Bookmarked by Reese's book Club is presented by Apple Books.

Hi, I'm Danielle Robe and welcome to Bookmarked by Terese's book Club.

Okay, this may be a bit of a hot take, but I actually love reading thrillers during the holiday season.

I know, hear me out, It's four pm, it's already dark outside.

Half of my emails bounce back with out of offices, and there's something delicious about burrowing under a blanket and letting a completely unhinged plot take over my mind.

It's cozy, but with danger.

I know by now that I love a contradiction.

So when I heard that Freedom McFadden's The Housemaid was headed for the big screen, directed by Paul fig and starring Amanda Seifried, I perked up.

Paul has given us cultural staples, right freaks and geeks, bridesmaids a simple favor, and Amanda is one of those rare actors who just dissolves into every role she touches, from mean girls to lay miss to the dropout.

She's fearless.

You have to accept that you are in every character, whether you're in it ten percent or ninety percent.

You have to be present.

I like myself, and I won't always return to myself, so I choose to just make sure I'm grounding it as much as possible.

So, if you haven't read the book, let me set the stage.

The Housemaid begins quietly and simply.

Millie is a young woman with a very complicated past, and she takes a job as a live in housemaid for Andrew and Nina.

Nina's played by Amanda Seyfried, and they're one of those couples whose white couch actually stays white.

Okay, but soon tiny cracks start to turn into fault lines, and nothing and no one is what you thought they were.

So if you're already inching a.

Little closer to the edge of your seat as I'm talking, good you're in exactly the right place.

Let's turn the page with Amanda Seyfried and Paul Feek A man up, Paul, Welcome Teresa's Book Club.

Welcome to the club.

Thank you so much.

I'm so excited to chat with you today.

Interviews are a privilege, and it's a real privilege to interview you.

Good line.

Thank you for playing along.

When everyone sees the film, they'll understand.

But I feel like a changed woman after seeing this film.

And I want to start with a question that you probably haven't been asked on this press to a ton, what is your earliest memory of reading?

Well, for me, it was Winnie the Pooh because I had trouble reading, but for some reason, I was given that book by my grandma and I just devoured it and the whole family was relieved, like, oh, he actually can read.

You got to find something that you really enjoy.

It makes you feel safe.

I realized that with my daughter too.

I'm like, she's read, No, she just has different tastes.

And I think I never liked to read until I was maybe ten, and there were these lowest dunky books and there were chapter books and I felt really adult when I was reading them.

But they were thrillers, like crazy thrillers that I think I actually should should make movies.

But I remember just devouring them in a way that I had.

It made me feel really empowered.

I love hearing that and Paul, I think there's so many good lessons in Winnie the Pooh also that carry over into adulthood.

So I think that's cool.

Yeah, I know, it's like it's fun.

It's fun friends that you get to kind of imagine are yours?

Mm hmm.

Yeah, they're a good group, good smart group.

Well, this film was based on the Freedom of fat End book.

It was released back in twenty twenty two, and I saw this TikTok of you guys all on set where everyone was reading the book and having really big feelings about it.

So was everybody reading it on set or was there a divide between people who wanted to read it and people who didn't want to read it?

I mean, I think we all kind of read it beforehand.

I always kept it with me just because I always I was referring to it a lot when I was making the movie, even though we had the script and we had done everything.

I just I would always kind of go back for any questions I had because I really wanted to stay very true to the book because it's so good.

And the only things we changed were things that we kind of plussed up to make them a little more cinematic, and then we added an extra you know, we extended the ending past the book.

Yeah, to have the support of Freedom McFadden while we were making this, the support and the script, everything that we did we felt we felt empowered by because you know, we had her blessing, and I mean with Paul too.

You know this movie is going to be special and surprising, even for the book lover.

So I don't know.

I almost feel like I need to read the book again.

Well, did you read it before you were cast?

Because I can't have Matt you did.

I know I hadn't, but I do.

I listened to thrillers all the time, like I eat these up because I'm always driving or like feeding or doing things, you know, where I want to be told a story.

And so I was surprised that I hadn't read them because I read all these anthologies all the time.

I listened to them, and so yeah, that was a surprise.

But i'd read the script first, and.

It's been fun for me now discovering this is now I'm reading all of Frida's books and fun.

Right, Yeah, she's got it going on.

