Podcasts about AC

This Can Be Your Story (Part - 28) | ഇത് നിങ്ങളുടെ കഥയാകാം (ഭാഗം - 28) | Malayalam Christian Messages | Br. Damien Antony | Morning Glory Podcast - 1792 | 18 Dec 2025

Are you leaving money on the table because you're copying your competitor's pricing? In this game-changing episode, I'm exposing the #1 pricing mistake that's killing your sales and profit – and it's probably not what you think. After nearly 23 years in the coaching and consulting industry, I've discovered that most coaches, mentors, and service providers are making a fatal error: they're looking at what everyone else charges and matching those prices. Here's the problem – your competitors don't know anything about pricing either, and following them is like the blind leading the blind. In this episode, I break down my exact pricing strategy that's helped me build a business with clients paying anywhere from $5 for my Instagram Ads Playbook to $8,000 per month for premium consulting. I'll share why my $10,000 emergency AC repair taught me everything I needed to know about buyer psychology and urgency-based selling. What You'll Learn: ✅ Why being the cheapest option actually repels quality clients and attracts "value seekers" who will drain your energy ✅ The mathematical proof that 50 clients at $30 beats 100 clients at $10 (and requires less work) ✅ My proven pricing ladder system: $5 → $197/month → $900/month → $8,000/month and how to implement it ✅ The 30% closing rate benchmark that reveals if your pricing and offer are properly aligned ✅ Why charging $100K+ per year from a single client isn't just possible – it's happening every day ✅ How to remove emotion from pricing decisions and focus on the economics that actually matter ✅ The difference between solving a "nice to have" problem vs. an "urgent must-solve-now" problem I also reveal the exact pricing tiers I recommend for coaches: low-ticket offers under $47, monthly programs at $97-197, high-ticket programs at $6K-19K, and premium offerings at $30K-100K+ per year. The truth is, you're not helping anyone by undercharging. You can't invest in advertising, can't hire support staff, and can't scale your impact. More importantly, you're attracting clients who aren't serious about transformation. Whether you're just starting out or you're ready to scale to multiple six or seven figures, this episode will fundamentally change how you think about pricing your expertise. Stop being a superhero trying to save everyone with low prices. Start being a professional who charges what they're worth.

This Can Be Your Story (Part - 27) | ഇത് നിങ്ങളുടെ കഥയാകാം (ഭാഗം - 27) | Malayalam Christian Messages | Br. Damien Antony | Morning Glory Podcast - 1791 | 17 Dec 2025

From leaking documents to a leaky faucet at home, the root דלפ is an interesting one, and from which we get the Hebrew word for whistleblower. Hear the All-Hebrew Episode on Patreon   New Words and Expressions: Ha-mazgan dolef – The air conditioning unit is leaking – המזגן דולף Tsinor dolef – Leaking pipe – צינור דולף Dlifa – Leaking – דליפה "Yesh lanoo dlifa ba-mazgan" – We have a leak in our AC unit – יש לנו דליפה במזגן "Yesh lanoo dlifa me-hatikra'" – We have a leak from our ceiling – יש לנו דליפה מהתקרה Dlifat gaz – Gas leak – דליפת גז Dlifot neft – Oil spills – דליפות נפט Dalaf tik mismachim – A dossier was leaked – דלף תיק מסמכים Ha-meida dalaf – The information leaked – המידע דלף Eich dalaf ha-meida? – How did the information leak? – איך דלף המידע Dlifat meida – Information leak – דליפת מידע Mi hidlif et ha-meida? – Who leaked the info? – מי הדליף את המידע Hu hidlif mismachim – He leaked documents – הוא הדליף מסמכים Hi hidlifa mismachim – She leaked documents – היא הדליפה מסמכים Hadlafat meida – Information leak – הדלפת מידע Madlif – Leaker, whistleblower – מדליף, מדליפה Mi ha-madlif/a? – Who is the leaker? – מי המדליף Ha-sirton hudlaf – The video was leaked – הסרטון הודלף Ha-sirton ha-mudlaf – The leaked video – הסרטון המודלף Ha-pratim ha-mudlafim – The leaked details – הפרטים המודלף   Playlist and Clips: Danny Litani – Shalechet (lyrics) Midrag – Dlifat gaz Dlifat neft – Fuel leak Calcalist – Neft, politika ve-goofot Hidlifa Nurit Galron – Shalechet (lyrics)

Advent has a way of bringing the quiet and the uncomfortable to the surface, and Saint Joseph meets us there with steady strength.In Week Three of A Quiet Light, we reflect on Saint Joseph, Terror of Demons, and pray with Zephaniah 3:11–12—a lesser-known passage that reminds us God draws near to the humble and the lowly. Joseph shows us that real strength isn't loud or forceful. The word we're sitting with this week? ✨ Courage. The kind that steps into the dark places trusting God is already there.Our invitation this week is simple: bring what's hidden into the light. Take a few quiet moments to examine your heart, and if you're able, consider reconciliation as a way to make room for peace and joy.Don't miss the Cutting Room Floor at the end for deeper reflections, personal stories, and a few moments that didn't make it into the main episode. ............................... 

In this episode I talk with Anna Christine "AC" Seiple about slowing down, embodiment, and what it means to listen to our bodies and our parts.  AC is a licensed counselor and the author of The Sacred Art of Slowing Down. She lives in St. Andrews, Scotland, where she's working on her PhD exploring the intersection of ancient contemplative practices and modern mindfulness.  She shares why she felt called to write her book, how slowing down was not something she chose at first but something life required of her, and how chronic pain, illness, and unexpected disruptions shaped her relationship with her body. She talks honestly about what it's like to move from living primarily in the head, to slowly rebuilding trust with the body. Takeaways from this episode: • why slowing down often happens through life events rather than choice • how disconnection from the body can begin as a survival strategy • the role of self compassion and curiosity when parts resist slowing down • how faith, culture, and early messages can shape our relationship with our bodies • the importance of establishing safety before forcing embodiment • how slowing down and embodiment support parts that have been neglected • what it means to build new "muscle memory" with our nervous systems and parts • how seasons, light, and cycles mirror internal emotional rhythms I loved how she normalized how hard this work can be, and how she reminded us that slowing down does not mean changing who we are or stopping our lives. This conversation felt especially timely as the year winds down, a time when slowing down can feel counterintuitive. We continue part of this conversation in an extended interview for our paid community over on Substack, where we talk more about hope, seasons, and what it looks like to live with greater acceptance of where we are. About Anna Christine Seipel Anna Christine ("AC") is a licensed counselor, retreat leader, and researcher. She loves cultivating healing spaces that honor the entirety of our embodied beings. She holds two master's degrees, one in clinical mental health counseling and a second in ancient languages and is currently working on a PhD at the University of St Andrews in Scotland, exploring conversations between ancient contemplative practices and mindfulness interventions. Her writing, along with free integrative resources, can be found on acseiple.com. About The One Inside I started this podcast to help spread IFS out into the world and make the model more accessible to everyone. Seven years later, that's still at the heart of all we do.  Join The One Inside Substack community for bonus conversations, extended interviews, meditations, and more. Find Self-Led merch at The One Inside store. Listen to episodes and watch clips on YouTube. Follow me on Instagram @ifstammy or on Facebook at The One Inside with Tammy Sollenberger. I co-create The One Inside with Jeff Schrum, a Level 2 IFS practitioner and coach. Resources New to IFS? My book, The One Inside: Thirty Days to Your Authentic Self, is a great place to start. Want a free meditation? Sign up for my email list and get "Get to Know a Should Part" right away. Sponsorship Want to sponsor an episode of The One Inside? Email Tammy. 

