Podcasts about DOC

Chandler Brown has been working on his craft for over half of his life. He's dreamed of being a singer and songwriter since he was in middle school. Not surprisingly since he's been working at it for the last decade and half...he's pretty great. He just recently signed with Warner Chappell Music Nashville and Warrior Poet Music. He's released several great singles over 2025 and he just released his newest single Another Heart Break Song! He was nice enough to stop by the Doc G Show! Doc and Chandler talk about turning 30, getting into writing songs, inspirations, songwriting in college, working on Broadway, his newest music and much much more. Meanwhile on the rest of the show Doc and Mike talk about the positives and negatives of mail-order hams. Introduction: 0:00:24 Birthday Suit 1: 11:21 Ripped from the Headlines: 15:10 Shoutouts: 34:13 Miscellaneous File: 38:05 Chandler Brown Interview: 41:45 Mike C Top 3: 1:33:57 Birthday Suit 2: 1:47:35 Birthday Suit 3: 1:50:33

A fascinating new documentary about Corey Feldman's musical journey is out next week and one of his former angels called the Bonfire to talk about it. Jezebel Sweet was an angel in Corey's cult-like group and is not shy about giving the details of her time with the actor turned musician. She tells of the bizarre lifestyle she had to endure living in the Feld-Mansion. Jezebel had strict rules applied to her because she didn't want to join the orgies. This new doc is not supported by Corey and the premiere is tonight in L.A. *To hear the full show to go www.siriusxm.com/bonfire to learn more! FOLLOW THE CREW ON SOCIAL MEDIA: @thebonfiresxm @louisjohnson @christinemevans @bigjayoakerson @robertkellylive @louwitzkee @jjbwolf Subscribe to SiriusXM Podcasts+ to listen to new episodes of The Bonfire ad-free and a whole week early.  Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Doc, Albert Inga og Sigurður Bond á þriðjudegi.

Doc, Albert Inga og Sigurður Bond.

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

Doc, Jói Már og Arnar Sveinn.

If you can afford it and love what we do, please consider supporting our show by becoming a BTT Podcast Patreon Member! Also, purchase a BTT Podcast t-shirt or two from our Pro Wrestling Tees Store!  This week's Time Stamps for our WCW Saturday Night on TBS recap from April 2, 1994 review are as follows (NOTE: This was recorded 11/21/2025):  HOW TO GIVE OR GIFT A PATREON MEMBERSHIP: https://www.patreon.com/BookingTheTerritory/gift   Opening Shenanigans! Become a patron here: https://www.patreon.com/BookingTheTerritory ( 0:02:02 )  You can sign up monthly or annual. When signing up for an annual plan, you get 2 MONTHS FREE! https://www.patreon.com/c/BookingTheTerritory  Harper loves telling people to grow up but loves texting us about our childhood toys? ( 0:05:11 ) 5-Star Review Shoutouts! Submit a 5-Star Review on Podcast Addict and Apple Podcasts and you'll get a shoutout on air. ( 0:30:15 )   Dman imitates Harper on how he needs to grow up. ( 0:30:56 ) WCW Saturday Night on TBS April 2, 1994! ( 0:32:07 ) Dman chimes in on the Menace being a mudshow rassler. ( 0:40:58 ) WCW Saturday Night on TBS April 2, 1994 recap continues. ( 0:42:51 ) Bunkhouse Buck and Colonel Parker found the fountain of youth and fountain of money. ( 0:47:30 ) WCW Saturday Night on TBS April 2, 1994 recap continues. ( 0:52:52 ) You can't be a heel today like Bobby Heenan was on commentary during this segment. ( 0:55:18 ) WCW Saturday Night on TBS April 2, 1994 recap continues. ( 1:05:50 ) Flair responds to Hogan's interview from last week. ( 1:24:34 ) Doc lays eyes on Steve Keirn during this era for the first time and Bad Company. ( 1:31:37 ) WCW Saturday Night on TBS April 2, 1994 recap continues and Moral means Mural to Harper? ( 1:39:33 ) If you want access to the Clashes or WCW PPVs, and over 400 Patreon show, become a patreon member at https://www.patreon.com/BookingTheTerritory or tinyurl.com/PatreonBTT! You can sign up monthly or annual. When signing up for an annual plan, you get 2 MONTHS FREE!  Who gets the Rolex and/or Toot Toot award? And become a BTT Patreon member! Don't forget to become a BTT Patreon member at https://www.patreon.com/BookingTheTerritory ( 1:52:08 )  Easy E tells you what you need to know! Become a Patron https://www.patreon.com/BookingTheTerritory ( 1:40:19 )  Harper lays out what it will take to do Ask Harper segments on the main show! Paypal him $5 per question. Harper's PayPal is, get your pen and paper out, cc30388cc@yahoo.com . Then email Harper ( ChrisHarper16Wildkat@gmail.com ) and Mike ( BookingTheTerritory@gmail.com ) letting them know you submitted $5 to Harper's paypal and he will answer your question on an upcoming show.  Information on Harper's Video Shoutout, Life and Relationship.  1. First things first, email Harper with the details of what you want in your video shoutout or who the shoutout is too. His email address is ChrisHarper16Wildkat@gmail.com . Also in that email tell him what your paypal address is. 2. Paypal him $20. Harper's PayPal is, get your pen and paper out, cc30388cc@yahoo.com .  3. Harper will then send you the video to the email address that you emailed him from requesting your video shoutout. That's it! Don't email the show email address. Email Harper. If you missed any of those directions, hit rewind and listen again.