Well, I kind of love that you hadn't read it before you were cast, because Nina is such a complicated character.

I cannot even imagine how she was pitched to you.

What did what did people describe her as?

Okay, it's Paul Fee and Sydney's meeting.

It shoots.

It's based on this crazy, huge, amazing book and it shoots in New Jersey and I was like, dude, I great.

And then and then the like the privilege of reading a script where right off the bat, the character that I'm asked to play is so vastly different than anything I've ever been asked to play in my life.

Yeah, it keeps getting better, and I'm sorry.

It is the most fun.

Role I've ever played, and it's really probably not gonna happen for a long time.

Yeah, because you were playing somebody who's playing somebody.

Often and the ability that he gave me, the space Paul gave me to really like go as far as I needed to go.

I got to explore rage in a way that I never had, very therapeutic, and in watching it back, like necessary, What's cool?

Though she starts out kind of too dimensional.

You don't realize that there's this person playing a character.

You don't even see all the rage yet.

What kind of conversations did you and Paul have about how you wanted to develop her and portray the character playing a character?

I mean, I think it was just really important for us to map out exactly what kind of crumbs I was leaving when with her, and it was all in how I communicated with Millie and I needed to keep her on her toes at all times because I needed her to feel completely unstable and so like it was, it was very del It was very delicate situations.

We had to go through the script and figure out, you know, seeing to scene where.

How far I was going to go out losing her completely.

We'll were on the map at two, so that if Nina's just turns and is terrible the whole time, it becomes one dimensional and either you go like, well, by yeah, So it had to be this weird push and pull of like she's mean and then she's like, I don't know what I do without you, and then she's kind of normal and that she's not, so that Millie can be going like is she just hormonal because she's pregnant or is she crazy?

Or does she just hate me?

And that weird push and pull that they played together so well, and.

Then that outside the outside outsiders like the PTA moms who you know, end up making Millie feel empathy for I mean, she's just like every time she loses her she kind of takes her back, and.

God, it's it's really really It was really fun at the beginning because those first few scenes I remember, I think my only direction was like cookie and fun.

She's cookie and fun, like just make her just yeah.

So the Millie's like, Oh, this is the greatest job ever, this is the greatest boss ever.

And then the next morning shows up.

And to that point, I was sort of like watching thinking, I wonder who she pulled inspiration from.

Were there any real housewives or TV or film housewives that you were thinking about?

No, I boring answer, No, No, I've channeled one of my fears in life, or one of the things that I really struggle with is when I'm with people, working with people, or having to be near people who are unpredictable and hot and cold.

And because this.

Is who Nina is when you meet her, it was really really fun and interesting to channel like what I fear most, try to find the scariest pieces of that and portray them.

And it was just cathartic, mostly therapeutic.

This whole movie for.

Me, Amanda, that's so deep, is it?

Yeah?

I mean I don't want to pry too much, but it sounds like that stuff is from childhood, and so to be able to play it out and also it's.

Like it's something I learned, you know, in my thirties probably that of course, of course, you don't feel safe when you don't know what you're gonna get, you know, the I fear of the unknown.

It's like, you want to trust somebody and love somebody, but if they treat you differently than they did the day before, it's you know, it's not your fault, but you want to try to make change yourself for them.

And I think that's just what humans do when they're especially when they're younger.

They don't know any better.

So you know, thank god spoiler alert, it doesn't end up that Nina is that person, but actors get to do get to learn a.

Lot through their work.

It's definitely one of the upsides.

Maybe what's so amazing is that you have to be you sow yourself and simultaneously another person.

Yeah, you have to like in that you're grounding it, and so you have to accept that you are in every character, whether you're in it ten percent or ninety percent.

You have to be present, I think in order to ground something or you have to completely turn into somebody else, which some people do and are successful at it.

I like myself, and I want to always return to myself, so I choose to just make sure I'm grounding it as much.

As possible, to go back to the book for a moment.

The first line gags everybody.

It says, if I leave this house, it will be in handcuffs.

Paul, as a director, how do you translate an opening line that is that explosive onto the screen without blowing tension too early?

Yeah, I mean, it's a very living, breathing organism a movie.

And the original opening for the movie that we shot starts with somebody's dead, and it's the cops coming down staring at this body.

And then one of them picks up a tooth and it says, is that a tooth?

And so?

