Teddy Wayne, Author of 'The Au Pair'

Summary

Bloomberg Businessweek: Teddy Wayne, Author of 'The Au Pair' (June 30, 2026)

---

Episode Overview

In this engaging episode of Bloomberg Businessweek, hosts Carol Massar and Tim Stenovec sit down with acclaimed novelist Teddy Wayne to discuss his latest literary thriller, The Au Pair. The conversation delves into the themes of ambition, class anxieties, gender dynamics, the economics of modern novel writing, the pervasive influence of technology, and the creative process—both practical and personal. Wayne gives a candid behind-the-scenes look at how real life, research, and family intersect in his writing, while offering witty insights on the cultural moment and the state of American fiction.

---

Key Discussion Points & Insights

1. The Allure and Downfall of Ambition

• Central Theme: Many of Wayne’s books—and particularly The Au Pair—revolve around characters, often men, making poor choices despite having “a pretty good life,” driven by the insatiable American urge for “more… happiness, more money, more sex, more status” ([02:51]).
  • Notable Quote: “I think I’m just entranced by the idea of someone destroying their life who has a pretty good one…driven by the American pursuit of more and more. That ambition is their downfall.” — Teddy Wayne [02:51]
• Wayne notes the culture of relentless ambition, especially in New York City: “The Mecca of ambition and status and money.” [03:19]
• The hosts and Wayne reference the oft-cited studies showing happiness does not correlate endlessly with wealth and status: “People’s happiness rises to a certain income level… I strongly believe that past a certain point it actually goes down.” — Teddy Wayne [03:51]

2. Plot and Character Dynamics in The Au Pair

• Summary: The novel follows a middle-aged Brooklyn novelist, Steven, whose faltering marriage and stalled career get upended by the arrival of a young Norwegian au pair ([05:00]).
  • “Let’s just say things get a lot messier than it sounds like they’re going to get.” — Tim Stanovec [05:03]
• Wayne clarifies Steven is not autobiographical, despite surface similarities: Steven is financially dependent on his wife (a private equity executive), a dynamic Wayne finds increasingly prevalent but underexplored ([05:29]).
  • “I’ve observed…men who are financially dependent more or less on their wives. They tend to respond to it better than Steven does…but I think the genders have…still trying to figure out how to adapt to it.” — Teddy Wayne [05:36]

3. Making a Living as a Literary Novelist Today

• Wayne discusses the harsh economics of literary writing, noting the decline of the full-time novelist since the mid-20th century:
  • “This is the only way I make my living, is writing…The industry has contracted greatly…So, yes, I had this idea…we’ll sell it to Hollywood for IP…Once I started writing it though, I got very excited by it…but I used that initial conception of ‘this is the only way to make a living now’ as one of the major themes of the book.” — Teddy Wayne [07:07]
• The genesis of The Au Pair was cynically practical—a short story meant for Hollywood adaptation—but genuine engagement with characters and themes shifted it into a novel [07:07–08:26].

4. Reporting and Research in Literary Fiction

• Wayne credits detailed research and advice from a NYPD detective and Bronx prosecutor (friends and avid readers) for authentic criminal/legal plot elements:
  • “They’ve helped me come up with plot turns…The ending of The Winner was completely invented by my DA friend…that not many people knew about.” — Teddy Wayne [09:20]
• Even the dramatic ending of The Au Pair stemmed from a spontaneous conversation with a parent at his daughter’s preschool party [10:36].

5. Collaboration and Creative Process

• Wayne discusses collaboration with his wife, also an author. They act as “each other's first and last line of defense”—sharing drafts, thoughts, but not every page ([11:28]).
• He now writes drafts “as fast as possible at a blitz-like pace” to match the “page-turner” energy he wants for readers. Revisions deepen character and plot ([12:19]).