Thanksgiving is the greatest of holidays Chris Paul is unlikable, I didn't know he was get sent home unlikable Giannis is running away from Doc Rivers, and Doc is running back to TV Lane is selfish, and that covers most of that Hey Penn State: the best awareness is self awareness Who doesn't enjoy arguments about the 14th best team in the country? Conference Championship Weekend! Guest: Felder - It's Felder   Like what you hear? Subscribe so you don't miss an episode!     Follow us on Twitter: @Dpalm66 @UDPod @TheMTRNetwork Want more podcast greatness? Sign up for a MTR Premium Account! Check out our Sponsors! TweakedAudio.com using the code ‘reviews' to get 33% off & free shipping. Shop at our Amazon Store to support the site  

Doc, Hjálmar Örn og Gunnar Birgisson

Episode 421 - Two Servings Of Derry We went to see our doctor recently, and she told us everything was looking good except our bones. She concerned that they seem quite brittle, so she told us to get more Derry in our diet. We said "that's weird, we've been watching every new episode". She seemed confused by that and replied "No I'm saying that you need to consume more Derry." "Umm... yeah we get what you're saying. We know we're two episodes behind, but we'll get caught up." Still more confusion. We're starting to wonder how she made it through medical school. "I'm trying to tell you that, with your history inactivity and over-indulgence, your bones are going to start turning to dust. You have to do the bare minimum, and simply consume more Derry." "Fine, we get it, Doc. We'll watch both episodes this week." She asked us to leave. We don't know what her deal was, but by doctor's orders, we had a couple extra servings of Derry this week.

Today Justin and Cameron are going to the past one last time with Doc and Marty with Back To The Future Part III. Will it be a fitting end to a grand adventure across time or would it have been better left in a lost time line? Find out today on Cinema Roulette!Art by: https://tellersplace.tumblr.com/ Cinema Roulette Intro Song: "Rain Keeps Falling (Part 2)" by J.J. Vicars. Check him out! https://jjvicars.com/Follow us on BlueSky: Cinema Roulette: https://bsky.app/profile/cinemaroulette.bsky.socialJustin's Bsky: https://bsky.app/profile/jkpancake.bsky.social Cameron's Bsky: https://bsky.app/profile/camcammackert.bsky.socialFind all the other places you can stream or follow us here: https://linktr.ee/CinemaRoulette

Giannis Antetokounmpo's potential trade request leads off the show, as Nate and Danny retrace how Milwaukee got here and debate where he could go next.They then break down Bucks/Pistons, highlighted by Giannis' calf injury, Doc Rivers' clever 2–3 zone, and Jericho Sims' decisive and-one.San Antonio/Orlando follows, with Dylan Harper's electric playmaking, De'Aaron Fox's tough shotmaking, and Luke Kornet's game-saving block on Franz Wagner.Jamal Murray's 52-point explosion against Indiana ranks among the most efficient 50-point games ever.A shorthanded Warriors/Thunder matchup features Pat Spencer's breakout, Seth Curry's debut, and OKC's defensive lapses.Finally, Chris Paul's exit from the Clippers headlines a lengthy news segment on injuries and updates around the league.Giannis' looming trade request, the Bucks' timeline, and possible destinations and returns. 0:30Bucks/Pistons: Giannis' calf injury, Doc's 2–3 zone on Cade, Sims' putback, and Detroit's crunch-time collapse. 17:30Spurs @ Magic: Harper vs Fox, Orlando's paint attack, and Luke Kornet's game-saving block on Franz. 25:47Jamal Murray drops 52 on Indiana and what it reveals about Denver's season and their home/road split. 45:38Warriors/Thunder in SF: Pat Spencer's shock performance, OKC's shorthanded defense, Seth Curry signing, and Kuminga's health. 50:08Chris Paul sent home by the Clippers, locker-room dynamics, Ty Lue/Lawrence Frank, and what's next for CP3. 58:59News (league-wide injuries/updates: Nuggets, Clippers, Lakers, Heat, Pelicans, Wizards, Knicks, Kings, Celtics, Nets, Bulls, Hornets, and more). 1:06:41 Join Dunc'd On Prime! It's the only place to get every episode with Nate & Danny, plus every pod with John Hollinger & Nate as well!Subscribe on YouTube to see our hilarious faces and, more importantly, see watch this free pod twice a week.Or, sign up for our FREE mailing list to get Dan Feldman's Daily Duncs with all the major topics around the league twice a week. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Doug Podell is a legendary Detroit and Cleveland rock radio on-air talent and Program Director. Doug is wrapping up a spectacular, 50-year career on Friday, December 5th, with his final broadcast on iHeart's 106.7 WLLZ Detroit.You've heard me mention "The Doc of Rock" Doug Podell many times over the years. He's part of a stable of on-air personalities that were a huge influence on me. I'm grateful for him and his career and I'm excited to share this. Congrats, Doug! Our Sponsors:* Check out Secret Nature and use my code ZANE for a great deal: https://secretnature.com* Check out Uncommon Goods: https://uncommongoods.com/zaneSupport this podcast at — https://redcircle.com/the-eric-zane-show-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Boone Froggett, John Seeley, Alex Wells, and Dale Myers make Otis. The band has been slowly building a following since 2014. They have built a fans around the country including ZZ Top's Billy Gibbons. Before they played in Jacksonville Boone was nice enough to stop by the show and talk about their career! Boone and Doc talk about Halloween, getting started in music, finding BB King, working with the Kentucky Head Hunters, getting new members in the band, and so many other things! Meanwhile on the rest of the show, Mike and Doc talk meteorites and the best youtube page to view them. Introduction: 0:00:23 Birthday Suit 1: 13:36 Ripped from the Headlines: 17:49 Shoutouts: 33:11 Boone Froggett Interview: 41:06 Mike C Top 3: 1:17:46 Birthday Suit 2: 1:38:02 Birthday Suit 3: 1:43:24