Pablo, TK and AC discuss Duke's recruiting class, their upcoming games and what makes this team so great. We also take a look at the NCAA and who Duke's biggest competition may be.

On episode 268 of the Atlantic City podcast, Kyle and Craig play “Would You Rather?” with holidays in AC, then discuss some news before diving back into the mailbag. In... Read more »

We're letting it go, but not before revisiting Animal Crossing: New Horizons.The YouTube version: Click here to watch a video of this episode. (00:00) - (05:20) - - Island tour on YouTube! (06:01) - - Why ACNH now? (10:23) - - Matt's Animal Crossing entry point (23:06) - - Using Animal Crossing to work through stuff (27:15) - - The sound effects (28:33) - - Matt's Island Tour (49:03) - - AC's Island Tour (01:20:08) - - Why AC keeps coming back to ACNH (01:26:06) - - Thanks for listening to Can't Let It Go! Join The Worst Garbage Discord!Support Matt's work at https://ko-fi.com/matthortonFind AC at acfacci.comFind Matt at youtube.com/@flowstatecritArt by Scout (https://ko-fi.com/humblegoat)Music by Ethan Geller Resources on PalestinePalestine Solidarity ToolkitDonate to Palestinian organizations providing relief and services in Gaza and the West Bank:Middle East Children's AllianceMedical Aid for PalestineAl-Awda Health and Community AssociationHebron International Resource NetworkBDS MovementOur History of Popular Resistance: Palestine Reading ListJewish Voice for Peace - First Steps for Palestinian FreedomJewish Voice for Peace - Take ActionOperation Olive BranchFind out more at https://cantletitgo.gay ★ Support this podcast ★

A last-minute writing invite, a young artist with star power, and a chorus that had to carry the whole story—Ava Sapelsa walks us through how a room with Jamie Kenny, Trent Dabbs, and Max McNown turned into a multi-format hit climbing hot AC, pop, and country radio while living on the Billboard charts for months. We trace the journey from poetic verses to a clear “brown eyes” hook, why the melody stretches across male and female ranges, and how a strong chorus can translate from TikTok buzz to radio momentum without losing its heart.From there, we rewind to Evanston and Montana, where cover sets and country storytelling shaped Ava's instincts, then fast-forward to Nashville writers' rounds as a crash course in modern songcraft. Ava shares the strategies behind “Salt, Lime & Tequila,” a Zoom-era co-write with Ryan Griffin and Jason Massey that snowballed from a rough title to SiriusXM The Highway's most-played song, and how TikTok, smart pitching, and timing opened the door to radio. We also break down her outside cut with Carly Pearce on Hummingbird, proving how a clean concept and an honest lyric can move from demo to record in a week when everything aligns.Beyond charts and cuts, Ava brings purpose to Music City through Hope on the Row, a nonprofit serving unhoused neighbors with food, supplies, and pathways to stability—powered by volunteers from across the music industry. It's a reminder that enduring careers are built on craft, community, and consistency. If you're chasing better choruses, clearer concepts, or a stronger network, you'll find practical takeaways and candid stories you can use on your next write.Enjoy the episode, then subscribe, share with a songwriter friend, and leave a review so more music lovers can find these stories.

Send us a textEvery January, we try to change our habits with motivation, discipline, and good intentions, and still feel frustrated when things fall apart. In this episode, we explore why habit change isn't a willpower problem at all, but a nervous system one, and how supporting your physiology can make consistency feel lighter and more sustainable.In this episode, you'll discover:Why habits feel emotional — and why that doesn't mean you're failingHow stress and nervous system overload interfere with follow-throughWhat nervous system regulation actually changes in real life (and in the clinic)Simple, realistic ways to support your nervous system without adding pressureIf this episode resonated, send me a DM and share one small habit you're supporting this season — I'd love to hear what you're noticing.“Habit collapse isn't a character flaw — it's a capacity issue.”➡️ Nailed It! What Failure Can Teach Us About Real Wellness: https://www.buzzsprout.com/1806187/episodes/18052500-nailed-it-what-failure-can-teach-us-about-real-wellness.mp3?download=true

This Can Be Your Story (Part - 26) | ഇത് നിങ്ങളുടെ കഥയാകാം (ഭാഗം - 26) | Malayalam Christian Messages | Br. Damien Antony | Morning Glory Podcast - 1790 | 16 Dec 2025

"You taught me, 'If the AC is broken, you open the window.'" Josh Pate is here to talk all things College Football including the Pavia Filter and the future of the Michigan job. Plus, the Funniest Thing of the Sports Weekend includes a cheap Tom Brady, and Tony explains why Fernando Mendoza's Heisman speech was only Miami-ish. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We continue our Assassin's Creed journey, this time with Syndicate.  The last of the AC games before the franchise takes a drastic change with Origins. Here is a game that takes what they learned and perfects the style of the previous games. A game that is also the farthest we have ever gotten into the time line so far.  Come hear what we thought about this game. Starring Mike Albertin, Joe Butler, Richard Sampson, and Allen.

This Can Be Your Story (Part - 25) | ഇത് നിങ്ങളുടെ കഥയാകാം (ഭാഗം - 25) | Malayalam Christian Messages | Br. Damien Antony | Morning Glory Podcast - 1789 | 15 Dec 2025

On this weeks adventure, we are taking it easy! Come join us as we take you to our favorite rest stops through the Walt Disney World Resort complete with AC, clean water, and maybe even a hidden corner to take a nap! If you want help booking your next Magical Vacation, reach out to me for a free quote! Free Quote   Instagram: @justanothermagic_monday   Facebook: Fantastical Vacations by Monika

Este 2025 cumpliños el sueño de grabar en SOFA uno de los eventos de la cultura geek más importantes en Colombia. Acá el capítulo que hicimos, esperamos lo disfruten.

Su reinado empieza en el año 1000 AC cuando el Rey Saúl muere. El Rey David, asesino de Goliat, se hace con el trono de Israel y uno tras otro empieza a derrotar a los filisteos, a los moabitas, a los arameos, a los edomitas y finalmente a los amonitas, convirtiendo Israel en un estado nacional independiente y extendiendo notablemente sus territorios. En el año 995 AC consigue capturar la ciudad jebusita de Jerusalén, convirtiéndola en la capital del Reino de Israel.

