#which like yes that is a metaphorical way to describe executive dysfunction but i have not had time to try to get any diagnoses even tho | Explore Tumblr Posts and Blogs

echo-bleu · 4 years

Note

Hi Echo! First off, I want to say I always love seeing you on my dash, especially your writing! It's always amazing!

I wanted to get your thoughts on something relating to autism. I've thought on off for a few years that autism might explain some of the things I experience (my decade long obsession with shadowhunters, why my tone of voice doesnt always match my intent/the words, rocking/flapping hands/curled toes, sensory things). I found that list you posted a while ago about women and autism, and I have to say, I related to a fair amount of it.

But I feel like there's a huge caveat to this explanation/relatability, and it's the social aspects. I do identify as an introvert, but I don't usually struggle in social situations. I can "read the room" usually and know how to act in professional situations, etc. Sometimes I don't catch jokes and I'm a pretty literal person ie I take things at face value. I know social things are a large part of autism.

I'm just curious if this is something I should persue or if I'm just looking for something that's not there. I know you aren't a medical professional or anything. I guess I just wanted an autistic person's perspective on my experiences.

Obviously, there is absolutely no pressure to answer this at all, and if I am way out of line, please tell me!!! I don't ever want to step on anyone's toes or do anything to hurt someone else. Thank you so much for your time! 💜💜💜💜

Hi Anon! Thank you, I’m really glad that you like my writing 💙

You aren’t out of line and I’m happy to try to answer your question! I don’t have a yes or no for you. Obviously I cannot tell you whether you’re autistic or not, or even if it’s worth pursuing for yourself, but I’ll try to share something of my own experience here. To me, it comes down to a few things:

1) If you feel like you have autistic traits and/or the tools and concepts developed with autistic people in mind are useful to you, even if you don’t know for sure whether you are in fact autistic, you are allowed and I would say encouraged to use them and to interact with the community to find more things that work for you!

2) I would argue that there is no specific trait that is common to all autistics. Moreover, traits can present as the exact opposite in two people and still be signs of autism in both cases. Autism is poorly defined, to be honest, and it’s hard to say where the limit is, but it’s more about a convergence of traits than a list of symptoms that every autistic person has. The diversity in our community is astounding and possibly even greater than among neurotypical people. So it is entirely possible to be autistic and struggle little with social stuff/communication. In my own case, though I do struggle with certain specific aspects of the social game, my sensory issues and executive dysfunction are much more of a disability in my life. Which brings me to the third point:

3) Most traits don’t look like you probably think they do. I used to look at lists of symptoms and feel like barely any of them applied to me. I would see “stereotypical and repetitive behaviors” and be like “I don’t always do things at the same hours and I don’t rock back and forth”, so this can’t possibly apply to me. Except that later, I stumbled upon a fanfiction with own voices autistic character that had them talk about stimming and stimtoys, and I looked up the word. Turns out that sucking your thumb is a stim. That listening to a song on repeat is a stim. That doodling is a stim. That sitting on your legs is a stim. Turns out that doing small things in the same order is a kind of routine, and it’s doesn’t have to be at the same time of the day. Would you have called that “stereotypical and repetitive behaviors”? I do all those things, and many more.

Stimming was the obvious example here, and it happened to be the place where I started my journey (or that part of it). I had been curious about neurodivergence (without knowing the word for it) and autism for a decade before that, but I had never stumbled upon, you know, actual autistic people describing their experience in a way I could relate to. And when you look at list of traits, at psychologists’ accounts, even at published biographies, you have to know what to look for. I developed a specific interest about autism and learned to read between the lines but it’s impossible to do that when you don’t already know. And even today, I still have frequent eureka moments of “oh, that’s why I do this.”

So on the social side, it may look different than what you’re thinking of. I have no problem with metaphors, and generally not with sarcasm or jokes. I can “read the room” as you said, for the most part. I’ve been talking at conferences and mingling at coffee breaks and having meetings with colleagues for years, and none of them ever thought I was autistic. I may have a hard time approaching someone to make small talk, but not that much more than colleagues my age. I don’t go out a lot and I don’t make friends super easily, but I do (well, did) go out for drinks with colleagues or friends. So I didn’t think I had a real issue there, beside being very introverted and a little shy. Except that I was tired. I’d come back from having drinks and would go straight to bed. I’d come back from a three days conference and get sick for a week. I burned out fast and brutally. I rarely make eye contact, but I tend to look at people’s mouths, so no one noticed. Mostly I didn’t know that I struggled with things until I read other autistic people’s experiences. And moreover, I didn’t know how exhausting it is for me to communicate with neurotypical people, even if I appear, even to myself, to do it fairly naturally, until I stood in a room full of autistic people for five hours and felt rested at the end of it.