Doc, Sigurður Bond og Albert Ingason

GLP-1 drugs that are commonly used to treat diabetes and obesity, like Ozempic and Wegovy – are in big demand. And they’re going to be more affordable. The Trump administration recently negotiated deals to lower the prices of these drugs. It seems like some details still need to be ironed out…. but from the looks of it, many Americans who use Medicare will be able to access GLP-1s at a fraction of their original cost. According to one of the deals, some Medicare patients will be able to get GLP-1s for a $50 copay. So it’s safe to assume as costs come down, these drugs are only going to get even more popular…. And we want to know more about them. In this latest “ask a doctor” segment, we’re asking two physicians to answer all of our burning questions. GUESTS: Dr. Scott Hagan, an associate professor of medicine at the University of Washington School of Medicine, who studies obesity. Dr. Mara Gordon, a family physician based in Philadelphia. She also writes about the culture of medicine and authors the “Real Talk With a Doc” column for NPR. RELATED LINKS: Medicare negotiated lower prices for 15 drugs, including 71% off Ozempic and Wegovy : Shots - Health News : NPR Ozempic is making me rethink how to be a body-positive doctor : Shots - Health News : NPR Thank you to the supporters of KUOW, you help make this show possible! If you want to help out, go to kuow.org/donate/soundsidenotes Soundside is a production of KUOW in Seattle, a proud member of the NPR Network.See omnystudio.com/listener for privacy information.

This week on Sippin on Excellence, Coach KJ and Doc Hunt sit down with actor, writer, director, and certified body-roll queen Lennon Parham to talk about the real life behind the laughs. From cutting her teeth in the improv world to co-creating and starring in shows like Playing House and Best Friends Forever, Lennon breaks down what it means to build a career in comedy on her own terms—on stage, on screen, and in the writers' room.   We dive into how she navigates the beautiful chaos of producing, acting, and creating while also being present at home as a partner and mom. Lennon gets honest about ambition, boundaries, and why joy has to stay at the center of the work, even when schedules are insane and the industry gets weird. If you've ever wondered how to chase a creative dream without burning out—or burning down your family life—this one's a masterclass in doing both with heart and humor.   Questions, reviews and topics you would like to hear on the show:   Website: podcastsoe.com.   Instagram: @soe_podcast     YouTube: @sippinonexcellence3736   Connect with Doc! Website: huntspine.com       Instagram: @leonelhunt   Connect with Coach KJ! Website: coachkj.com       Instagram: @coachkjknows

Doc and Friar break down the comic books hitting shelves this week and highlight what else is hitting comic shops throughout December.

TYP Fave Dr. Denise Furness is back and this time we chat about reversing cognitive decline, improving sleep, why women have more trouble sleeping than blokes, the value (or not) of Melatonin, the part of your brain that literally grows when you do hard stuff, spiders as big as your hand (really) that live at Dr. Denise's house, the danger that my testicles are in (according to the Doc) and lots more. Enjoy.See omnystudio.com/listener for privacy information.

Welcome back to the Konfidence in the Klutch Podcast with Donald Nelson (2:30). Konfidence in the Klutch's Deezus gives his Konfident Service Announcement: Don't Quit (3:45).  Deezus then shares his NFL Week 12 & 13 notes and news. Shadeur wins in his first start.  CJ is my favorite QB.  The Cowboys are in a championship window mindset.  Is Lamar at a crossroad?  Joe, Jalen, Shelby, and Tomlin (7:00). Deezus then shares his NBA news, including revisiting the Klay vs Ja situation.  Giannis speaks on the Bucks losing, and Doc is in trouble.  Curry's departure from UA was warranted because CC wasn't signed (13:25). Deezus then shares his WNBA news: the league's CBA proposal has leaked.  $1.1M vs $242K max salary is a no-brainer for the WNBAPA (18:20). Deezus talks about Politics as usual.  Trump vs the six democrats.  MTG resigns.  National Guard members shot in D.C. (23:40). Deezus shares his Quick Ones: T-Boz Prep commercial is dope.  Lane Kiffin agrees to coach LSU 24:45.  Life Accused as a Teacher/Coach part 127 (28:00).  The podcast was recorded at 7:20 p.m. CT on Tuesday, Dec. 2, 2025.  Host: Donald Nelson Producer/Engineer: Donald Nelson Music by: Konfidence in the Klutch Productions Subscribe, Stream, or Download:

Up to 20 people a day are risking their lives venturing into closed areas of a popular Aoraki-Mt Cook National Park track, where construction and explosive work is under way. DOC operations manager for Aoraki-Mt Cook, Sally Jones spoke to Corin Dann.