And then we go into the movie as a flashback, and I liked it, but with an audience, we realized we were we were taking too much away from them for that with that, and so it was better to lose that, and we just come into it and like, oh, this is just a nice little domestic thing of a you know, young woman showing up who needs work.

And I'm so glad we took it out.

Even though I liked the scene and it was a really cool shot.

So obviously as a director, you're like, oh, you to lose that, but you want to seduce people in in a way that sometimes a book.

I don't know.

It's so funny.

I really learned because I've done a bunch of book adaptations, but every book is different, and some books need a lot of help from us as screenwriters and actors and directors, and other ones just kind of sort themselves out.

And the Housemaid really told us, let's play this almost linear, well very lineary for the first hour because then we know we're going to do this switchback.

And it was really fun.

You know, I don't normally like voiceover in a movie.

It's a crutch that you can rely on, but this movie, it was so important to have it because, as Laura Fisher, my producing partner, says, this movie is the first hour is all questions and the second hour is all answered yes.

And so by the time you're just like, I gotta know what's going on.

Here it comes and Nina's backstory is so wonderful.

And let me just credit my friend here, Amanda.

We recorded that vo on the first day is temp and we went to a Moti.

Story dancing that day.

Yeah, yeah, and you were and she just did it once and that's what's in the movie.

It was so good.

I would just like, I mean, when when you were doing it, I was leaning forward, and when you finished it, we were all just like, oh my god, like I don't feel like I just watched the movie.

It was so good.

So there was one take, one take, wonder over take it.

I'll take it.

I just think it's really just a great design all and all.

I mean, there are certain formulas for certain types of genres, but you don't always have to play by those rules, because if you have something more interesting, if you're gonna give the audience even a better ride, you have to go with your instincts.

So that's it's it's always interesting to me.

What's what was gonna be?

And now is?

Yes?

Do you feel because I know in what I do, I'll I'll repeat a line ten times and then decide which take is best.

Were you nervous that they went with the first take?

No, it just poured out.

Yeah, I don't.

I don't care if it were.

I mean, I try to do my best, you know.

Of course, I've always seen takes in movies or TV that I'm.

Like, why would they use that?

That's terrible?

I see something different now the character, it's probably fine.

Well, the other thing I don't rehearse either, So my favorite thing is to get to start going and see what their natural instinct is.

Yeah, and then I have in my head usually something slightly different.

So then I just kind of like to incrementally move them towards what I think I want.

But then I've got this whole, you know, selection of takes, and I usually end up almost always using closer to what their original instinct was than what I wanted, because they are the.

Character now, Paul, to your point earlier about building tension, the book contains actually very little dialogue, and instead you're in the narrator's head the entire time, and so that tension builds through the gap between what the characters think and what the actually do.

And then when you adapt this for a screen, you have to transfer that tension.

Now, understanding how you thought about it, questions and answers, that makes a lot of sense.

But was there a scene or a moment that was either particularly hard to adapt to screen or one that you're particularly proud of.

I mean, I'm proud of everything in this movie.

But I think I think my favorite scene is when Nina when Andrew confronts Nina after the stolen car and then throws around the house because the high extreme tension in that scene is so great and Amanda place, it's so fantastic, just that slow walk down the stairs.

Oh yeah, it's so great and you still don't know for sure what's happening during that walk.

That's how good and complicated you were, Amanda.

Thanks, there were so many opportunities in that scene.

It was just a mule a feast.

In my favorite moment, it was just like because when she grabs her and I just said, get as close to it in her face as you can.

And then and I was watching it and you got in there, I just I almost like, I just I almost streamed out.

I was so.

One of my.

Favorite parts I'm shooting with you is that, like you I can feel your excitement after.

Oh that's the best.

Yeah.

We laughed a lot and got how to have levity.

Yeah yeah, yeah, But that's that's the most fun thing about being a director is to see these things realized and you have something in your head and then to see somebody do it better than you had in your head, or take some idea that was like in a moment of like, oh, try this, and then it's like, oh my god, we just created the perfect moment that I wasn't even sure I didn't even have planned.

That's exciting, that's right, It's like fireworks.

It feels good for everybody.

You can you can feel an overall like kind of celebration of like nailing something where you weren't really sure what was going to happen, and you're.

Like, oh my god, I think we found it.

Yeah, I think the misdirection or like the red herrings is what's so fun about this movie.