That’s because some of us, me included, learned to mask at such an early age, and in such an organic way, that we don’t even realize that we do it at all. At least not until we burn out so badly that we’re forced to face it, or until we luck out and stumble upon the testimonies of other autistic people and recognize ourselves there. So if that’s your case, if you read blogs and texts and watch videos by autistic people and you recognize something, then I would say it’s always worth investigating. Maybe you’re autistic, maybe you’re neurodivergent in another way, maybe you’re not, but knowing yourself is always going to benefit you, and so is knowing about the diversity of brains and people that exist.

#autism #neurodivergence #echo's rambling #Anonymous #asks

14 notes · View notes

amyadamsnews · 6 years

Text

Amy Adams on equal pay, family life and her grittiest role to date

In a corner of the genteel lounge of Los Angeles’s iconic Chateau Marmont, Amy Adams is launching into the opening lines of the Abba classic The Winner Takes It All – and it’s pitch-perfect. With other Hollywood actors, this tuneful showcase of talent, five minutes into an interview, might come across as showing off.

But the star of American Hustle, Nocturnal Animals and Arrival – a five-time Academy Award nominee and the recipient of two Golden Globes – seems atypically unstarry. Our conversation has simply prompted a demo of one of her great passions: karaoke.

Fresh-faced and freckled, today, the 43-year-old is dressed casually in jeans and a peach blouse, her red hair pulled into a loose ponytail. In spite of her success on the big screen, you might not recognise her if she strolled past you on the street.

She’s one of the most in-demand actors in Hollywood, skilled at switching between roles – from wide-eyed and vulnerable in Junebug, which launched her leading-lady career, through tough-talking and trashy in The Fighter, to religious fanatic in The Master and – most memorably – sexy, seductive con artist in American Hustle.

Amy’s latest part looks set to make her more immediately familiar, however. Next month, she stars in HBO’s hotly anticipated new mini-series Sharp Objects, an adaptation of the novel by Gillian Flynn, author of the bestselling thriller Gone Girl. ‘I’ve been attracted to Gillian’s work for years, because she creates these incredible, flawed females,’ she says.

Directed by Jean-Marc Vallée (who also directed last year’s critically acclaimed TV hit Big Little Lies), Sharp Objects is set in small-town Missouri, where restraint, manners and strong cocktails mask brutal violence and deep dysfunction.

Amy plays what is easily her darkest, most damaged character to date: Camille Preaker, the acerbic, alcoholic, self-harming protagonist. Recently released from a psychiatric unit, Camille, a reporter, is dispatched to Wind Gap, the town in which she grew up, to investigate the murder of two pre-teen girls.

It quickly becomes clear that the intense pain that affects her also infests the other women in her family – her uptight, neurotic mother, Adora (Patricia Clarkson) and her manipulative younger half-sister, Amma (star-in-the-making Eliza Scanlen).

As is becoming increasingly common among Hollywood’s leading ladies, Amy was also an executive producer on the series. It was she who suggested French-Canadian director Vallée. ‘There’s something about the way he tells women’s pain: he circles around it, yet gets to the heart of it,’ she says.

‘He’s not afraid to approach the violence in a way that’s also very emotional.’ For his part, Vallée praises Amy’s bravery in taking on bleak themes. ‘It was scary material, and she was so courageous to tackle this, to be so naked – literally and metaphorically,’ he says.

To help her dig into the darkness, Gillian Flynn recommended she read A Bright Red Scream. ‘It’s first-person accounts by people who self-harm,’ explains Amy, who had to wear prosthetic scars from the neck down during filming. She admits it wasn’t easy to leave Camille behind at the end of each day. ‘I’ve trained myself not to bring a character home, but there were times – whether from living in her head space or just exhaustion – when I suffered insomnia.’

The role also required her to research the psychological condition Munchausen syndrome by proxy, which causes a parent to harm their son or daughter to create the illusion that the child is ill. ‘I did a lot of reading about that too,’ says Amy. ‘It’s so against every parental instinct I have, so I just can’t imagine it. Our daughter [seven-year-old Aviana] has been hurt twice in a way that required trips to the hospital and that’s not something I’d ever want to revisit – it was traumatising.’