#DrKenyattaCavil #SportsLab #HBCUsports"Inside the HBCU Sports Lab" episode 749 with Doc, Charles Bishop, and AD Drew discussing HBCU sports news and taking a look at this weekend's SWAC Football Championship game between Jackson State and Prairie View A&M.00:00 - Intro; First segment -- HBCU sports news and info of the week06:57 - 4 HBCU bands still alive in the Band of the Year competition08:44 - FAMU Volleyball and Coppin State Volleyball in the NCAA Tournament09:50 - Marshall Faulk new Southern Jaguars football head coach11:26 - SWAC announces football postseason awards16:53 - 1st commercial break20:00 - Second segment -- a look at last week's HBCU Mid-Major Division Football rankings26:57 - Final HBCU Mid-Major Division Football rankings for this season36:24 - Newberry at Albany State playoff match-up 41:37 - 2nd commercial break44:27 - Third segment -- 53:11 - Discussing the Prairie View A&M at Jackson State football match-up59:29 - 3rd commercial break01:03:31 - AD Drew's final monologue01:08:40 - ConclusionTOPICS:Florida A&M Volleyball Set to Face Texas from SWAC.orgCoppin State Volleyball To Face #2 Arizona State in First Round of NCAA Tournament from MEACSports.comSouthern Names Faulk Head Football Coach from SWAC.org SWAC Announces Football Postseason AwardsSWAC Announces Football Postseason Individual Awards  @InsidetheHBCUSportsLab on Facebook Live and Spreaker.‬Contributions welcome at CashApp $JafusCavil

In today's Morning Manna, Rick Wiles and Doc Burkhart share important updates about the ministry's transition to a new, fully owned platform and the upcoming launch of Morning Manna on international television, while encouraging the audience to walk with them in grace during this season of stretching. The study explores Proverbs 17:10–13, revealing the deep contrast between the wise—who humbly receive correction—and the fool, who remains unchanged even under harsh discipline. Rick and Doc warn about the spiritual insanity of rebellion, the severe consequences God sends against those who resist His order, and the danger of engaging with a fool in his folly—more perilous than facing a mother bear robbed of her cubs. They close with a sober reminder that repaying evil for good invites ongoing trouble into one's house, urging believers to remain discerning, humble, and faithful. Teachers: Rick Wiles and Doc Burkhart You can partner with us by visiting FaithandValues.com, calling 1-888-519-4935, or by mail at PO Box 399 Vero Beach, FL 32961. MEGA FIRE reveals the ancient recurring cycles of war and economic collapse that have shaped history for 600 years. These patterns predict America is now entering its most dangerous period since World War II. Get your copy today! www.megafire.world Get high-quality emergency preparedness food today from American Reserves! www.AmericanReserves.com It's the Final Day! The day Jesus Christ bursts into our dimension of time, space, and matter. Now available in eBook and audio formats! Order Final Day from Amazon today! www.Amazon.com/Final-Day Apple users, you can download the audio version on Apple Books! www.books.apple.com/final-day Purchase the 4-part DVD set or start streaming Sacrificing Liberty today. www.Sacrificingliberty.com

Doc, Sigurður Bond og Keli á þriðjudegi.

Going Underground: Installment# 17--This month Showtyme Joshua and High5Tom are alone as we get the whole band together for another epic Ultima Lucha watchalong. Man the was fun but make sure ya are watching along Make sure to follow us on all the socials and our podcast families and partners below. And highfivers make sure to Tune In and Tune out, press play and enjoy because ya know we sure as shit did. And make sure you follow our esteemed Guest Mario, he not only hosted us but dude is definitely part of our family. https://x.com/akidfrom34thst Pick up your own copy of Eat Like a Luchador cookbook https://www.barnesandnoble.com/w/eat-like-a-luchador-legends-of-lucha-libre/1137837312 Per Josh take a listen to Cooligans on all podcast platform but here is the apple link The Cooligans - Podcast - Apple Podcasts Per High5Tom In Madness - Podcast - Apple Podcasts Listen to Doc and our Boy Zack on the The Take it Home Podcast on Youtube https://www.youtube.com/channel/UC3ti7qaJevlzh2M5J4nfqSg Follow Doc on Twitter https://x.com/DocSimmons17 IG : @docsimmons17 Follow the 4th leg of the Going Underground crew DUI friend the Kid from 34th st https://x.com/akidfrom34thst Follow Country Air https://x.com/countryairbrand Follow Tom at https://twitter.com/High5Tom Follow Josh at https://x.com/showtyme341 Follow VGM at https://twitter.com/VisGlobalMedia Follow the Shining Wizards https://twitter.com/wizardspodcast Logo done by personal friend Atomic Howler https://x.com/AtomicHowler https://www.facebook.com/theartistbryanvreeland/ Follow the Podcast at https://x.com/G_U_Podcast If you want to watch along smash this link courtesy of our boy The King Azar https://archive.org/details/season1-lucha-underground Music in the Intro is Friday Night in Afikin by Marcelo Nami Podcasts Doc Referenced in his Episode for more Lucha UnderGround content https://www.youtube.com/@masksmatsmayhem https://www.youtube.com/@luchacentral