This Can Be Your Story (Part - 24) | ഇത് നിങ്ങളുടെ കഥയാകാം (ഭാഗം - 24) | Malayalam Christian Messages | Br. Damien Antony | Morning Glory Podcast - 1788 | 13 Dec 2025

And it came to pass at midnight, that Jehovah smote all the firstborn in the land of Egypt, from the firstborn of Pharaoh about to sit upon his throne, even unto the firstborn of the captive that was in the house of the pit, and all the firstborn of beast. And Pharaoh rose up in that night, and all his servants, and all the Egyptians; and there was a great cry in Egypt; because there was not a house where there was not one dead. And he called Moses and Aaron in the night, and said, Rise up, go ye out from the midst of my people, both ye and the sons of Israel; and go, serve Jehovah, according to your speaking. Also your flocks, also your herds, take ye, as ye spoke, and go, and bless me also. And Egypt was strong upon the people, hastening to send them out of the land; for they said, We are all dead. And the people carried their dough before it was leavened, their kneading troughs bound up in their clothes upon their shoulder. And the sons of Israel did according to the word of Moses; and they asked of the Egyptians vessels of silver, and vessels of gold, and garments. And Jehovah gave the people favor in the eyes of the Egyptians, and they lent to them; and they spoiled the Egyptians.  And the sons of Israel journeyed from Rameses to Succoth, about six hundred thousand on foot that were men, besides babe. And a great mixed multitude also went up with them; and flock, and herd, a very great acquisition. And they baked the dough which they brought forth out of Egypt into unleavened cakes, for it had not been leavened, because they were driven out of Egypt, and could not tarry, and moreover, they had not prepared for themselves any provision for the journey. And the dwelling of the sons of Israel which they dwelt in Egypt, was thirty years and four hundred years. And it was at the end of thirty years and four hundred years, it was even in this same day, all the armies of Jehovah went forth from the land of Egypt. A night of watches is this to Jehovah, for leading them forth from the land of Egypt; this is that night of watches to Jehovah for all the sons of Israel unto their generations.  Exodus 12: 29-42 Arcana Coelestia 7950 [2] That “the firstborn in the land of Egypt” denotes the falsified truth of faith, is because “the firstborn of Egypt” denotes faith separate from charity (n. 7948). They who are in this faith are in mere darkness and thick darkness with respect to the truths of faith; for they cannot be in any light, thus not in any perception of what truth is, and whether it is truth. For all spiritual light comes through good from the Lord, thus through charity, for the good of charity is like a flame from which is light; for good is of love, and love is spiritual fire, from which comes enlightenment. He who believes that they who are in evil can also be in enlightenment in respect to the truths of faith, is very much mistaken. They can be in a state of confirmation, that is, they may be able to confirm the doctrinal things of their church, and this sometimes with skill and ingenuity; but they cannot see whether what they confirm is true or not. (That falsity also can be confirmed even so as to appear like truth; and that it is not the part of a wise man to confirm, but to see whether the thing is so, see n. 4741, 5033, 6865, 7012, 7680) [3] He therefore who is in evil as to life is in the falsity of his evil, and does not believe the truth, however well he knows it. He sometimes supposes that he believes, but he is mistaken. That he does not believe will be granted him to know in the other life, when his perceiving is reduced into agreement with his willing. Then he will disown, hold in aversion, and reject the truth, and will acknowledge as truth that which is contrary, that is, falsity. Hence then it is that they who are in faith separate from charity cannot do otherwise than falsify the truths of faith. AC 7966. And the people carried their dough before it was leavened. That this signifies the first state of truth from good, in which there is nothing of falsity, is evident from the signification of “dough,” as being truth from good. For by “meal” and “fine flour” is signified truth; by the “dough” which is made therefrom, the good of truth; and by the “bread” which is made from the dough is signified the good of love; and when by “bread” is signified the good of love, by the other things, namely, by the “dough” and the “flour,” are signified in their order goods and truths (that “bread” denotes the good of love, see n. 276, 680, 2165, 2177, 3464, 3478, 3735, 3813, 4211, 4217, 4735, 4976, 5915); and from the signification of “before it was leavened,” as being in which there was nothing of falsity (that “leaven” denotes falsity see n. 7906). [2] That this is the first state, namely, when they are liberated, is plain, because it is said that “the people carried their dough,” that is, when they departed. But the second state is described in the following (Exodus 12:39) verse 39 (39), by “they baked the dough which they brought forth out of Egypt into unleavened cakes, for it was not leavened,” by which is signified that from the truth of good was again produced good in which there was nothing of falsity. These are the two states in which they who are of the spiritual church, when in good, are kept by the Lord-the first, that from the good which is of the will they see and think truth; the second, that from this marriage of good and truth they produce truths, which by willing them and doing them, again become goods, and so on continually. Such are the productions and derivations of truth with those who are of the spiritual church. In the spiritual world this is presented representatively as a tree with leaves and fruits; the leaves there are truths; the fruits are the goods of truth; the seeds are the goods themselves, from which are the rest. AC 7967. Their kneading troughs bound up in their clothes. That this signifies the delights of the affections, which delights adhere to the truths, is evident from the signification of “kneading troughs” as being the delights of the affections (n. 7356); from the signification of “to be bound up,” as being to adhere; and from the signification of “clothes,” as being truths (n. 1073, 2576, 4545, 4763, 5248, 5319, 5954, 6914, 6918). What the delights of the affections that adhere to truths are, must be told. All the truths that enter with man have been conjoined with some delight, for truths without delight are not of anyone's life. From the delights that are conjoined with truths it is known how the case is in respect to the truths with a man; if they are delights of evil affections, then it is ill; but if they are delights of good affections, it is well. For the angels who are with man flow in continually with good affections, and then call forth the truths which have been conjoined with them; in like manner on the other hand, if the truths have not been conjoined with good affections, then the angels labor in vain to call forth what is of faith and charity. From all this it can be seen what is meant by the delights of the affections that adhere to truths, which is signified by the “kneading troughs being bound up in their clothes.” Third Round posts are short audio clips taken from Round 3 comments in the online Logopraxis Life Group meetings. The aim is to maintain focus on understanding the Text's application to the inner life while reinforcing key LP principles highlighted in the exchanges.