Happily, both Amy’s disposition – upbeat, energetic and quick to laugh – and her family life would appear to be a far cry from Camille’s. She and her husband, Darren Le Gallo, met in 2001, at an acting class in Los Angeles, and today live in the city’s glamorous Hollywood Hills. She describes their life as ‘quiet’, save for the odd karaoke night out, or in – the family’s portable karaoke machine even accompanies them on holiday.

When Amy travels for work, her husband and daughter generally go with her. ‘If I’m on my own, I engage in not-great behaviours, like hotel-room eating – sitting in bed every night with a bag of crisps and salsa and a beer,’ she admits.

The middle child of seven, Amy was born on a military base in Vicenza, Italy, where her father was stationed at the time. Her parents were Mormons and, although their adherence to the faith was ‘more cultural’ than overtly religious, ‘church played an important part in our social interactions’, she has said. ‘It instilled in me a value system I still hold true.’

The family eventually settled in Castle Rock, Colorado, when Amy was eight, where her father, having left the army, began singing professionally in nightclubs and restaurants. The rest of her family was more sport-orientated. ‘I was surrounded by these incredibly coordinated siblings who excelled at everything, whereas I just liked to read in my room,’ she laughs.

Her parents divorced when she was 11, and left Mormonism. Her mother, Kathryn, a former gymnast, was also, for a while, an amateur bodybuilder. ‘We have a good relationship, but my mom is tough and always challenged me to push myself,’ says Amy. ‘I wasn’t allowed to be afraid of things, even though I’m naturally very risk-averse. For instance, if a guy pulled up on a motorcycle, I’d be like [adopts goody-goody voice], “Don’t you understand that those are just coffins on wheels?”’

When her mother would take her to her gymnastics class, she goes on, ‘She would say: “We’re not leaving until you do this really tricky move.” That taught me to do things I was afraid of, because the sense of pride in having done something difficult was always worth it.’ It’s a skill that appears to have served her well in her career.

‘I had a kind of autonomy from childhood on,’ she continues. ‘There were so many of us that I knew my parents weren’t going to be funding my life, meaning my choices were my own and I wasn’t worried about what they thought of them.’

She gave up gymnastics, focused instead on dance and trained at a local ballet school. At 18, however, she decided she wasn’t good enough and switched her focus to musical theatre. She worked in dinner theatre for a few years before scoring a chance to audition for Drop Dead Gorgeous, the 1999 beauty-pageant comedy starring Kirstie Alley and Kirsten Dunst, in which Amy played a promiscuous cheerleader.

With Alley’s encouragement, at 24, Amy moved to Los Angeles, where her first few years attempting to break into the industry weren’t easy. ‘I auditioned a lot, but couldn’t figure out why it wasn’t working,’ she has said. ‘The problem was a lack of confidence and self-esteem,’ she tells me today.

In 2004, she was cast as the lead in the CBS series Dr Vegas, alongside Rob Lowe, but the show was dropped after just a few episodes. At that point, she considered quitting the industry.

‘I began thinking I should do something that was more secure,’ she says. ‘I wasn’t willing to be as unhappy as I was in danger of becoming and I didn’t like what it was turning me into.’

Then her fortunes began to turn around. In 2005, she was cast as the lead, Ashley, in the indie comedy Junebug. Her portrayal of the garrulous pregnant woman won her the Special Jury Prize at the Sundance Film Festival, and two years later, scored her the part of Giselle, the optimistic princess, in Enchanted.

Achieving success at 31, rather than 21, has its advantages, she now believes. ‘At least I was able to enjoy my 20s before anyone was paying me too much attention,’ she sighs, nostalgically. ‘No Instagram, no Twitter, no Facebook – thank God! I had a bad habit of taking photos on disposable cameras that didn’t belong to me. I have no idea how many complete strangers’ cameras I mooned into back then!’ she laughs.

Since the downfall of Harvey Weinstein and the rise of the #MeToo movement, are there incidents from early in her career that she feels she wouldn’t be OK with now?

‘Yes, and I wasn’t OK with it back then either,’ she says. ‘I had to audition in a bikini. I didn’t get the role, because the character would be filmed wearing one and I don’t look good in swimwear.’

I scoff at this claim. ‘I really don’t,’ she insists. ‘And that’s OK – that’s not why I was put on this earth. But I don’t know a single woman, working in any industry, who doesn’t have a story like that, about feeling vulnerable.’