Dr. Laura welcomes Dr. Shahana Alibhai, a TEDx speaker, bestselling author, family physician, and medical director of The Foundry Abbotsford, to the show to talk about her book, Feel Better, and the need for more focus on mental health, especially for youth. Dr. Shahana points out that medicine is very focused on illness, on diagnosing disease and offering treatment, whereas mental health requires holding space for belonging, acceptance, and mattering. She and Dr. Laura explore what it takes to navigate emotions and thrive in life.The proceeds from Dr. Shahana's book sales go to support youth mental health agencies, and she drew on her own experiences with postpartum OCD and the reluctance she felt, as a physician, to seek professional help. Dr. Shahana and Dr. Laura explore the coping mechanisms we turn to and whether they're useful long-term, the benefits of being open about our emotional states, and the lessons in Feel Better. Dr. Shahana likens understanding others to envisioning an invisible chalkboard above them listing what's really going on in their lives, the parts we don't automatically see. This is a beautifully authentic conversation that sheds light on the reality of what emotional struggle is, how to cope with stress and anxiety, and how to prolong the joy we seek.“Does it come as a friend and leave as a friend, or does it come as a friend and leave as an enemy? … Vaping, substances, alcohol, the list goes on and on. Comes as a friend. Of course it works. It works oftentimes. Leaves as an enemy. It takes more from you than you want.” - Dr. Shahana AlibhaiAbout Dr. Shanana Alibhai:TEDx speaker, bestselling author, and powerhouse in the field of emotional health. As a dedicated family physician and Medical Director at Foundry Abbotsford—British Columbia's largest youth health centre—Dr. Shahana has made it her mission to empower others with the tools to navigate their emotional well-being.Her debut book, Feel Better, endorsed by the legendary Mel Robbins, soared to #1 in and Parenting on Amazon. A sought-after speaker, she has worked with top organizations like Yale University, UBC, Scotiabank, and Remax, bringing clarity to the crucial connection between emotional and mental health.Dr. Shahana's insights have captivated audiences on major media platforms, including CTV and Global, and her wisdom has even made it to Hollywood—the quote, “We do not suffer from a lack of joy, simply a lack of recognizing it”, was handpicked for an award-winning planner gifted to celebrities at the Oscars. She has also been featured in Medium - Authority Magazine, where she shared her expertise on emotional resilience and well-being. In recognition of her impact, she has been nominated for the prestigious 2025 YWCA Women of Distinction Award.Passionate about education and outreach, she created the groundbreaking "Think Like a Doc" program, where students step into the shoes of a physician, learning about both their physical and mental health. She has also contributed to global mental health initiatives, volunteering her time to support communities in developing nations like Nepal.Beyond her work in medicine and advocacy, Dr. Shahana is a proud mom to three energetic young boys who keep her on her toes and continuously teach her the true meaning of patience, resilience, and joy. Balancing a thriving career with the beautiful chaos of motherhood, she brings a refreshingly real and relatable perspective to her audiences.When she's not on stage, in the clinic, or chasing after her little ones, Dr. Shahana serves as a National Accreditor for the College of Canadian Family Physicians and has been a mentor in the UBC Faculty of Medicine Residency Training Program. Her TEDx talk, "Emotional Literacy for Better Mental Health", has resonated with thousands, cementing her as a leading voice in the space of well-being and resilience.With a unique ability to blend science, storytelling, and real-world strategies, Dr. Shahana leaves every audience inspired, informed, and ready to feel better. Resources:Website: DrShahana.comLinkedInYouTubeInstagramBook: “Feel Better” by Dr. Shahana Alibhai, MD Learn more about Dr. Laura on her website: https://drlaura.live“I Wish I'd Quit Sooner:  Pre-orders: Practical Strategies for Navigating and Escaping a Toxic Boss” by Dr. Laura Hambley Lovett - Pre-orders and AmazonFor more resources, look into Dr. Laura's organizations: Canada Career CounsellingSynthesis Psychology Pre-order Dr. Laura's new book today: I Wish I'd Quit Sooner: Practical Strategies for Navigating a Toxic Boss Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode, Madigan has a conversation with author of the upcoming historical fiction novel, the Double Standard Sporting House, coming out January 20th, 2026. The Double Standard Sporting House tells the story of Doc Hastings, who owns her own clinic for women, which happens to be attached to a high-class brothel, which she also owns. We see how Doc manages the needs of the girls who work for her, along with the power struggle between them and the Tammany government, which ruled New York City at the time. This is the story of an untold history of women in medicine, saving each other. It's about trauma, and healing. It's about power and submission. It's all about Double Standards. Pre-Order the Double Standard Sporting House NOW! https://www.simonandschuster.com/books/The-Double-Standard-Sporting-House/Nancy-Bernhard/9798896360520 Do you have a topic that you want the show to take on?    Email: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠neighborhoodfeminist@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Social media:     Instagram: @angryneighborhoodfeminist Get YANF Merch! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://yanfpodcast.threadless.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ JOIN ME ON PATREON!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/angryneighborhoodfeminist⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sources: Learn more about your ad choices. Visit megaphone.fm/adchoices