And you got me like, usually I can tell what's going to happen.

And I was thinking to myself, like, Paul fig is not going to do a movie where women aren't like they aren't winning, you know, so like what's happening here?

But Amanda, I'm curious how you step into a role when your characters like seeming and being are two different stories.

Did you, like, do you write in the lines of the script, How did you even think about how to do this?

I mean, I just I don't I don't know.

I was just like, this is a woman who's desperate, and.

Had you felt that before that sort of desperation, could you align with it?

I have never felt like I was.

I had to set up such a found the trap for some another woman so I could I could escape an abusive husband, thank God.

But when I get a character, and you know, when I try to understand the character, obviously I have to relate to a lot of things.

But I think I relate to the fact that she's just had enough and she has to play one last part in order to find her destiny.

And I had to ignore the fact that she was using this other woman because it's a terrible it's terrible, but it's the same time, like you, you're at this point so desperate, you're putting yourself and your and your family first with yeah, your daughter, and I don't know, you just find it Humanity's we're all humans.

I mean, even with Andrew.

The character of Andrew, it's like, you know, spoiler turns out to be an abusive mother.

But it's not because he decided that he wanted to be this guy.

It's because he was born to a certain person and didn't have you know, the tool wasn't given the tools, you can find empathy for every single character in every movie, and as an actor you have to find that.

But it was just interesting.

It was just balancing that the push and pull.

Yeah, and with Andrew because you didn't want to give too much away to him, but he almost didn't want to see it.

Well, I mean everything I do, anything I write, or anything I put up on the screen, I run through George Bernard Shaw.

You know, the back of his plays would have these little maximum and maximums, and one of them was all men mean well, And that to me is the key to making everything believable, because the worst villain in the world has some reason they think they're doing the right thing.

Correct and Andrew, this is how he was brought up, so I'm sure that happened to him too.

It's not an excuse by any means, but you go, Okay, at least there's an inner logic that I'm tapping into.

I think the worst movies and the worst villains and movies are just like mustache twirling, like I'm just going to create chaos, Like like, well, why, what's the reason you're creating chaos?

Yes?

Evil?

So I think that gives everything a three dimensions.

Like everybody, they just when they don't have control and want controls the things that they're willing to do to get it.

Yeah, exactly, exactly.

Well, there's hardly any men in this movie, and one of them barely talks.

He does have really good hair though Amanda's face, are you agreeing?

Yeah?

No, No, he's so wonderful.

I we just spent the day with him, and it's just like, it's not how funny he was.

I wouldn't know because I didn't.

Hear him speak, and he does speak, and then the scene where we speak at the end, he's like, you and Chichen are going to leave, and we're like, it's an Italian, it would.

Be Chicha, but CEC.

Okay CC, you have to go with Chichen.

And it was just hilarious.

He just wanted to be there.

He was so willing to be I mean, he is a major character in the next two books.

Yeah, and he shares a lot with his eyes, like I did feel him.

What were you trying to telegraph about women's relationships, Paul by not having these men really have a huge role.

Well, I mean, I just love telling women's stories, and obviously we needed Andrew because he's the catalyst for all this.

But you know, I've always ever since, you know, everything I've done.

But like when we were doing Bridesmaids, it was so important to Kristin and I to not have cat fighting, and I have that.

It's like they're at odds, but it's not you know, dynasty where they're fighting it.

So you know, I just like you say, it doesn't seem like one of my movies in the first half because they're against each other and it's kind of like, oh, he's going to win.

But that's why I think this book is so brilliant.

She makes you, and by extension us, make you as an audience, rooted for everything you should not be rooting.

Thing you are rooting for in that first half is good.

And I love audiences cheer when he throws you out of the house.

I mean they always cheer, and I'm just sitting there going like, oh, I can't wait for you guys.

You're gonna feel so bad that you cheered for that, and you're the audience.

People really are reacting having fun through that whole first, you know, first half, because it's that you know, kind of triangle and there's lots of stuff to root for and find kind of fun.

When we get to your backstory and you're narrating it, the place is silent and getting invested.

So then when we come out of that back into present day, they are bloodthirsty, and that's where the fun where.

You know, it's weird to say a movie about abuse is fun.

The fun is the retribution and way back and the audience just releases so much and we get to just go crazy with it.

Amanda.

I heard you talk about motherhood and your CBS This Morning interview, which was so well done.