I wonder whether, beneath her sanguine exterior, some of the self-esteem issues she mentioned earlier still lurk. Despite being petite, Amy is surprisingly self-deprecating about her body.

‘I always look pregnant in photos,’ she claims with a laugh. ‘I wear loose dresses because I have a paunch. It’s not a big paunch, but it’s there!’ And she’s less than comfortable being snapped on the red carpet. ‘I understand it’s part of the job, but it’s not my favourite place,’ she has said.

‘I love fashion, but having to be somebody who promotes that industry has always been a tricky one for me, because of the way it affects women’s sense of self,’ she says. ‘I’ve lectured several designers about their sizing. If a dress in my size is five inches too small for me, what’s happening?’

Even before the #MeToo and Time’s Up movements began, Amy was catapulted into the centre of rows about sexism within the industry. When thousands of email accounts at Sony were hacked in 2014, the revelations about American Hustle focused mainly on the fact that Amy and her co-star Jennifer Lawrence were paid less than their male counterparts, Bradley Cooper and Christian Bale.

At the time, she chose not to comment. ‘Everyone wanted me to talk about how I felt about it, but I want to fight for people outside our industry, so to come out and look ungrateful about what I’m paid as an actress just didn’t feel right,’ she says today.

‘I do believe in equal pay, but let’s start with our teachers. Let’s get waiters paid the minimum wage. That’s what’s great about what’s happening with Time’s Up – we’re starting to have bigger conversations than just about what’s happening in Hollywood.’

Other emails were also leaked, alleging that the film’s director, David O Russell, was so tough on Amy that Bale stepped in to address the problem. ‘He was hard on me, that’s for sure. It was a lot,’ Amy later said, and she has admitted in interviews that she cried ‘most days’ during the making of the film. ‘I remember saying to my husband, “If I can’t figure this out, I can’t work any more. I’ll just have to do something else. I don’t want to be that person, not for my daughter,”’ she has said.

When she talks about coping during the making of Sharp Objects, it’s clear that she was determined for it to be a very different experience. ‘I’m now able to think, “OK, I know what’s going on here. I just need to go to work, do my job, then come home, make dinner and do something grounding.”’

She was recently reunited with Bale for the upcoming biopic Backseat, about former US vice-president Dick Cheney. She whips out her phone to show me an image of her in character as his wife, Lynne, alongside Bale, who played Cheney, and both are virtually unrecognisable thanks to extensive prosthetics.

The lengthy process of transformation renewed her respect for her co-star. ‘I had to wear the prosthetics for only two weeks, but Christian was coming in at 2am every day to have his applied before the day’s filming started. His work ethic is just incredible.’

Amy is keen to do more producing, too. ‘There’s lots in pencil on the calendar, but I don’t talk about anything until it’s in pen,’ she says. Risk-averse to the end. And with that, she gives me her top karaoke-bar tips and slips back to her quiet life in the hills.

https://www.telegraph.co.uk/women/life/amy-adams-equal-pay-family-life-grittiest-role-date/#comments

#amy adams #telegraph #sharp objects #hbo #gillian flynn #jean marc vallee #cheney #christian bale

7 notes · View notes

ronnykblair · 6 years

Text

Finance TV Shows in 2019: The Full Round-Up

A few short years ago, the landscape of “finance tv shows” consisted of a bottomless black hole.

That black hole resembled the exit opportunities available to mid-level investment bankers, but was even less entertaining.

There were plenty of shows about dragons, drug dealers, and advertising agencies, but nothing about hedge fund managers, traders, or private equity titans.

But the TV landscape changes quickly, and in the past year alone, there have been at least three new or continuing shows set in the finance industry.

Those shows are Billions (Showtime), Succession (HBO), and Black Monday (Showtime), and I liked all of them, to varying degrees.

Here’s my mini-review for each one – but first, a word about the challenges that all finance TV shows face:

Finance TV Shows: Got Emotional Stakes?

Back when we were thinking about producing Season 2 of Cost of Capital, I met with a writer who had worked on Law & Order to brainstorm story ideas.

He explained why the producers on that show often avoided financial stories:

“You’re doing something challenging here. On Law & Order, they tried to avoid stories with purely financial goals/desires because it was too difficult to establish the emotional stakes. And it’s hard to make people on either side of a conflict about money sympathetic.”