6. Technology’s Double-Edged Sword

• Technology is a recurring presence in Wayne’s work, as both thematic material and a real-world challenge:
  • “I’m as susceptible as anyone else. I spend a lot of time on my phone. I’m not proud of it…I do my best to have my children resist it, but there’s only so much you can do.” — Teddy Wayne [13:36]
• He links tech's rise with eroding literary culture: “It’s certainly leading to the erosion of my industry as a writer. But it’s not doing great things for most people’s characters and personalities, I’d say.” [13:36]

7. Disturbing the Comfortable

• Wayne articulates his artistic mission: not to comfort but to challenge privileged readers.
  • “Art can serve two essential purposes. It can comfort the disturbed or disturb the comfortable...I’m in the business of disturbing the comfortable. Specifically the probably upper middle class professional class...” — Teddy Wayne [14:48]

8. On Artistic Inspiration

• Wayne draws widely—novels, film, music, “little moments from real life”—and enjoys letting “what might rub off on me” ([15:48]).

9. Earlier Work: Kapitoil and Social Commentary

• The hosts revisit Wayne’s 2010 novel Kapitoil, appreciating how it “diagnosed” America on the cusp of the new millennium: “Each book of mine is an attempt to be some kind of diagnostic assessment of America at the time...” — Teddy Wayne [16:50]

10. Process, Writer’s Block, and What’s Next

• Wayne never used a nanny (“Swedish. No, we’ve not even had a nanny...So it’s all invented.” [17:53]) and discusses his relationship to writer’s block—it’s the lull between projects that is most anxiety-provoking, not the act of writing itself ([18:24]).
• When asked what he hopes readers take away: “First, I’m trying to entertain people...Secondly...I’m in the business of disturbing the comfortable.” [14:48]

11. The Book’s Future and Closing

• The Au Pair is already in talks for screen adaptation, likely as a series ([19:36]).
• Wayne teases the plot in a single line: “Failing middle-aged Brooklyn novelist hires a 24-year-old Norwegian au pair who upends his life and bad things happen.” [19:24]

---

Memorable Quotes

• On ambition and downfall:
  “I’m just entranced by the idea of someone destroying their life who has a pretty good one...Ambition is their downfall.”
  — Teddy Wayne [02:51]

• On happiness and wealth:
  “I strongly believe that past a certain point, happiness actually goes down.”
  — Teddy Wayne [03:51]

• On the reality of making a living as a novelist today:
  “The industry has contracted greatly. It’s much harder to make a living as a novelist, certainly as a literary fiction novelist, let's call it.”
  — Teddy Wayne [07:07]

• On ‘disturbing the comfortable’:
  “Art can serve two essential purposes. It can comfort the disturbed or disturb the comfortable. ... I’m in the business of disturbing the comfortable.”
  — Teddy Wayne [14:48]

---

Timestamps for Key Segments

• Introduction and career overview: [01:46]–[02:32]
• Men, ambition, and poor decisions in Wayne’s novels: [02:34]–[03:39]
• On wealth, happiness, and status: [03:39]–[04:40]
• The premise of The Au Pair and character backgrounds: [04:40]–[06:38]
• Economics of writing and career changes in publishing: [06:38]–[08:26]
• Reporting and research for fiction: [08:40]–[10:17]
• Creative collaboration and process: [11:28]–[12:19]
• On technology and its impact on readers and writers: [12:58]–[14:24]
• Wayne’s artistic aims: [14:24]–[15:39]
• Inspirations and background of earlier work: [15:39]–[16:59]
• Writer’s block and sustaining creativity: [18:06]–[18:59]
• Teaser for The Au Pair and adaptation news: [19:17]–[19:46]

---

Summary prepared for listeners seeking a comprehensive overview of Teddy Wayne’s interview, creative philosophy, and the cultural critique embedded in his work.

Transcript

[Bank of America Narrator]

What if data didn't sit still? What if intelligence moved with us? Not buried in reports, but activated in real time. Where lives are being shaped, where decisions are being made. It all starts with a Where is the potential? Totality turns data into clarity, intelligence into insight. Insight into action. Because when intelligence moves, we all move forward. Intelligence beyond bounds. Introducing B of a Rewards.