I love that whole interview.

Fun.

Yeah, you could tell you just seemed so yourself.

I was at home.

It was just like everybody's come to me, and my daughter and my mom were watching behind the camera because my son and my husband were in.

The house because he'll just talk.

But it was amazing.

Yeah, I was the most eddies because I knew my daughter was like right there.

Oh that's so cool.

I could feel that.

Wow.

So I heard you talk about motherhood and roles that you were playing once you became a mom, And one of the things that struck me about this is that it was about motherhood, but it was about the performance of what a good mother looks like, which is sort of a haunting part of the story.

What parts of your own experience did you pull from when you were thinking about how you wanted to perform motherhood?

Oh God, I mean the mother.

She doesn't seem like a great mother at first.

I mean, she just seems like she's in her own head and completely you know, putting importance on the wrong stuff.

But I think, you know, I think the frenzied like everything must be right, everything like I told you to do this and you didn't do this, and it's like everything that she's hitting against as performance, Nina is still very much part of the life of someone who's you know, raising kids and the madness that comes with that, the x factor of two little humans who don't necessarily know how it's done because they're not adults, and it's just like it's it's chaotic with with schedules, and it's just you can tell that she's worn out, you can tell that you don't know why.

You think that the reason she's so out of her mind is probably because she's just stressed and she been working too hard at keeping the house together, and that probably is part of it.

Too, because she has to maintain this house and this feeling and the perfectionist look for her husband so she doesn't get abused.

And I mean, I can't relate to that again, but I can relate to feeling like you have to kind of do everything and make sure the home fires are burning, and that it's just too much for one person.

Mm hmm, well said thanks.

I love asking our guests every week what they've bookmarked.

It can be a weird fact, a fun quote, something that you saved on Instagram or texted your best friend about.

What have you bookmarked this week?

Amanda?

I love how you grabbed your phone instantly.

Oh god, I can tell you what.

I Well, we just got a new puppy, so I've just been constantly on Instagram.

Now I'm getting all these things like dog training tips, so I'm just constantly forwarding goes to my wife who's with our puppy bag in the back of Palm Springs right now.

That's so fun.

Wow, congrats, Hey all, thanks, he's he's security.

Are you sleeping He's actually a good sleeper.

Weirdly, he actually met Weirdly, the first dog we've had that kind of wants to sleep.

Not on the bed, and my wife is really insulted by this.

Yeah, it's okay.

I don't even go in sideways and kicking me off the bed like all the other dogs do.

Hilarious, Amanda, what have you bookmarked?

This is one of my favorite things in life.

Oh?

Can I read it?

Please?

Whatever teaches us to talk to ourselves is important.

Whatever teaches us to sing to ourselves, sing ourselves out of despair.

But the painting has also taught me that we can speak to each other across time.

And I feel I have something very serious and urgent to say to you, my non existent reader, and I feel I should say it as urgently as if I were standing in the room with you.

That life, whatever else it is, is short.

That fate is cruel but maybe not random.

That nature meaning death, always wins.

But that doesn't mean we have to bow and grapple to it.

That maybe, even if we're not always so glad to be here, it's our task to immerse ourselves anyway, wade straight through it, right through the cesspool, while keeping eyes and hearts open, and in the midst of our dying, as we rise from the organic and sink back ignominiously into the organic.

It is a glory and a privilege to love what death doesn't touch.

That's the last page of the Goldfinch.

Wow.

And I every time I read.

It, just like any Marry Oliver poem that exists on the planet, every time I read it, it brings me back around.

That's really beautiful.

I think I have a frame.

So that's why I was like, oh my god, can I ask you why?

It just reminds me that I'm dying.

In a really beautiful way.

And yeah, you know, we deny that every single day in order to keep living.

But if you remember remind yourself that you are gonna be dead at some point, hopefully not too soon, you'll live a little more or make decisions based on like what fills you, what fills your cup?

It gives you the urgency to live.

Well.

Thank you both so much for your time.

It was such a fun movie to watch.

Oh yeah, thanks, it's fun to promote.

I'll tell you that.

Yes, well, the two of you together, I can imagine there's lots of laughs.

Just there's just so much to do with.

Him, you know, m H, I get it.

Thank you, Thanks so much.

Okay, friends, Before we wrap today's episode.