Wasif Latif, Co-Founder, President & Chief Investment Officer at Sarmaya Partners, stops by the Energy News Beat and Energy Impacts Podcasts - With Stu Turley, and David Blackmon for an in-depth look at the global oil and gas financial markets. 1. The performance and investment strategy of the Sarmaya Partners ETF called "Lens". Wasif Latif, the co-founder and CIO of Sarmaya Partners, discusses how the Lens ETF has performed very well since its launch, up over 50%, by investing in stocks and commodities related to the "return to tangibles" investment theme.2. The outlook for the energy and commodities markets, including oil, natural gas, copper, and precious metals like gold and silver. Latif believes there is a looming supply deficit in these commodities due to underinvestment, which will lead to higher prices in the coming years.3. The challenges and limitations of the renewable energy transition, particularly the reliance on technologies like lithium-ion batteries that have significant constraints. Latif argues the transition to renewable energy will take much longer than commonly projected.4. The geopolitical tensions and supply disruptions impacting energy and commodity markets, such as the recent incidents involving tankers and oil platforms. Latif discusses how these short-term events are often "noise" that don't change the underlying supply and demand fundamentals.5. The broader macroeconomic and policy environment, including high inflation, rising interest rates, and increased government intervention, which Latif believes will be favorable for tangible assets and commodities over the long term.00:00 Intro Return to Tangibles01:11 ETF LENS is by Sarmaya Partners03:35 Is the world oversupplied with oil06:10 Geopolitical Risk to Oil07:09 Shale Boom and Break-even for Oil10:06 Companies looking for exploration locations11:38 Policy impacting prices16:58 Market Cycles20:21 Markets like Copper23:42 Global Markets and deindustrialization27:15 Grid complexities of AC vs DC28:56 Renewables impact on Energy37:30 Investing and day trading 41:45 Recycling and Copper48:20 Nuclear and AIFollow Wasif on LinkedIn https://www.linkedin.com/in/wasiflatif/Check out https://sarmayapartners.com/Check out the Substack: https://sarmayakar.substack.com/Check everything David Blackmon on Blackmon.substack.com

This Can Be Your Story (Part - 23) | ഇത് നിങ്ങളുടെ കഥയാകാം (ഭാഗം - 23) | Malayalam Christian Messages | Br. Damien Antony | Morning Glory Podcast - 1787 | 12 Dec 2025

Wasif Latif, Co-Founder, President & Chief Investment Officer at Sarmaya Partners, stops by the Energy News Beat and Energy Impacts Podcasts - With Stu Turley, and David Blackmon for an in-depth look at the global oil and gas financial markets. 1. The performance and investment strategy of the Sarmaya Partners ETF called "Lens". Wasif Latif, the co-founder and CIO of Sarmaya Partners, discusses how the Lens ETF has performed very well since its launch, up over 50%, by investing in stocks and commodities related to the "return to tangibles" investment theme.2. The outlook for the energy and commodities markets, including oil, natural gas, copper, and precious metals like gold and silver. Latif believes there is a looming supply deficit in these commodities due to underinvestment, which will lead to higher prices in the coming years.3. The challenges and limitations of the renewable energy transition, particularly the reliance on technologies like lithium-ion batteries that have significant constraints. Latif argues the transition to renewable energy will take much longer than commonly projected.4. The geopolitical tensions and supply disruptions impacting energy and commodity markets, such as the recent incidents involving tankers and oil platforms. Latif discusses how these short-term events are often "noise" that don't change the underlying supply and demand fundamentals.5. The broader macroeconomic and policy environment, including high inflation, rising interest rates, and increased government intervention, which Latif believes will be favorable for tangible assets and commodities over the long term.00:00 Intro Return to Tangibles01:11 ETF LENS is by Sarmaya Partners03:35 Is the world oversupplied with oil06:10 Geopolitical Risk to Oil07:09 Shale Boom and Break-even for Oil10:06 Companies looking for exploration locations11:38 Policy impacting prices16:58 Market Cycles20:21 Markets like Copper23:42 Global Markets and deindustrialization27:15 Grid complexities of AC vs DC28:56 Renewables impact on Energy37:30 Investing and day trading 41:45 Recycling and Copper48:20 Nuclear and AIFollow Wasif on LinkedIn https://www.linkedin.com/in/wasiflatif/Check out https://sarmayapartners.com/Check out the Substack: https://sarmayakar.substack.com/Check out the full Transcript on https://energynewsbeat.co/and https://theenergynewsbeat.substack.com/

Our ROAD TO DOOMSDAY series marches on, with AC and Jake being joined by friend of the show Hunter Radesi to discuss the future of the Young Avengers (or is it the Champions?)! Who would be in this group? What would they do? Did Marvel miss their window? Plus, they discuss the newest rumor of the shenanigans Sony is up to. Follow Hunter: @hradesi14 JOIN OUR PATREON: patreon.com/mcuniversitypod Follow the show @mcuniversitypod Follow AC: @anthonycanton_3 Follow Jake: @thejakechristie

Today, I'm chatting with Todd Welzbacher from Champion Power Equipment, and let me tell you, we're diving headfirst into the electrifying world of power storage and generators. We tackle the burning question: how the heck do you find the right generator for your home or project? Spoiler alert: it's not as simple as picking the one with the shiniest paint job. We get into the nitty-gritty of portable generators, inverters, and power stations, and trust me, there's a lot of confusion out there—like trying to explain why your cat hates you after you just fed it. Plus, Todd shares some hilarious horror stories about generator mishaps that'll make you rethink your next DIY project. So grab your headphones and get ready to power up your knowledge (and maybe your home) with some seriously useful tips!A fun and informative conversation unfolds as Eric chats with Todd Welzbacher from Champion Power Equipment about the ins and outs of power storage and generators. We dive into the nitty-gritty details of choosing the right generator for your home or project, especially in those delightful moments when the lights go out. Eric shares his own traumatic experiences with the Pacific Northwest's infamous ice storms, where he learned the hard way that relying on a gas-guzzling generator ain't the way to go. Todd sprinkles in some serious knowledge about the evolution of generators and the new options available, including inverter generators that not only save fuel but also keep your sensitive electronics safe from power surges. Who knew power could be so complicated yet so essential? We tackle the differences between generators and power stations, while also shedding light on the importance of clean power and why that matters more than you think. Spoiler alert: it's not just about keeping your fridge running during a blackout; it's about making sure your smart home doesn't turn into a dumb home when the grid goes down. So, whether you're a DIY enthusiast or just trying to keep the lights on, this episode is packed with practical advice and a few laughs along the way!Takeaways: Understanding the differences between generators, inverters, and power stations can save you from confusion and possible regret during an outage. When choosing a generator, it's crucial to consider your home's power needs, especially if you want to run heavy-duty appliances like AC units. Inverter generators are generally quieter and more fuel-efficient, making them a better choice for camping or tailgating adventures. Always keep your generator maintained with regular oil changes and filter replacements to ensure it runs smoothly when you need it most. With Champion Power Equipment's tri-fuel options, you can use gasoline, propane, or natural gas, giving you flexibility during power outages or outdoor activities. For those living in areas prone to outages, investing in a home standby generator can provide peace of mind and uninterrupted power during severe weather. Links referenced in this episode:championpowerequipment.comaroundthehouseonline.comCompanies mentioned in this episode: Champion Power Equipment To get your questions answered by Eric G give us a call in the studio at 833-239-4144 24/7 and Eric G will get back to you and answer your question and you might end up in a future episode of Around the House. Thanks for listening to Around the house if you want to hear more please subscribe so you get notified of the latest episode as it posts at https://around-the-house-with-e.captivate.fm/listenIf...

