It's a remarkably 00:36:11.070 --> 00:36:13.969 honest look at the emotional cost, even within 00:36:13.969 --> 00:36:16.789 a supportive environment, of mixing money and 00:36:16.789 --> 00:36:19.480 family. and the journey toward personal financial 00:36:19.480 --> 00:36:22.719 independence as a young public figure. It's a 00:36:22.719 --> 00:36:24.920 testament to her honesty and willingness to share 00:36:24.920 --> 00:36:27.900 such vulnerable insights. And looking at the 00:36:27.900 --> 00:36:30.380 figures who shaped her, these relationships highlight 00:36:30.380 --> 00:36:33.119 the diverse and influential individuals who fostered 00:36:33.119 --> 00:36:35.889 her artistic and personal development. bridging 00:36:35.889 --> 00:36:38.869 the worlds of music, acting, and poetry, and 00:36:38.869 --> 00:36:40.929 reinforcing her deep engagement with various 00:36:40.929 --> 00:36:43.789 creative communities. Like her godfathers. Exactly. 00:36:43.909 --> 00:36:46.550 She has referred to musician Neil Young and actors 00:36:46.550 --> 00:36:49.789 Dean Stockwell and Dennis Hopper as her godfathers, 00:36:50.349 --> 00:36:52.530 explaining that it was a loose term for three 00:36:52.530 --> 00:36:55.150 famous friends of her father's who were significant 00:36:55.150 --> 00:36:57.449 influences on her life, always around the house 00:36:57.449 --> 00:36:59.630 when she was growing up, impacting her view of 00:36:59.630 --> 00:37:02.690 the world and art. What an incredible trio of 00:37:02.690 --> 00:37:05.059 influences to have around. Seriously. titans 00:37:05.059 --> 00:37:07.519 of their fields. Beyond these iconic figures 00:37:07.519 --> 00:37:10.380 in music and film, she was also the writing mentee 00:37:10.380 --> 00:37:12.699 of the late San Francisco poet laureate Jack 00:37:12.699 --> 00:37:15.539 Hirschman. A poet laureate as a mentor, that's 00:37:15.539 --> 00:37:18.920 amazing. This mentorship from a celebrated and 00:37:18.920 --> 00:37:22.039 intellectually rigorous poet speaks volumes about 00:37:22.039 --> 00:37:24.699 her dedication to the literary craft and her 00:37:24.699 --> 00:37:27.539 pursuit of excellence in her writing. demonstrating 00:37:27.539 --> 00:37:30.039 that her influences were as varied as her career 00:37:30.039 --> 00:37:32.719 itself, pulling from different artistic disciplines 00:37:32.719 --> 00:37:35.300 to enrich her own creative journey. Yeah, music, 00:37:35.659 --> 00:37:38.780 acting, poetry, it all fits. These were not just 00:37:38.780 --> 00:37:41.599 casual acquaintances, but profound mentors who 00:37:41.599 --> 00:37:45.300 nurtured her expansive artistic spirit. So what 00:37:45.300 --> 00:37:47.960 we've seen in our deep dive today is a truly 00:37:47.960 --> 00:37:51.099 remarkable journey, one that really defies easy 00:37:51.099 --> 00:37:54.360 categorization. Amber Tamblyn's path is anything 00:37:54.360 --> 00:37:56.840 but linear. Definitely not straight A to B. Not 00:37:56.840 --> 00:37:59.289 at all. From the intensive training ground as 00:37:59.289 --> 00:38:01.750 a child actor on General Hospital, to the Emmy 00:38:01.750 --> 00:38:04.269 and Golden Globe nominated lead in Joan of Arcadia, 00:38:04.789 --> 00:38:07.349 the indie film Darling, recognized at Locarno 00:38:07.349 --> 00:38:09.710 for powerful dramatic work, the prolific and 00:38:09.710 --> 00:38:11.710 acclaimed author whose poetry resonated with 00:38:11.710 --> 00:38:14.150 critics and explained the child star experience, 00:38:14.449 --> 00:38:16.989 the insightful cultural critic addressing feminism 00:38:16.989 --> 00:38:20.090 and societal issues, and the outspoken activist 00:38:20.090 --> 00:38:23.809 co -founding movements like Time's Up, she has 00:38:23.809 --> 00:38:25.809 continually redefined her role in the public 00:38:25.809 --> 00:38:28.980 sphere. Her story is one of consistent, creative 00:38:28.980 --> 00:38:31.860 evolution and a powerful commitment to using 00:38:31.860 --> 00:38:34.159 her voice. Not just for personal expression. 00:38:34.380 --> 00:38:37.159 Right, but for broader social impact. It truly 00:38:37.159 --> 00:38:40.159 illustrates an artist in constant motion, always 00:38:40.159 --> 00:38:42.760 exploring and always contributing, shaping the 00:38:42.760 --> 00:38:44.960 world around her through every medium she touches. 00:38:45.320 --> 00:38:47.980 You've experienced how she's woven together acting, 00:38:48.239 --> 00:38:50.980 writing, directing, and advocacy, showing that 00:38:50.980 --> 00:38:53.719 a career in the public eye can be a dynamic canvas 00:38:53.719 --> 00:38:56.159 for evolving passions and a powerful platform 00:38:56.159 --> 00:38:59.380 for change. Amber Tamblyn's story challenges 00:38:59.380 --> 00:39:01.719 us to consider what it means to live a truly 00:39:01.719 --> 00:39:04.349 integrated life in the public eye. What does 00:39:04.349 --> 00:39:06.150 her journey tell you about the courage it takes 00:39:06.150 --> 00:39:08.949 to not just find your voice, but to use it across 00:39:08.949 --> 00:39:11.389 every arena of your life? Whether it's on screen, 00:39:11.710 --> 00:39:13.570 in print, behind the camera, or on the front 00:39:13.570 --> 00:39:15.969 lines of social movements, even when it leads 00:39:15.969 --> 00:39:18.530 to controversy or deeply personal revelations. 00:39:18.590 --> 00:39:20.949 It takes guts. It really does. It's a testament 00:39:20.949 --> 00:39:23.349 to the power of a life lived with intentionality 00:39:23.349 --> 00:39:26.469 and artistic purpose, urging us to look beyond 00:39:26.469 --> 00:39:28.929 single labels and appreciate the full spectrum 00:39:28.929 --> 00:39:31.269 of an individual's profound and multi -faceted 00:39:31.269 --> 00:39:34.050 contributions. And perhaps it makes you wonder 00:39:34.050 --> 00:39:36.130 about the untapped potential within your own 00:39:36.130 --> 00:39:38.389 diverse interests and the courage it might take 00:39:38.389 --> 00:39:39.469 to bring them all together.