[IBM Narrator]

A new loyalty program with rewards for every ambition.

[Bank of America Narrator]

From cash back deals on brands you know and love to a credit card rewards bonus. From fueling up to rewards that fuel your goals.

[IBM Narrator]

It all starts with the bank of

[Bank of America Narrator]

America checking account and grows from there. What would you like the power to do? Bank of America Open or enroll your [e-mail] B of A rewards bank of America corporation. All rights reserved.

[IBM Narrator]

So there's a lot of noise about AI, but time's too tight for more promises. So let's talk about results. At IBM, we work with our employees to integrate technology right into the systems they need. Now a global workforce of 300,000 can use AI to fill their HR questions, resolving 94% of common questions, not noise. Proof of how we can help companies get smarter by putting AI where it actually pays off. Deep in the work that moves the business. Let's create smarter business. IBM,

[Carol Massar]

Bloomberg Audio Studios podcasts radio news.

[Tim Stanovec]

You're listening to Bloomberg Business Week with Carol Massar and Tim Stanovec on Bloomberg Radio. Teddy Wayne writes novels you can't put down.

[Carol Massar]

I already know I'm outnumbered, but go ahead.

[Tim Stanovec]

Yeah, sorry, Carol. No, you can hang.

[Carol Massar]

I can hang.

[Tim Stanovec]

You can hang. All right. Teddy Wayne writes novels you can't put down. I know this because I've read all seven of them. They include the Winner, which has been optioned by Sony for a film starring Tom Holland, the Great Man Theory, the Love Song of Johnny Valentine, Capitol and others. Teddy's a novelist, a screenwriter. He's also a frequent contributor to The New Yorker, McSweeney's other publications too. He was a finalist for the Young Lions Fiction Award, PEN Bingham Prize and Dayton Literary Peace Prize.

[Carol Massar]

I feel like it's Outlander for guys. I'm just going to put it out there. But anyway, his new book, the Au Pair is a literary thriller that comes out tomorrow. We're not going to spoil it. We're going to get to that in just a moment. Teddy, of course, joining us in our Bloomberg Interactive broker studio.

[Teddy Wayne]

Welcome, welcome than for having me.

[Carol Massar]

Your book is being kind of passed around our newsroom, to be quite honest, and different people reading it. Anyone who reads your book and I listen to a bunch of podcasts. It's often men who make really questionable or in some cases really bad decisions. What's up with that?

[Teddy Wayne]

I think I'm just entranced by the idea of someone destroying their life who has a pretty good one, a fairly accomplished or content life, but is driven by the American pursuit of more and more. More happiness, more money, more sex, more status. And that ambition is their downfall.

[Carol Massar]

Why are you so interested in that?

[Teddy Wayne]

I live in New York City. It's all around me. I'm at Bloomberg right now.

[Carol Massar]

That is so funny.

[Teddy Wayne]

The Mecca of ambition and status and money.

[Carol Massar]

It does feel like there's. We live in a society, certainly in the New York metro. It's never enough, right?

[Teddy Wayne]

It should be. We all know that instinctively. We all have been taught that over and over many times in our lives. But when you're actually presented with the opportunity and the potential to get more, it's very hard to turn it down.

[Carol Massar]

There was somewhere on a podcast you talked about billionaires specifically, and you were like, you know, that's not what people really want to be or shouldn't be. It's not like all of a sudden everybody's so happy or like everything's solved.

[Teddy Wayne]

There is that stat. I'm sure you guys know that study, that people's happiness rises to a certain income level and then maybe tails off. I think the original number is $75,000 a year. They upgraded that to 150 or something because of inflation perhaps. I strongly believe that past a certain point it actually goes down your happiness that you might have more material comfort. Of course, you might feel in some sense like you won at life. But the people I know who are in that kind of ultra rich, high net worth category tend to have thinner relationships, tend to feel like if they don't recognize it themselves, that people like them for their money and their power. And I think it's very difficult to have that kind of level of wealth, not even income, and still have an authentically happy life.