====================================================SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1==================================================== LECCIÓN DE ESCUELA SABÁTICA         IV TRIMESTRE DEL 2025Narrado por: Eddie RodriguezDesde: Guatemala, GuatemalaUna cortesía de DR'Ministries y Canaan Seventh-Day Adventist ChurchVIERNES 12 DE DICIEMBREPARA ESTUDIAR Y MEDITAR: Lee las páginas 553-558 del capítulo “La repartición de Canaán” en el libro Patriarcas y profetas de Elena de White. “Si bien es importante, por un lado, que se evite la indiferencia al tratar con el pecado, es igualmente importante, por otro lado, que se eviten los juicios duros y las sospechas infundadas. […] La prudencia manifestada por los hijos de Rubén y sus compañeros es digna de imitación. En tanto que se esforzaban sinceramente por hacer progresar la causa de la verdadera religión, fueron juzgados erróneamente y censurados con severidad; pero no manifestaron resentimiento. Escucharon con toda cortesía y paciencia los cargos que sus hermanos les hacían, antes de tratar de defenderse, y luego les explicaron ampliamente sus móviles y demostraron su inocencia. Así se arregló amigablemente la dificultad que amenazaba tener tan graves consecuencias. “Aun cuando se los acuse falsamente, los que están en lo justo pueden permitirse tener calma y ser considerados. Dios conoce todo lo que los hombres no entienden o interpretan mal, y con toda confianza podemos entregarle nuestro caso. Él vindicará la causa de los que depositan su confianza en él tan seguramente como sacó a luz la culpa de Acán. Los que son movidos por el espíritu de Cristo poseerán la caridad, que todo lo soporta y es benigna. “Dios quiere que haya unión y amor fraternal entre su pueblo. En la oración que elevó Cristo precisamente antes de su crucifixión pidió que sus discípulos fueran uno como él era uno con el Padre, para que el mundo creyera que Dios le había enviado. Esta oración conmovedora y admirable llegaba a través de los siglos hasta nuestros días, pues sus palabras fueron: ‘Mas no ruego solamente por éstos, sino también por los que han de creer en mí por la palabra de ellos' (Juan 17:20). Aunque no hemos de sacrificar un solo principio de la verdad, debemos procurar constantemente ese estado de unidad” (Elena de White, Patriarcas y profetas, pp. 557, 558). PREGUNTAS PARA DIALOGAR:1. ¿Cómo puede ayudarnos la exhortación de Pablo a estimar “a los demás como mejores a ustedes mismos” (Fil. 2:3, TLA) a no atribuir maldad infundadamente a nuestros hermanos en la fe? 2. ¿Por qué a menudo reaccionamos de forma exagerada ante una situación debido a nuestros fracasos o errores pasados? ¿Cómo podemos evitar esto? 3. Analiza la importancia de escuchar el punto de vista de los demás. ¿Cómo podemos desarrollar en nuestra iglesia la disposición a escuchar? (Comparar con Sant. 1:19). 4. Vivimos en una sociedad en la que las exigencias de la vida laboral, las responsabilidades familiares, los compromisos relacionados con la iglesia y otras obligaciones pueden parecer abrumadores. ¿Cómo puede el principio de hacer todo como para el Señor no solo hacernos más responsables, sino también darnos tranquilidad? 

This Can Be Your Story (Part - 22) | ഇത് നിങ്ങളുടെ കഥയാകാം (ഭാഗം - 22) | Malayalam Christian Messages | Br. Damien Antony | Morning Glory Podcast - 1786 | 11 Dec 2025

Mark and Mike discuss a wide range of topics in this episode, including the difference between the Minnesota and Massachusetts development models. Plus, who are the favorites? CM, St. John's Prep, St. John's Shrewsbury, Xaverian, Arlington, Hingham, Winchester, Archies, St. Mary's, AC, Bishop Feehan, all discussed, along with Weymouth, Natick, and notes from the Reagan Summit. To hear more, visit massnz.substack.com

He didn't believe in tunnels of light. He barely believed he'd make it through another shift. Asthma had always been a problem, but that afternoon in the meat processing plant, it became a death sentence. One leaking AC unit, one breath of coolant, and his world went black. The next thing he knew, he wasn't on the factory floor anymore. He was standing in a green, impossibly vivid field beside a wide, glassy river that split in two. To the right: churning storm clouds and lightning tearing into the ground. To the left: warm sun, rolling hills, and a peace he could feel in his bones. And then the picnic tables appeared… and so did the people. Family. Friends. Strangers. The dead. The living. Faces he knew and faces he would know years later. At the center of it all: his grandfather, calm as ever, laying out three choices—right, left… or back. How do you decide whether to move on to whatever waits beyond the banks, or race back into a life that had already stopped? Love real ghost stories? Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

If all people, events, and circumstances reflect back to you what you've created in your internal reality...does that include your car? Yes, it does.Find out the root cause of your car reflections (and how to clear them):-Dead battery-Check engine light-Flat tire-Low tire pressure-AC doesn't work, heater doesn't work-Parking ticket-Speeding ticket-Getting honked at-Infotainment system, navigation, electronics in the car not working or glitching-Headlight going out-Crack on windshield-Car broken into-Car stolen-Nail in car tire-Car transmission-Car accidents-Oil leaksAnd the framework to start intuitively finding the root cause of your own reflections!RESOURCES:Send Katelin a DM about your favorite part of this masterclassThe new genius neuroscience tools mentionedIngredients of The Celebrity It Girl Masterclass

All the best calls from the shows this week. Jim answers questions decorative timber log installation, dirty AC intake, ceiling beam repair, prepping your chimney for winter, a sweating door, adding attic insulation, aerobic septic systems, geothermal unit maintenance, getting heat from a gas log fireplace, stucco options, radiant barrier and more.

This Can Be Your Story (Part - 21) | ഇത് നിങ്ങളുടെ കഥയാകാം (ഭാഗം - 21) | Malayalam Christian Messages | Br. Damien Antony | Morning Glory Podcast - 1785 | 10 Dec 2025

A great Big Bend trip starts with a smart plan, not a scramble. We lay out a traveler's roadmap to Terlingua—where to find the best tacos and tostadas, how to grab a table at the Starlight Theater without burning your evening, and which spots box up trail-ready lunches before you disappear into the park. From a press-lauded barbecue basket to soft-serve pints and breakfast burritos on the go, you'll get a real feel for the food scene that keeps hikers, rafters, and stargazers happily fueled.Lodging gets a glow-up with Terlingua Escondido, a pair of thoughtfully built yurts hidden just off the main road. Think full bathroom, a big fridge-freezer, AC and heat, and a stargazing dome under true dark skies. Host Jenny—once a river guide—joins us to share the ghost town's living history: mercury mining roots, roofless dances at the Starlight, and the creative freedom that birthed today's A-frames, teepees, restored Airstreams, and hipcamp sites. It's a portrait of a place with no chain hotels and plenty of character, where neighbors endure summer heat, rare winter ice, and help each other anyway.We also break down when to go and why it matters. Fall brings green hills after monsoons and flowing river days. Spring surges with energy and crowds. Winter offers mild hiking and the clearest skies. Summer rewards dawn hikers and midday nappers with empty trails and quiet nights. Use our on-the-ground tips to line up dinner, pack better lunches, and pick a stay that lets you savor the desert instead of suffering through it.Loved the guide? Tap follow, share this with a Big Bend-bound friend, and leave a quick review so more travelers can find the show. Got a Terlingua favorite we missed? Tell us and we'll add it to the map.Please support our show by shopping through Eagle Creek: https://alnk.to/gVNDI6N and/or feel free to donate to:http://paypal.me/TheROAMies And it means the world to us when you subscribe, rate and share our podcast. Alexa and RoryThe ROAMiesFollow us at:http://www.TheROAMies.com@The ROAMies: Facebook and Instagram YouTube and X.