Raphael Esparza is a Global Oddsmaker and Professional Sports Handicapper at Doc's Sports. He has over 14 years of experience as a sportsbook manager at four of the biggest, most well-known sportsbooks on the Vegas Strip. Esparza has more than 18 years of sports handicapping experience and has spent the last seven years with Doc's Sports as The Vegas Sports Informer. Raphael's success stems from his power ratings and thousands of trends personally tracked over many years. He is generally considered to be the best NBA handicapper in the country thanks to a remarkable seven consecutive winning seasons. On this episode Mike and Raphael delve into the intricacies of sports betting, particularly within the dynamic landscape of the NBA and college basketball. Esparza addresses the impact of player performance, injuries, and statistical trends on setting betting odds, while also addressing the implications of increased betting accessibility through mobile platforms. We explore the challenges faced by college basketball teams and coaches in an era marked by rapid roster changes due to the transfer portal, and how these shifts affect the continuity and cohesion essential for success. Through Esparza's extensive experience, we gain valuable perspectives on the evolving nature of sports betting and its intersection with the NBA and college basketball.Follow us on Twitter and Instagram @hoopheadspod for the latest updates on episodes, guests, and events from the Hoop Heads Pod.Make sure you're subscribed to the Hoop Heads Pod on Apple Podcasts or wherever you get your podcasts and while you're there please leave us a 5 star rating and review. Your ratings help your friends and coaching colleagues find the show. If you really love what you're hearing recommend the Hoop Heads Pod to someone and get them to join you as a part of Hoop Heads Nation.Step behind the Sportsbook curtain as you listen to this episode with Raphael Esparza, Global Oddsmaker and Professional Sports Handicapper at Doc's Sports.Website - https://www.docsports.com/Email - raphael085@hotmail.comTwitter/X - @VSIdocsportsVisit our Sponsors!Dr. Dish BasketballThe Dr. Dish Training Management System (TMS) is built for coaches who want structure, accountability, and smarter player development.Here's what you can do with TMS:✅ Advanced Stats Tracking✅ Assign Custom Workouts✅ Team Insights✅ Multi-Drill Workouts✅ On-Demand LibraryAll in one platform. All from your computer.

Doc McClintock is a folk singer-songwriter born and raised in Roanoke, Virginia. Her songwriting is deeply influenced by her experience living on the fringes of rural Appalachia with a focus on addiction, loss, queerness and working class struggle. She ignites a fusion of rowdy traditional Appalachian string music and introspective folk.  Novembers theme is reflecting on the idea of home and how we connect to our communities.This episode of Appalachian vibes was recorded in front of a live audience November 3rd 2025 at 3rd street coffeehouse in Roanoke, Virginia,  Song title "A Place to Rest" Learn more about Doc at https://www.instagram.com/doc_mcclintock/?hl=enAppalachian Vibes Radio Show from WNCW is listener nominated, you can nominate an artist by emailing Amanda at appalachianvibes@gmail.com. Appalachian Vibes Radio Show is created and produced by Amanda Bocchi, a neo soul singer-songwriter, multi instrumentalist and journalist hailing from the Appalachian Mountains of Virginia.

In this editorial, we are joined by Richard "Doc" Postma to discuss the massive move in precious metals, with Silver surging over 15% in November. Doc breaks down the technical indicators suggesting we are in an "acceleration phase" similar to 2011. We discuss the glaring valuation disconnect between soaring metal prices and lagging mining equities, explaining why developers using conservative price assumptions offer deep value. Doc also shares his macro thesis on the "Great Reset" favoring hard assets and why he views recent pullbacks in names like Coeur Mining as buying opportunities. Key Discussion Points: Silver Breakout: Analyzing the potential for 8 straight months of gains and bullish momentum indicators. Valuation Gap: Why miners haven't kept pace with spot prices and the specific opportunity in juniors. Stock Specifics: Thoughts on the pullback in Coeur Mining and the technical strength of Silvercorp. Macro Outlook: The Dow/Gold ratio heading lower and the global shift toward hard assets.   ---------------------------- For more market commentary & interview summaries, subscribe to our Substacks:  The KE Report: https://kereport.substack.com/  Shad's resource market commentary: https://excelsiorprosperity.substack.com/ Investment disclaimer: This content is for informational and educational purposes only and does not constitute investment advice, an offer, or a solicitation to buy or sell any security. Investing in equities and commodities involves risk, including the possible loss of principal. Do your own research and consult a licensed financial advisor before making any investment decisions. Guests and hosts may own shares in companies mentioned.

SPONSORS: 1) AMENTARA: Go to https://www.amentara.com/go/julian and use code JD22 for 22% off your first order! 2) GHOSTBED: Get 25% off already-reduced prices, PLUS you'll get their Massaging Neck Pillow for free with your mattress purchase. Just go to http://GhostBed.com/julian and use promo code JULIAN at checkout. 3) RIDGE: Take advantage of Ridge's Biggest Sale of the Year and GET UP TO 47% Off by going to https://www.Ridge.com/JULIAN #Ridgepod PATREON https://www.patreon.com/JulianDorey ****TIMESTAMPS in description below**** 0:00 - Intro 1:29 - Sarma meets Matt, The idea for NYC restaurant 15:03 - Sarma Health Conscious, Bulimia and Stress, NYC on 9/11 29:14 - 9/11 Really Derailed the Restaurants, Trump Sues Sarma, Harvey Weinstein 42:20 - Red Flags, Sarma makes staff whole, Why investors trusted Sarma 49:25 - Sarma & Matt's business arrangement 56:54: Sarma & Alec Baldwin, Sarma's Dog & “Leon The Professional”, Alec Baldwin & Hilaria 1:07:31 - Sarma's first heartbreak, “Mr. Fox” enters Sarma's life 1:14:16 - Mr. Fox's (aka Shane aka Anthony) Mysterious Background 1:26:09 - First Meeting Shane in person, Sarma's lack of love, “Protection” 1:35:07 - Anthony was “cult leader,” Anthony's Sarma nickname, “Bad Vegan” alters interview 1:43:20 - Sarma's Annoyed w/ Bad Vegan, Sarma gets married to Anthony 1:49:48 - Anthony defrauds Sarma's mom 1:54:59 - Anthony's father, Anthony's gambling problems, Anthony sociopath, $20 million owed 2:03:46 - Anthony sends Sarma to Rome, Sarma's disassociation, Doc shows Sarma lost 2:10:13 - Anthony takes Sarma run from Feds, Anthony infantilizes Sarma, Sarma cries now 2:17:12 - Sarma & Anthony arrested (STORY), the immediate aftermath 2:26:13 - Case becomes criminal, Rikers, Plea Deal, Judge sees Sarma's situation 2:33:20 - The Undiscovered Journal, Abuse cut from “Bad Vegan” 2:37:24 - Anthony Scientology-like abuse, The Horrific Ritual Anthony did to Sarma 2:48:34 - Sarma in better place now BUY BOOK: https://www.amazon.com/Girl-Duck-Tattoo-Memoir/dp/1544548982 FOLLOW JULIAN DOREY INSTAGRAM (Podcast): https://www.instagram.com/juliandoreypodcast/ INSTAGRAM (Personal): https://www.instagram.com/julianddorey/ X: https://twitter.com/julianddorey JULIAN YT CHANNELS - SUBSCRIBE to Julian Dorey Clips YT: https://www.youtube.com/@juliandoreyclips - SUBSCRIBE to Julian Dorey Daily YT: https://www.youtube.com/@JulianDoreyDaily - SUBSCRIBE to Best of JDP: https://www.youtube.com/@bestofJDP ****TIMESTAMPS**** 00:00 - Intro CREDITS: - Host, Editor & Producer: Julian Dorey - COO, Producer & Editor: Alessi Allaman - https://www.youtube.com/@UCyLKzv5fKxGmVQg3cMJJzyQ - In-Studio Producer: Joey Deef - https://www.instagram.com/joeydeef/ Julian Dorey Podcast Episode 360 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Doc, A.I. og Jói Már á sunnudagskvöldi.