[Tim Stanovec]

Well, perhaps that's a good segue to talk about. Your new book, the Au Pair. It goes on sale tomorrow. We're speaking with Teddy Wayne. He's a novelist, author, screenwriter. The Au Pair is a literary thriller. It's about a middle aged novelist who lives in brownstone Brooklyn. He's married. The marriage is not so great. A young Norwegian au pair enters the picture.

[Carol Massar]

Okay, let's just say it's trouble. I mean, come on.

[Tim Stanovec]

Well, I'm not gonna give everything away, but let's just say things Get a lot messier than it sounds like they're going to get. You talk about writing about what you know and what you're surrounded by. That profile of Steven, the main character, middle aged, plays pickleball. I guess you play pickleball too. He has two kids, lives in a certain part of Brooklyn that's very similar to you.

[Teddy Wayne]

Adjacent to me. I live in Copple Hill, not Brooklyn Heights. I do have two kids, just got

[Tim Stanovec]

across Atlantic Avenue to get to it.

[Teddy Wayne]

His career trajectory and his financial situation in the household is different from mine. He had a massive hit when he was nine years earlier, before the novel starts. His second novel was a bust. He's financially dependent on his wife who works in private equity. That's not my situation at all. I've observed though, both the plight of the novelist who had a sort of a big bang of an opening and then a whimper in their next phase. And I've observed separately a number of men who are financially dependent more or less on their wives. And they tend to respond to it better than Steven does. There's a lot of insecurity here, a lot of sense of emasculation. His wife is not too thrilled with the arrangement either. So I was interested in exploring this phenomenon that didn't really exist in America 20 plus years ago, certainly not 30 plus years ago. It's not widespread now, but it's much more common than you'd think. And there's nothing wrong with it objectively, but I think the genders have. Still trying to figure out how to adapt to it.

[Tim Stanovec]

I found it notable that you, you wrote about how when you started this process for writing this book, you started it as a screenplay or maybe a short story that could turn into a screenplay that you could give to your agent who could then go and sell it to a streaming service.

[Bank of America Narrator]

The.

[Tim Stanovec]

The economics of writing a novel in. In today's environment, is that the way you have to approach something in order to like make the economics work, make it financially work? You have to think about all these different income streams.

[Teddy Wayne]

If I didn't live in Cobble Hill, Brooklyn, maybe I'd have a little more leeway because I live where I live and I'm not a professor at a university. This is the only way I make my living, is writing. So it's a bit of a rare breed now. I think again, the type of me, the guy who earns a living as a novelist, was in proliferation 30 plus years ago in American life. Probably from like 1920s up until about 2010. The industry has contracted Greatly. It's much harder to make a living as a novelist, certainly as a literary fiction novelist, let's call it. So. Yes, I had this idea of 30, 40 page short story. I'd had a nice film deal with a winner. Let me write this as a short story. We'll sell it to Hollywood for ip Highly cynical origin story. I'm aware of that. Once I started writing it though, I got very excited by it, by the themes, by the characters, by the setting, by the, by the plot as well, and decided to turn into a novel. So that was a quick short lived idea. But I used that initial conception of this is the only way to make a living now for a guy who's trying to support a family. As one of the major themes of the book, that Stephen is now a failing novelist who's financially dependent on his wife, who can't make much money as a writer anymore. This undergirds all his anxieties pretty much as a writer.

[Carol Massar]

Is that kind of rewarding to start out like with a shorter mission and just be like, wow, I'm just really loving this and I'm going to run with it.

[Teddy Wayne]

It is when it works out well. If it doesn't work out well, it's, it's quite. Maybe I should have kept at that short level.

[Tim Stanovec]

You know, it. We're approaching this as broadcasters, as reporters. And I couldn't help but notice in this book and some of your other books, I'm not going to again, not going to give anything away, but you thank people within a profession. I'll just go ahead and say it like an NYPD Detectives Bureau prosecutor in the Bronx who you've leaned on in the past. And it's almost like you reported out certain parts of this book by making sure that it works in terms of like if somebody in a profession, in a legal profession were to read it, they would say, okay, wait a second, that's how things would, would actually unfold. Can you talk about not the creative process but the actual reporting process in this?