This Can Be Your Story (Part - 20) | ഇത് നിങ്ങളുടെ കഥയാകാം (ഭാഗം - 20) | Malayalam Christian Messages | Br. Damien Antony | Morning Glory Podcast - 1784 | 09 Dec 2025

Surrounded by the Lords of Doom, Sanction sits as a testament to endurance. It has been held by every major faction in Krynn's history, so let's take a deeper look at this integral port city. You can buy Age of Mortals here: https://www.dmsguild.com/en/product/557/age-of-mortals-3-5?affiliate_id=50797 https://youtu.be/9bMF0ncsuv0 Transcript Cold Open It was once held by the Dragonarmies and even features three temples and volcanoes, but in the Age of Mortals, it has taken a drastic turn. Intro Welcome to another DragonLance Saga episode. My name is Adam and today I am going to talk about Sanction. I would like to take a moment and thank the DLSaga YouTube members and Patreon patrons, and invite you to consider becoming a member or patron, you can even pick up Dragonlance media using my affiliate links in the description below. I am referencing The Atlas of the Dragonlance World, the Tales of the Lance Boxed Set, The Dragonlance Fifth Age Dramatic Supplement Game, and War of the Lance & Age of Mortals sourcebooks for this information. If I leave anything out or misspeak, please leave a comment below! Discussion On the northeastern shores of the New Sea, ringed by the jagged Khalkist Mountains and overshadowed by three howling volcanoes, stands a city whose very foundations tremble with fire. A city of lava-choked streets, ancient temples, hidden tunnels, and the beating heart of the Dragonarmies. This is Sanction—the City of Doom. Long before its name became synonymous with darkness, Sanction was a sturdy mountain town guarded by cliffs and blessed with a natural harbor sheltered by stone. It served as the eastern anchor of the Solamnic trade road, moving granite from its quarries and tar from its pits to the wider world. The Khalkist Mountains hemmed it in on three sides. Only two passes were widely known: North, through the plains of Estwilde, and East, along the road to Neraka. Yet mountain villagers whispered of a third path—a hidden trail climbing high across the shoulders of the peaks later known as the Lords of Doom. But everything changed when those mountains awakened. After the Cataclysm, the land convulsed. New chasms tore open. The sea surged inland to create the New Sea itself. And three monstrous volcanoes burst from the earth: the Northwest peak, Mount Thunderhorn, the Northeast peak, Mount Ashkir, and the Southeast peak, Mount Grishnor. Together, they towered nearly 4,000 feet above the city and even above the local Doom Range of the Khalkists. By 287 AC—sixty-five years before the War of the Lance—they were already active, spewing ash and fire into the sky as the stolen eggs of the metallic dragons were secreted into their fiery bowels. Whether the Cataclysm awakened them or created them outright remains a mystery. But their presence reshaped the city—and doomed it. By the time the Companions arrived, Sanction was a furnace. Widening streams of lava threaded directly through the city. Stone bridges arched over molten rivers. The air grew thick with fumes—hot enough that breath itself burned. What little flat ground remained was packed with misery and desperation. The streets were a maze of twisting alleys lined with: ancient warehouses near the docks, hastily built structures toward the east, brothels, slave markets, and slums, and rotting timber houses beside smoke-scoured stone. The central district—split in half by a major lava flow—was a sprawling slum and a favored haunt of the Dragonarmy troops. And above it all, three temples loomed on the volcanic slopes like the dark gods watching their sacrifice. When the Dragonarmies seized Sanction, they expanded far beyond the city's limits, raising three enormous military encampments on the mountainsides to the east: The Southern Camp with around 6,000 goblins, hobgoblins, and humans, and 500 tents. It was Hellishly hot, overcrowded, and chaotic. The Eastern Camp featured approximately 820 ogres, minotaurs, trolls, and hill giants, and 120 large tents, and it was a brutal, dangerous, but less crowded force. The Northern Camp featured approximately 3,000 draconians, and 230 tents, and was strict, orderly, and disciplined. These forces more than replaced the half of Sanction's original population that fled the volcanic devastation. The city was now the principal port and fortress of the Dragonarmies, surrounded by a ship blockade and fiercely guarded passes. And the true heart of that dark power lay within the three temples. On the slopes of the volcanoes stood three massive structures, each rising above the slums and smoke: The Temple of Huerzyd — The White Temple in the Northwest. It was the only pre-Cataclysmic temple in Sanction that was dedicated originally to the true gods. It was abandoned, neglected, and avoided by the Dragonarmies. It was secretly the heart of Shadowpeople culture. And below the temple, the Shadowpeople carved a labyrinth of rooms featuring 12 chambers, the great Shadowhall, six clan caverns, mushroom farms for sustenance, and three trapped tunnel passages extending under Sanction. These hidden ways allowed them to spy, assist prisoners, and ultimately save dragon eggs from corruption. The Temple of Duerghast — The Black Fortress in the Southeast, was dedicated post-Cataclysm to a false god of human sacrifice. Its upper levels included an arena, cages, and bloodsport chambers. The lower levels had cells, torture rooms, and execution chambers. The Dragonarmies repurposed it seamlessly. Shadowpeople carved tunnels behind one row of cells to rescue captives. Duerghast was a fortress of cruelty—perfect for tyranny. The Temple of Luerkhisis — The Dragon's Head is in the Northeast. It is the largest and most infamous temple. It is cut into the volcano in the shape of a vast dragon's head. This was the center of Takhisis's power in Sanction. Ariakas resided here during the War of the Lance, in a suite complete with a map room. After Ariakas's death, Kitiara took over his chambers and command. The upper levels held worship halls, libraries, and quarters converted for military use. But its darkest secret lay hidden in the bowels of the temple: The Chambers of Corruption Here, in five guarded rooms, the eggs of good dragons were perverted through dark rituals. In the sixth chamber, amid roaring firepots, stood the Altar of Corruption itself—the cradle of the draconians. And from here, a tunnel—known only to the Shadowpeople—crossed a bridge above the volcanic fire into the Cavern of the Old One, eldest and wisest of their race. Without these tunnels, the metallic dragons would never have been freed. Even after the war, Sanction remained a desperate, volcanic ruin filled with criminals, mercenaries, and the stern memory of tyranny. But after the Chaos War, a stranger arrived. A man cloaked in secrecy and resolve: Hogan Bight. Through means never fully explained—magic, pact, or sheer audacity—he calmed the volcanoes. Eruptions lessened. Lava flows shrank. And Sanction slowly became livable. Bight united wharf rats, ex-soldiers, sailors, and desperate citizens into a disciplined force. He brought law, order, and the beginnings of prosperity. Until Mina and the One God swept across Ansalon. Sanction fell again. Bight vanished. And the people suffered under divine tyranny. When the War of Souls ended, Hogan Bight returned—alive but changed—and resumed leadership of the battered, resilient city. Modern Sanction is a contradiction: It was born of fire, yet clinging to hope. It's surrounded by mountains, yet tied to the sea. It was defined by tyranny, yet strives for freedom. And it is scarred by tunnels, temples, and molten rivers, yet continuously is rebuilt. Its harbor remains fortified by natural cliffs. Its streets still wind through ash and stone. And the Lords of Doom continue to watch, eternal and ever-threatening. But Sanction survives. It always survives. From a peaceful trade town to a volcanic wasteland…from the laboratory of the Dragonarmies to the refuge of the Shadowpeople…from tyranny to reform, from fall to rise, again and again…Sanction endures as one of Ansalon's most dramatic stories of destruction and defiance. In the shadow of the Lords of Doom, The City of Doom refuses to die. Outro And that is all I have to say about Sanction. What do you think of this port city? Will evil ever reclaim it? And finally, will it have any import in the years following the Age of Mortals? Leave a comment below. I would like to invite you to subscribe to this YouTube channel, ring the bell to get notified about upcoming videos, and click the like button. It all helps other Dragonlance fans learn about this channel and its content. Thank you for watching — this has been Adam with DragonLance Saga, and until next time, remember: Come along, Solostaran, I'll help. We old men have to stick together. Too bad you're such a damn fool.