Most books, shows, and movies attempt to solve this problem with one of the following:

Make the protagonist a “fish out of water” who comes from modest means and is trying to break into the world of finance (e.g., the original Wall Street).

Make the story about oddballs and quirky characters who have their own problems and who then try to take down the system (e.g., The Big Short).

Take a character from privilege/wealth, remove the character’s advantages, put him in a different setting, and see what happens (e.g., Trading Places).

Or, go the “drugs and hookers” route and film a bunch of crazy people stealing money and doing cocaine all the time (e.g., The Wolf of Wall Street and Boiler Room).

These techniques help, but if a show or movie is overly reliant on them, they can come across as clichés.

In light of these challenges, I judge finance TV shows based on:

Characters: Do I care about the characters? Are there stakes beyond “make more money”? If the characters are not likable, are they at least interesting (ex: Tony Soprano)?

Story: Is the story surprising but logical? If the story is strictly “logical,” it’s often boring, and if it’s too “surprising,” it often has glaring plot holes that take you out of the world. The best stories surprise you initially but are obvious in hindsight.

Learning: Do I learn something new about the finance industry by watching? Or does the show at least present well-worn themes through a new lens?

And now to the mini-reviews:

Finance TV Shows: Billions (Seasons 1 – 3)

I reviewed Season 1 of Billions a few years ago, and I’m happy to say that the show has improved a lot since then.

If you haven’t seen it, Billions is about a hedge find titan, Bobby Axelrod (played by Damian Lewis), and an up-and-coming U.S. Attorney, Chuck Rhoades (Paul Giamatti), who goes after him for insider trading.

Of course, the U.S. Attorney’s wife also happens to be a “performance coach” at Axelrod’s hedge fund (Axe Capital), which creates the initial conflict.

Season 1 of the show was OK, but came up short in the “Characters” department.

Chuck Rhoades is a spoiled rich kid who irks everyone he meets, and Bobby Axelrod is a billionaire who made his fortune through shady-to-illegal activities.

Not only were they both unsympathetic, but they also weren’t that interesting.

Season 2 and 3 improved upon this premise by fleshing out the main characters and also by introducing an up-and-comer in the hedge fund world (Taylor Mason) who has a talent for investing but a naivete about the business.

I won’t spoil story details here, but by the end of Season 2, one character makes a “sacrifice” that makes him/her more sympathetic and adds depth by forcing him/her to make a tough choice.

By the end of Season 3, another character makes a major decision about how to deal with an “enemy” that shows this character is flawed, but still has some redemptive qualities.

Meanwhile, the series resists the urge to play out the same situations and conflicts over and over again – unlike police or medical procedurals.

Instead, character relationships keep shifting as allies become enemies and frenemies become friends… or regress to enemies.

That said, Billions still does a few things that drive me crazy:

Dialogue filled with elaborate metaphors, as if people constantly reference Greek mythology or Yankees infielders from the 1978 World Series when speaking to friends.

Stories that require a high suspension of disbelief (think: “Look at this clever strategy I just used to win – but I had to know in advance that Events A, B, and C would happen for it to work”). They’re surprising, but the logic is sometimes questionable.

Stereotypical characters and social commentary. The Attorney General, “Jock” Jeffcoat, is particularly bad on this count. A gun-toting conservative from Texas who uses dead coyotes to make points to his subordinates… right.

Season 4 starts on March 17th, and I’m looking forward to it.

I might even make a drinking game out of it and take a shot every time a character makes an obscure cultural reference.

Finance TV Shows: Succession (Season 1)

Succession came out of nowhere and truly surprised me.

You could describe it as “Game of Thrones meets modern corporate America.”

The series is about the Roy family, owners of a global media conglomerate (Waystar Royco) who fight for control of the company when the founder and family patriarch, Logan Roy, runs into health issues.

The Roys are inspired by real-life media-conglomerate families like the Murdochs, Redstones, Hearsts, and Maxwells.

Logan Roy is a cutthroat and competent executive, while his kids are… not so competent.

One is a “former” drug addict, one has the attention span of a 5-year-old on a sugar high, one is a consultant to “professional liars” (i.e., politicians), and one lives as a man-child on a ranch in New Mexico and dreams of starting a podcast on Napoleonic history.

The finance industry comes into the story in a big way because a private equity firm gets involved with the succession struggle and attempts to make a power grab, starting with the acquisition of a minority stake in Waystar Royco.