[Teddy Wayne]

Absolutely. I'm not a criminologist. I have no police background, as you might be surprised to find out. So I have these two friends, a detective and an assistant da. I feel like the one detective and one assistant DA who are both avid readers of literary fiction. So it's great to have them in my back pocket. They help me a lot with the winner as well. There's a crime in that too. And I wouldn't know the first thing about what police do, what lawyers do you get. Pick up some Things from life, from watching enough courtroom thrillers and so on. But it helps to have people who are experts, and not only that, they've helped me come up with plot turns for both these books. The ending of the Winner was completely invented by my DA friend who knew about this specific thing. I won't spoil it for your viewers that not many people knew about, which he gave to me as this is a great twist for the ending that is even a lot of cops don't know about it.

[Tim Stanovec]

That's pretty cool.

[Carol Massar]

And I'm not sure if I've got getting this right, but I thought I'd heard on a podcast too that the ending for this book, you were planning to go one way and then you went to was it a school event or something? And actually talked to a father at the school event who kind of gave. Talked with you about some stuff and kind of helped shape you.

[Teddy Wayne]

The ending was a little bit quieter and subtler and I'd been working on it. I kind of knew something was wrong. I went to my daughter's preschool graduation party.

[Carol Massar]

Which you love to do, right?

[Teddy Wayne]

Which I'm always up for. Going to a preschool graduation party.

[Tim Stanovec]

I were you last week.

[Carol Massar]

We've all been there.

[Teddy Wayne]

It was at the club. It was the after party. We were. I was talking to another dad there. He works for a company. I can't say what it is because it'll spoil. The last sentence of this book has a twist in it. So I can't say what he works for. But we talked for a while. I generally interested in people's jobs and ask what they do. The next day, my wife and I were talking about the book and she said, I think you need something else here at the ending, but I don't know what. But it's currently not working. And I realized what this guy does for a living could play a big factor in that. And I ended up rewriting it based on that.

[Tim Stanovec]

Okay. Oh, go ahead, Carol.

[Carol Massar]

Do you and your wife often talk? You're both writers. Like, do you often. You both work from home. Like, do you often kind of bounce off of each other?

[Teddy Wayne]

We do, literally, because we live in a small apartment and we are constantly in each other's way. But her name is Kate Greathead. She's a wonderful writer, too. Her last book is called the Book of George. I'd say we're probably each other's first and last readers, I think. First and last line of defense. Plenty of discussion while we're in the midst of things. Not the kind of couple where we show each other every single page we write that night. But good to have someone in your own field who you can talk with about your own work, but also about broader literature and movies and so on.

[Tim Stanovec]

How much does a draft stay consistent? I know it's dependent on the draft, but this, for example, the Au pair, which is coming out tomorrow, stay consistent between first and last draft.

[Teddy Wayne]

The spine stays consistent. The first. I've. I've written this and the last book very quickly. The first draft. My new method is write it as fast as possible at a blitz like pace to slightly match the pace of the reading experience. I want to write books that are page turners, that are quick reads that people tend to finish in one or two sittings. So I wrote them so quickly, they're necessarily short too because of that. So the revision process tends to flesh it out and deepen things. You get ideas like that ending twist, plenty of other backstory and other elements of character and psychology and narrative end up coming in too.

[Tim Stanovec]

We're speaking with Teddy Wayne. He's a novelist, he's an author. He is a screenwriter. His new book, the Au Pair. I want to talk a little bit about some themes that have come up in your work in the past. One of them is technology. And again, I'm not going to give anything away, but technology features prominently in this book and also in another book. And I'm just wondering the world that we live in today. You talked earlier about how we're reading less so and buying fewer books. Perhaps some of that time is being taken up by us being addicted to our phones and information coming at us from every different angle where we're kind of measuring everything too. I'm just wondering how you view technology.