Today Dr. Ashley interviews Dr. Deborah Ma, PhD, L.Ac, acupuncturist and owner of Puzzlesf.com a acupuncture clinic out in in the Mission District of San Francisco. We talk about how Chinese Meridians, reorienting the chi flow, and how a new technique called "cheek acupuncture" can be beneficial for those experiencing pain. We discuss the importance of understanding where the pain is coming from and that most of the time, the pain we feel is not the same location as the cause.Acupuncture is a great tool in recovery. You can reach Dr. Ma at her website puzzlesf.com Check out our favorite products! (affiliate page): https://ifixyoursciatica.gymleadmachine.co/favorite_productsDid you know that our YouTube channel has a growing number of videos including this podcast? Give us a follow here- https://youtube.com/@fixyoursciatica?si=1svrz6M7RsnFaswNAre you looking for a more affordable way to manage your pain? Check out the patient advocate program here: ptpatientadvocate.comHere's the self cheat sheet for symptom management: https://ifixyoursciatica.gymleadmachine.co/self-treatment-cheat-sheet-8707Book a free strategy call: https://msgsndr.com/widget/appointment/ifixyoursciatica/strategy-callSupport this podcast at — https://redcircle.com/fix-your-sciatica-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

This Can Be Your Story (Part - 19) | ഇത് നിങ്ങളുടെ കഥയാകാം (ഭാഗം - 19) | Malayalam Christian Messages | Br. Damien Antony | Morning Glory Podcast - 1783 | 08 Dec 2025

  «La palabra de Cristo habite ricamente en ustedes…» (Colosenses 3:16) Las cosas en este mundo van de mal en peor. Recientemente, el Espíritu Santo ha estado poniendo un mensaje urgente en mi corazón. Me ha estado diciendo: "Acércate más a tu Padre celestial, cultiva tu relación con Él. Si no lo haces, no te irá bien; pero si lo haces, verás el derramamiento más glorioso de Dios que jamás podrías imaginarte". Ese mensaje no es sólo para mí. Es también para ti y para todo creyente sobre la Tierra. Vivimos en los últimos días de esta época. Cristo vendrá pronto. Es un tiempo emocionante, pero también es un tiempo peligroso. Quienes no hagan lo que el Espíritu dice y no se acerquen al Señor, irán de calamidad en calamidad. No obstante quienes obedezcan, vencerán las calamidades y las convertirán en cosas gloriosas, en el nombre de Jesús. El primer paso para acercarte más a Dios es entender que llegas a conocerlo primero en Su Palabra. El tiempo que empleas en meditar en el Nuevo Testamento es tiempo dedicado a Jesús. La mayoría de los creyentes no se da cuenta de esto. En vez de conocer al Señor por medio de Su Palabra, muchos tratan de hacerlo a través de los sentidos físicos, y desde ya que eso no da resultado. Para que el Espíritu Santo controle tu mente es necesario que la Palabra predomine en tus pensamientos; con el tiempo, tus sentimientos seguirán el orden correcto de las cosas. Recuerda esto: Juan 1 dice que Jesús es la Palabra. Eso significa que cuando le dedicas tiempo a la Palabra, le estás dedicando tiempo a Jesús. Cuando la Palabra de Dios habita ricamente en ti, ¡Jesús también lo hace! No vivas de calamidad en calamidad. Al contrario, toma esos eventos y conviértelos en algo glorioso, en el Nombre de Jesús. Acércate más a Jesucristo y a la Palabra de Dios para que te vaya bien en estos tiempos peligrosos. Lectura bíblica: Juan 1:1-14   © 1997 – 2019 Eagle Mountain International Church Inc., también conocida como Ministerios Kenneth Copeland / Kenneth Copeland Ministries. Todos los derechos reservados.

This Can Be Your Story (Part - 18) | ഇത് നിങ്ങളുടെ കഥയാകാം (ഭാഗം - 18) | Malayalam Christian Messages | Br. Damien Antony | Morning Glory Podcast - 1782 | 06 Dec 2025

This week on It's Happening: Snooki and Joey are en route to an event and chatting all things Jersey Shore Roast in AC, Ron's birthday, Sammi's wedding, and more! Wanna join the party? Text or leave a voicemail for your favorite messy mawmas at (646) 580-5251 and you might just get featured next week! Subscribe and Watch on YouTube This episode is sponsored by: Chef iQ - Promo code: SNOOKI Hiya Health Lola Blankets - Promo code: SNOOKI Connect with It's Happening: Instagram | TikTok | Snooki and Joey on Cameo