It's time for our monthly comfort segment with Cotton, called the Booknook, where we celebrate the little rituals that make reading feel just right.

And now we've slid into the holiday stretch.

Twinkle lights, festive outfits, cozy after parties at home, it feels especially perfect to bring on the comfort right.

Cotton is such a big part of that holiday feeling this time of year, from the soft layers we live in to the pieces that help us feel grounded wherever we're reading.

Let's hear from another Bookmark listener sharing their ideal reading setup.

Hi, Bookmarked, this is Kelly calling from Brooklyn.

My ideal place to read a book is a local neighborhood bar on a weeknight.

I like a play set's a little bit divy, but friendly and welcoming.

Good music, but not so good that I'm singing along in my head with all the songs the whole time.

So maybe a couple of my favorites sprinkled in among some songs I don't know.

I want a comfortable barstool that is just wide enough for me to fold up my legs on the seat, and low, warm lighting where my booklight won't be too intrusive.

I'll usually order some food that can be eaten with one hand so I can still turn the page, like a sandwich or tater tots, and then sip on my tequila and soda with lime.

For weeknights, because it's not too busy and there are plenty of seats with lots of elbow room, and I don't mind chatting with the bartender for a bit, or answering a couple questions from someone who's curious about what I'm reading.

But in general, I like to think that reading a book in a bar is a pretty clear sign that I don't want to start a long conversation.

It doesn't always work out that way, so my advice to everyone is, if you see someone reading in a bar, leave them alone.

They're busy.

So I guess my ideal reading place is about what it isn't as much as what it is.

Not too loud, not too crowded, and not too distracting.

I like being in a place where the only thing I need to focus on is the page in front of me.

Kelly, I adore this.

There's something so charming about a quiet bar in wintertime, that warm amber glow, soft music.

You tucked into your own little pocket of calm with a book.

I can totally picture you perched on that barstool, wrapped in something comfy and cottony, creating that little cocoon even when you're out in the world.

Such a good reminder that comfort doesn't have to mean being at home.

Sometimes it's the familiar.

Softness you bring with you, your favorite cotton sweater, a well worn scarf, wherever you're snuggly settled, consumed by the page, but still connect it to the cheer around you.

So friends, keep your reading setups coming, especially now that the cold is settling in and we're all layering up in those soft cotton essentials.

Are you curled up under twinkle lights, maybe reading in your coziest cotton sweater while cookies are in the oven, or you're wrapped in a blanket like a bookish burrito.

That's me.

Take me into your winter reading ritual.

Leave me a voicemail at five zero one two nine to one three three seven nine, or email a voice memode a bookmarked at Reese's bookclub dot com.

Thanks to Cotton for bringing the segment to life and for reminding us that comfort and style can go hand in hand, especially during the holiday when you're getting dressed for a night out or cuddling up with a book.

Don't forget to check the tag for cotton.

And to learn more, head to the fabric of OurLives dot com.

And if you want a little bit more from us, come hang with us on socials.

We're at Reese's book Club on Instagram, serving up books, vibes and behind the scenes magic.

And I'm Danielle Robe rob a y Come say hi and DM me And if you want to go nineties on us, you can call us.

Okay, so our phone line is open, So call us now at five zero one two nine one three three seven nine.

That's five zero one two nine one three three seven nine.

Share your literary hot takes, your book recommendations, oh please share those, and questions about the monthly pick, or just let us know what you think about the episode you just heard.

And who knows, you might just hear yourself in our next episode, so don't be shy.

Give us a ring, and of course make sure to follow Bookmarked by Reese's book Club on the iHeartRadio app, Apple Podcasts or wherever you get your shows.

Until then, see you in the next Chapter.

Bookmarked is a production of Hello Sunshine and iHeart Podcasts.

It's executive produced by Reese Witherspoon and me Danielle Robe.

Production is by ACAST Creative Studios.

Our producers are.

Matty Foley, Brittany Martinez, and Sarah Schleid.

Our production assistant is Avery Loftis.

Jenny Kaplan and Emily Rudder are the executive producers for a Cast Creative Studios.

Maureene Polo and Reese Witherspoon are the executive producers for Hello Sunshine, Olga Cominwha.

Sarah Kernerman, Kristin Perla and Ashley Rappaport are associate producers for Reese's book Club.

Ali Perry and Lauren Hanson are the executive producers for iHeart Podcasts