[Teddy Wayne]

I'd say all of it's being taken up by that. I think that's the main difference between now and 1950, certainly. But even 2003, let's say I'm susceptible as anyone else. I spend a lot of time on my phone. I'm not proud of it. I don't like what it does to me. I can't resist the allure of a glowing device that has access to everything in the world ever made much of it bright and shiny and video and visual. So I understand why people are drawn to these things. I do my best to have my children resist it, but there's only so much you can do with it. And it's certainly leading to the erosion of my industry as a writer. But it's not doing great things for most people's characters and Personalities, I'd say,

[Carol Massar]

what do you hope when somebody reads your book? Like they walk away with. Because I do feel like there's messages about society in there. And I think I mentioned earlier, like the transactions that we see in our economy, the power structure, whether, you know, you see it right off, there's just always someone that can be above someone in positions. But it's a part of a lot of your books.

[Teddy Wayne]

Well, first I'm trying to entertain people and to write something that will make them put down the phone or their laptop and just read a book. Secondly, I think art can serve two essential purposes. It can comfort the disturbed or disturb the comfortable. Comforting the disturbed is a great thing. It's not really what I do. I'm in the business of disturbing the comfortable. Specifically the probably upper middle class professional class that might buy hardcover novel and have time to read it on the beach, say, or on their vacation and an attempt to make them look around their environment, look at themselves with new eyes in a way that I think fiction can often be anesthetizing or anodyne and make us feel good about where we are and about ourselves. And there's nothing wrong with that. Again, but I'm more interested in making people question themselves.

[Carol Massar]

And other works of art, often like movies or something like the Anatomy of Fall. Right. That inspired this. I mean, you are inspired by other works that are out there.

[Teddy Wayne]

You have to be. It'd be strange to be closed off by that. I've heard of writers who say they don't want to read other novels, other fiction while they're writing. I don't know how you would do that, but I'm always looking for. For what might rub off on me. I think it's important to have a bit of a magpie sensibility, to pick things from anywhere. Whether it's another novel is the obvious place. But film, music, and then of course, real life and little moments from real life.

[Tim Stanovec]

One of, I think was. It was Capitol, your first. It was novel. So it, it's a 2010 novel. It tells the story of this young immigrant from Qatar. It's very. It's actually very Bloomberg. Like, you know, he comes and, you know, works on Wall street, this algorithm to trade oil that ends up being really successful. There's a character in there who runs the fund that he works for and he builds this relationship with him and he goes and visits him on his estate in Connecticut and there are helicopters involved and lots and lots of money. Was there a specific individual, like hedge fund manager? You modeled that person off of not hedge fund.

[Teddy Wayne]

I think each book of mine is an attempt to be some kind of diagnostic assessment of America at the time it was either written in and. Or the time it portrays.

[Tim Stanovec]

And this is post financial crisis.

[Teddy Wayne]

But it takes place pre 911 takes place 1999. So it. But it's meant to be, in its own way, a kind of post 911 novel about the 911 world, even though it's all set before that. So that book was again, as you pointed out, he develops an algorithm that. That uses news articles. It's been a while since I read it or thought about it. Uses news articles and algorithmically sifts them to predict oil futures. It felt like a kind of metaphor to me of let's say 2003 to 2000 and whatever US foreign policy of some kind of exploitative oil acquisition and profiteering from Iraq. So that guy was not modeled off a specific individual as more thinking about the Dick Cheney style of foreign imperialism.

[Carol Massar]

All right, so I've got to ask. I mean, did you have a Norwegian au pair?

[Teddy Wayne]

Just kidding. Swedish. No, we've not even had a nanny or we rarely even get babysitters, to be honest. So it's all invented writer's block.

[Carol Massar]

It seems like there's a theme often where you have a writer or somebody who meets somebody, whether it's apartment or this book where somebody who isn't necessarily a writer by training or something can write. So naturally, do you have writer's block a lot or like, why is that a fun theme for you?