Get ad-free, early access to new 10 Percent True videos: https://www.10percenttrue.com/pricing-plans/list0:00 Support the channel0:33 welcome back Buck and episode outline2:59 an appeal and a thank you 5:28 AMA (Jim's) question - division of labour among crew 10:43 Maintaining SA once engaged 13:20 journey to the Air Force and route to the Gunship17:10 route to AFSOC20:08 any lack of fulfilment having missed out on fighters?24:00 getting into AC-130 and history of the aircraft 26:31 getting mission qualified 30:43 explaining the orbit (and the finer details thereof) and managing the gun platform 35:51 details up front, HUD (geeks rejoice!)43:20 H model51:23 funny story time!53:23 returning to description including sensors, countermeasures, removal of M61s, getting “shovel qualified” and the smell of ‘Murica!1:01:36 Black Crow sensor1:03:28 40mm1:04:18 APQ-45 1:05:33 U model differences1:08:08 refuelling port and some refuelling tales and tanker bros1:11:53 shooting the guns - in detail1:19:44 aircraft movement from recoil?1:21:03 stories for perspective 1:26:08 Responsibility of satisfying ROE1:27:13 weapon effects, weapon selection etc1:29:43 shooting a Phantom story1:32:38 returning to the “crowd pleaser” (105) and teasing the “smiley face”1:35:43 permissive vs non permissive environments 1:41:45 theatre tasking/focus/knowledge?1:44:38 massive teaser and reminder for air to air story!1:45:45 handling qualities and eng fire tale1:52:45 no notice checkrides1:53:58 2 engines out on one side?2:00:21 the mission and the dangers2:01:48 returning to double engine failures2:04:03 130H instruments and elective engine shutdowns2:06:08 gear feather flap debriefing and debriefing in general2:10:05 wrap up

Charles Murphy of Murphy's Multiverse joins AC and Jake for a wide-ranging conversation on where the MCU stands at the end of 2025. They look back on the 2025 slate of MCU projects, look forward to 2026, and discuss some of the missteps made in the last five years. Follow Charles: @_CharlesMurphy JOIN OUR PATREON: patreon.com/mcuniversitypod Follow the show: @mcuniversitypod Follow AC: @anthonycanton_3 Follow Jake: @thejakechristie

On episode 267 of the Atlantic City podcast, Kyle and Craig play “Would You Rather?” with QUITTING THE PODCAST, then discuss the last 10 years of podcasting and AC-visiting goodness,... Read more »

Discover the shocking truth about why 99% of HVAC systems may be oversized and how insulation contractors hold the key to fixing comfort and efficiency problems. On this episode of the R-Value Podcast, IDI expert Ken Allison interviews Brynn Cooksey. Known as the "Air Doctor," Brynn is the owner of Air Doctors Heating and Cooling and an industry heavyweight who has trained over 10,000 technicians. Recognized as one of ESCO Institute's Top 25 Most Influential Instructors and a Certified Master Trainer by IREC, he combines 15 years of utility experience with substantial building science expertise to reduce customer utility bills by 50% or more. Many HVAC contractors fall into the trap of "box swapping," replacing old units with equipment of the same size without considering the home's actual needs. Brynn shares a startling statistic from a Michigan study where nearly every furnace inspected was grossly oversized, leading to comfort issues, premature equipment failure, and high energy bills. The conversation highlights why performing a proper Manual J load calculation is critical and how tight building envelopes fundamentally change heating and cooling requirements. Beyond temperature control, the discussion explores the vital connection between insulation, air sealing, and Indoor Air Quality (IAQ). Brynn explains his company's non-negotiable policy of testing IAQ on every single job and how using data from diagnostic tools—like blower doors and air monitors—builds unshakeable trust with homeowners. Listen in to learn how insulation professionals can partner with HVAC contractors to offer total home solutions that improve health, efficiency, and profitability. Inside this episode: 00:06:06 – The growing importance and market demand for BPI certifications. 00:14:41 – A shocking study reveals 99% of furnaces and 33% of AC units are oversized. 00:16:04 – How oversized equipment leads to "short cycling" and catastrophic mechanical failure. 00:25:04 – Why guessing air leakage is impossible and the necessity of using a blower door. 00:36:00 – Implementing a mandatory policy to test Indoor Air Quality on every service call. 00:46:45 – The "secret sauce" to closing sales: involving the customer in diagnostic testing.

Nora Cabrera, Directora de nuestro futuro AC

Do you ever look around and think, “Why are teens today so fragile when life is easier than ever?”In this conversation, Greg and Rachel break down why so many young people are anxious, avoidant, and overwhelmed by normal life—and how to raise resilient teens who can actually handle hard things. They unpack the impact of comfort culture, overprotection, and screen-based living, then share practical ways to “microdose” and “macrodose” challenge through workouts, travel, projects, and real-life responsibility. You'll learn how to build holistic toughness—physical, mental, emotional, spiritual, social, and even financial—without shaming your kids or recreating the harshness of past generations.

Jason hits the phones to prospect into sales and enablement leaders, sharing his live approach between each call. With a 30% connect rate (thanks to Titan X) and 11% conversion, you'll see how Jason handles objections, switches messaging mid-call, and learns in real time. Think cold calling is hard? Try doing it live for 90 minutes, under studio lights, in a room with no AC, with a crowd listening to every single word you say. That's what the #1 outbound sales trainer, Jason Bay, did to prove he can do more than *teach* cold calling — he can actually get on the phones and *do* it himself. We rolled the cameras, loaded a list of exclusively executive level prospects he'd never met, and let the chaos unfold. You'll hear how he structures his cold calls, adjusts messaging on the fly, and reflects on what could be improved after each conversation. Includes practical takeaways for improving connect rates, objection handling, and setting meetings with senior buyers. ✅ Get the Outbound Bundle (scripts + cold email guide): https://www.30mpc.com/course/cold-email-course

Career and financial choices top the list of the most anxiety-inducing decisions - far above health or relationships. It's a reminder that money stress is both universal and deeply emotional.https://www.popsci.com/health/100-most-dreaded-decisions/Gold's big run is grabbing headlines, but should it replace stocks? Why recent gains shouldn't derail a long-term investment strategy.https://ofdollarsanddata.com/whats-going-on-with-gold/For millions, the path to citizenship takes not years but decades due to visa backlogs and country caps. That uncertainty impacts everything: careers, housing, family plans, and long-term financial decisions.https://usafacts.org/articles/how-long-can-it-take-to-become-a-us-citizen/Mass manufacturing makes new AC units cheap, but skilled labor and logistics make repairs sometimes more costly than the appliance itself. It's a lesson in thinking about total cost of ownership, not just sticker price.https://www.a16z.news/p/why-ac-is-cheap-but-ac-repair-isElon Musk's massive compensation plan only pays out if Tesla becomes an AI/robotics powerhouse worth trillions.https://sherwood.news/tech/tesla-shareholders-approve-elon-musks-usd1-trillion-pay-package/

In this clip, Wallstreet Trapper breaks down the real truth about owning a home — especially a big, expensive one. He's not telling you NOT to buy a house. He's telling you to buy the right house, not a multi-million dollar mansion that becomes a money pit. From pool repairs, roof leaks, AC issues, landscaping bills, contractors, and ongoing maintenance… the hidden costs of “living big” can hit harder than you think. Trapper shares his personal experience of buying a $2M+ home, putting another $2M into rehabbing it, and realizing he didn't need that much space — or that many problems. If you're on your journey to wealth, this is the message: Don't overspend trying to look rich. Build wisely. Move smart. Don't get trapped.My $2 Million House Was a MISTAKE… Here's Why