Anna and Ben sit down to visit the third most successful film of 1972, the slapstick comedy "What's Up, Doc?" They discuss how the film compares to its obvious antecedents and whether Streisand's character is more manipulative and callous than either Hepburn in "Bringing Up Baby" or any of Groucho's schemers, and whether Bugs Bunny's life has to be endangered to justify his actions. Of course you know that this means war...

#DrKenyattaCavil #SportsLab #HBCUsports"Inside the HBCU Sports Lab" episode 748 with Doc, Charles, Bryan and AD recapping the weekend in HBCU Major and Mid-Major Division football.Bryan joins the show during the second segment.00:00 - Intro; First segment -- Who receives a victory (shoutout) cigar?Mississippi State vs Florida A&MTuskegee - Alabama StateGrambling State - SouthernBenedict - Albany State 21:36 - 1st commercial break24:41 - Second segment -- Bryan joins the guys to discuss the FAMU - Valley football game32:50 - A look at Week 14 in HBCU Football37:32 - Who receives Big Ben L. Cavil Helmet Stickers today?46:45 - Who's on the ledge?49:31 - 2nd commercial break50:48 - Third segment --  Dr. Cavil's Top 7 HBCU Major Division rankings unveiled01:03:31 - Final commercial break01:06:23 - Final segment -- opening discussions about the SWAC Football Championship game between Jackson State and Prairie View A&M01:30:03 - ConclusionTOPICS:Week 14 in HBCU Football recaps and a look ahead to the SWAC Football Championship Game@InsidetheHBCUSportsLab on Facebook Live and Spreaker.‬Contributions welcome at CashApp $JafusCavil

Ephesians 4 - A new Life 30.11.25 by Doc

Doc, Albert Ingason og Eiður Smári Guðjohnsen.

No one can remember how Doc Miller ended up in the Wayne Rehabilitation Centre - and the calls they're getting sound wrong. The voices sound off. Doc doesn't seem to want them there. Or maybe it's not really Doc at all...The escape is on. But the real problem isn't the guards. It's the sound in the ceiling.Something's up there. Watching. Waiting...PLAY THE DUST WORLD RPG NOW:We've released the epic RPG Dust world and we want your help. Dust World PBTA is RPG Empire's sci-fi western game that's simple, fast, and Powered By The Apocalypse. Are you ready? Enter The Gun-Filled Lands Of An Obliterated Civilization. Play as gunslinging anime-inspired heroes on their mission to discover the truth behind the lost civilization and its technology. GET THE GUIDE NOW:https://www.therpgempire.com/shop/p/b2ck9ai8u8d7i6j5xs48oojt742uq2Dust world RPG Podcast is an actual play Role-playing podcast like the Adventure Zone Podcast or Critical Role. The setting is a sci-fi western a few hundred years after a great war burned the earth and a virus called white horse dissolved most organic matter into dust creating the wastelands.Dust World RPG is a Powered By The Apocalypse game. Dust World is a Tabletop Role-Playing game created by Paul Parnell Copywrite 2020. The setting was created by Paul Parnell and Michael Yatskar. The game was written by Paul-Thomas Parnell and Dumaresq de Pencier.OTHER PROJECTS FROM THE RPG EMPIRE:Strangers in the Pines: A Monster Of The Week actually play roleplaying podcast inspired by things like Gravity Falls, Stranger Things, and Fringe. It takes place in a small strange town called Pine Forge nestled in the Blackwood national park in Northeast Oregon, USA, and follows, the exploits of 3 unusual high school students as they try to unravel the mysteries of the Strangers in the Pines.https://www.therpgempire.com/strangers-in-the-pinesCONNECT WITH US:Join our Discord Server to chat with us and talk all things RPGs: https://discord.gg/2jnyGv9Follow and send us DMs on Instagram: @theRPGempireJoin the Empire!