[Teddy Wayne]

So I have a strange situation of once I get started, I can't stop and I'm very excited to write and there's no problems. It's between projects that I think I'll always. I always fear I'll never come up with another idea or another idea worth pursuing.

[Bank of America Narrator]

Get it?

[Teddy Wayne]

And that is a probably chronic lifelong anxiety that I'll be afflicted with forever. Invariably, something pops up and I get an idea and I run with it. But there's often a several month gap between the end of one project and the start of a new one where I do feel that sense of a block and that might inform these characters.

[Tim Stanovec]

Is that where you feel you are right now, or do you feel like you have with this new book coming out that you worked? You know, it's been quite a while in the making. Are you ready to start a new one?

[Teddy Wayne]

I'm in the midst of working on one, so I'm good for now. But when this is over, I still feel like, what's left.

[Carol Massar]

All right. So the book is out tomorrow.

[Commercial Announcer]

Tomorrow.

[Carol Massar]

A teaser. We don't want to give it away. 30, 40 seconds for those who might

[Teddy Wayne]

be listening of what it's about.

[Carol Massar]

Yeah.

[Teddy Wayne]

Failing middle aged Brooklyn novelist hires an au pair, 24 year old Norwegian au pair who upends his life and bad things happen.

[Carol Massar]

All right, Summer read as we kick off the summer officially.

[Tim Stanovec]

And it already has been sold to like a. Has it been sold like who is it? Who bought it for a streaming rights

[Teddy Wayne]

or movie this season? A big production company. They do, I think. Severance and things like that.

[Tim Stanovec]

So would it be a series versus a one off film? Okay. All right. Well, congratulations.

[Teddy Wayne]

Thank you.

[Carol Massar]

Thanks so much for joining us. I'm just kidding. Good luck with it. Thank you so much. This was really fun. We really enjoyed it. Teddy Wayne, of course, joining us. The book is the Au Pair. Yeah. And there's lots of books. And you've read them all.

[Tim Stanovec]

I've read all seven and I will read the eighth one.

[Commercial Announcer]

Running a business shouldn't feel like surviving a software group project. One app for accounting, another for inventory, another for sales, and somehow none of them talk to each other. That's where Odoo comes in. An all in one business management software that brings every part of your business together from sales and accounting to inventory and marketing, all in one powerful platform. No messy integrations, no bouncing between tabs, and best of all, no spreadsheets. Stop managing software and start managing your business with one unified system. Try for free today at odoo.com iheartradio that's O-O-O-O.com iheartradio it's called soccer.

[Teddy Wayne]

It's called football.

[Commercial Announcer]

Soccer. Football. Domino's best deal ever. Lets you get any pizza, including stuffed crust with any toppings for 9.99.

[Teddy Wayne]

Okay, we can agree on that.

[Commercial Announcer]

Yeah, fully. So pineapple. Don't ruin it. Get any pizza including stuffed crust with

[Teddy Wayne]

any toppings for $9.99. Finally, something everyone can get behind. And if the refs disagree, that's between them and Domino's. Which means the only thing left to fight over is who's ordering Dom. Price is higher for some locations. Excludes XL and specialty pizzas. Select this offer from $6.15 to $7.26 online only. Size availability varies by crust. Tank Max 7 toppings 6 for pan and New York style crust. Minimum purchase required for delivery. Prices, participation, delivery area and charges may vary.

[IBM Narrator]

Ryan Reynolds here from Mint Mobile with a message for everyone. Paying big wireless way too much. Please, for the love of everything good in this world, stop. With Mint. You can get premium wireless for just $15 a month. Of course, if you enjoy overpaying. No judgments. But that's weird. Okay, one judgment anyway. Give it a [e-mail] Switch upfront payment

[Teddy Wayne]

of $45 for 3 month plan equivalent to $15 per month required intro rate

[Carol Massar]

first only then full price plan options

[Teddy Wayne]

available, taxes and fees extra. See full terms at mintmobile.

[Commercial Announcer]

Com.