Amid this struggle, there are affairs, backstabbing, secret plotting, and even a Bernie Sanders-like politician who goes after the Logan family.

When I heard the premise for Succession, I was extremely skeptical.

“Oh, great,” I thought, “yet another show about unlikeable people betraying each other. After The Sopranos, Breaking Bad, and Game of Thrones, do we need more of this?”

But the answer turned out to be “yes” because I ended up really, really liking the show.

It works because it’s funny; it’s more of a black comedy than a pure drama, with equal parts satire and serious conflict.

Also, even though the characters are initially unlikable, they become more likable and interesting over time as the show demonstrates that wealth and power do not resolve fundamental human issues.

Watching the episodes, Tolstoy’s famous line from Anna Karenina came to mind:

“All happy families are alike; each unhappy family is unhappy in its own way.”

Despite their wealth, the Roys are just another unhappy family – and each episode reveals a new dysfunction that makes them unhappy in a different way.

On the negative side, I’d point to:

Story Leaps – There were a few corporate maneuvers (think: hidden loans, giant scandals covered up over decades, etc.) that tugged my “suspension of disbelief” strings.

Dreariness – The comedic aspects did not come through quite as strongly in the first few episodes, and I kept thinking, “OK, can we please get one sympathetic character… just one, please.”

But, overall, I was pleasantly surprised, and I’m looking forward to Season 2.

Finance TV Shows: Black Monday (Season 1 in progress)

Black Monday, a new Showtime series that’s in the middle of its first season as I write this, officially takes us from “black comedy” to straight “comedy.”

This one stars Don Cheadle as Maurice Monroe, or “Mo the Marauder,” who heads a prop trading firm called “The Jammer Group” in the 1980s.

The series follows the traders at this firm, who were somehow responsible for Black Monday in October 1987, when stock markets around the world crashed by 20%+ in a single day.

Along with Don Cheadle are Andrew Rannells as Blair Pfaff, a fresh grad from Wharton who has developed an amazing trading algorithm and is leveraging it to win job offers, and Regina Hall as Dawn Darcy, the top trader at the Jammer Group.

Black Monday is a fun, completely over-the-top portrayal of the 1980s on Wall Street.

If The Wolf of Wall Street were made into a TV series, it would resemble this show.

It’s not at all surprising that Seth Rogen and Evan Goldberg directed the pilot, as it’s a tonal match for many of their films.

If you’re easily offended by sexist, boorish, and completely ridiculous behavior and comments, you should not watch this show; it’s set 30 years before the #MeToo movement, and it feels more like 300 years before.

You’re unlikely to learn much about finance by watching this one, but you will learn about the atmosphere of the industry in the 1980s.

That said, I still enjoyed the six episodes of Black Monday I’ve seen so far.

In a comedy, you can get away with almost anything as long as the audience laughs, which explains this show’s appeal.

There doesn’t appear to be much substance at first, but that changes a few episodes in as the series begins to address issues like the glass ceiling, the underrepresentation of women, and the computerized and automated trading that would eventually disrupt the whole industry.

My favorite quote is spoken by Maurice to Blair, as he explains why the fresh grad lost $50,000 trading on his first day:

“Your little algorithm doesn’t work so well against real traders, huh? Pro-tip kid – computers, don’t make trades, okay? Men do.”

If only he could steal a DeLorean time machine from another 1980s movie and see what trading is like today.

Finance TV Shows: Top-Tier Television?

It’s difficult to compare these shows because they’re all quite different, despite sharing topics and themes.

And, not to be a TV snob, but I wouldn’t consider any of them to be “top-tier series” – i.e., do not go in expecting The Wire, Breaking Bad, The Leftovers, etc.

But they’re all enjoyable shows that improve from start to finish.

If you want an authentic flavor of the hedge fund world and you don’t mind ridiculous dialogue, check out Billions.

If you want a black comedy about a dysfunctional family that’s entertaining but sometimes a bit too dreary, check out Succession.

And if you fantasize about doing cocaine at the office and buying expensive cars, start binging Black Monday.

Finance TV shows have come a long way, and they’re not nearly as bleak as exit opportunities for mid-level bankers anymore.

I’d say they’re almost up to the standard of Associate exit opportunities, and with time, they might even reach the Analyst level.

The post Finance TV Shows in 2019: The Full Round-Up appeared first on Mergers & Inquisitions.

from ronnykblair digest https://www.mergersandinquisitions.com/finance-tv-shows/

#ronnykblair digest

0 notes