#DrKenyattaCavil #SportsLab #HBCUsports"Inside the HBCU Sports Lab" episode 747 with Doc, Wilton Jackson II and Bryan Fulford discussing the latest in HBCU sports news and taking a look at this week's HBCU Football Major Division match-ups and Mid-Major Division playoff match-up between Benedict and Albany State.00:00 - Intro; First segment -- HBCU sports news and info of the week21:08 - 1st commercial break24:13 - Second segment --Doc, Wilton and Bryan recap the Turkey Day Classic matchup won by Alabama State 58-21 over Tuskegee31:40 - Would you like to see an additional HBCU Bowl game such as North Carolina Central vs Alabama State?49:19 - 2nd commercial break52:07 - Third segment -- Benedict at Albany State in Mid-Major Division 2 playoffs round 253:50 - Bayou ClassicGrambling State and Southern01:00:37 - Southern's problem is Southern won't get out of its own way01:05:00 - Bayou Classic predictions01:07:46 - Wilton's thoughts on the Benedict - Albany State playoff match-up01:09:46 - Bryan's thoughts on the Benedict - Albany State playoff match-up01:13:10 - ConclusionTOPICS:MEAC Announces Weekly Women's Basketball Honors MEAC Announces Weekly Men's Basketball Honors MEAC Announces Weekly Football Honors SWAC Football Weekly AwardsKyrie Irving Launches Multi-Year Partnership With HBCUPrairie View A&M Set to Face Jackson State in 2025 SWAC Football Championship Game from SWAC.org Who were the top SWAC football players in 2025? What about coach? Our winners @InsidetheHBCUSportsLab on Facebook Live and Spreaker.‬Contributions welcome at CashApp $JafusCavil

Doc, Keli og Sigurður Bond

Boy, do we have a show for you.  It's Thanksgiving and Arthur is feeling rowdy and wants to fist fight at the back of a Denny's. plus he's hyper fixating on the new LPS!  We dig into the mysterious death of Ohio immigrant and businessman Mitchell Siegel and how that unsolved death led to the creation of the character of Superman.  We also find that Superman has a lot in common with a character named Doc Savage and how Superman, and other costumed superheroes grew out of the pulps.  We talk modern takes on the character, and all the pop culture feels and friends.Become a supporter of this podcast: https://www.spreaker.com/podcast/family-plot--4670465/support.

We chat with Doc and Marty from Back to the Future: The Musical, great Scott! Leading into your holiday, The Connoisseur shares his favorite holiday stories. Plus, a show announcement. (00:00:00) News & Sports(00:13:50) Entertainment News(00:46:29) The Connoisseur, Fox Good Day(01:28:31) Bizarre File(01:37:44) Show Announcement(02:00:38) David Josefsberg (Doc Brown) and Lucas Hallauer (Marty McFly) - Back to the Future: The Musical(02:20:14) Bizarre File(02:43:24) Hollywood Trash & Music News(02:54:01) Wrap UpSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This is the story Wisconsin never wanted to explain — how the girl who nearly took a child's life in the infamous Slender Man attack was quietly moved into a suburban neighborhood, supervised by nothing more than a plastic ankle monitor, and somehow slipped across state lines with a grown man before anyone sounded the alarm. Tonight, we're taking you through the full timeline of how Morgan Geyser — the attacker in the Slender Man stabbing — went from a secure psychiatric institution to a residential street in Madison. Not because she “served her time,” but because judges, doctors, and state agencies convinced themselves she was ready for “community reintegration,” despite red flags that would stop any other case in its tracks. We dig into the decisions that opened the door:  • The court rulings that shifted her from a locked facility to a group home.  • The warnings about disturbing reading material and troubling outside contacts.  • The placement that got scrapped after residents found out who was coming.  • The next placement, quietly sealed by the court to avoid public backlash.  • The neighborhood full of families who had no idea she had moved in.  • And the ankle-monitor alert that DOC brushed off as a “device glitch” while she walked freely into the night. And then — the escape.  A missing GPS signal.  A 12-hour communication delay.  A 42-year-old man by her side.  And a capture behind a truck stop in Illinois after officers realized the woman they found didn't want to say her name because she'd “done something really bad.” This isn't just a story about an escape. It's a story about a system that trusted a fragile treatment plan more than it trusted the memory of what she had already done. It's about the gap between courtroom optimism and real-world danger. And it's about how the people most affected — the victim's family, the neighbors, and the public — were kept in the dark until everything fell apart. If you've ever wondered how someone with a violent, delusion-driven history ends up living quietly next to families with no warning, this breakdown will answer that — and raise questions Wisconsin will be forced to confront. #SlenderManCase #MorganGeyser #TrueCrimeNews #HiddenKillers #CrimeAnalysis #JusticeSystem #Wisconsin #CrimeBreakdown #PublicSafety #TrueCrimeToday Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/@hiddenkillerspod Instagram https://www.instagram.com/hiddenkillerspod/ Facebook https://www.facebook.com/hiddenkillerspod/ Tik-Tok https://www.tiktok.com/@hiddenkillerspod X Twitter https://x.com/tonybpod Listen Ad-Free On Apple Podcasts Here: https://podcasts.apple.com/us/podcast/true-crime-today-premium-plus-ad-free-advance-episode/id1705422872

This is the story Wisconsin never wanted to explain — how the girl who nearly took a child's life in the infamous Slender Man attack was quietly moved into a suburban neighborhood, supervised by nothing more than a plastic ankle monitor, and somehow slipped across state lines with a grown man before anyone sounded the alarm. Tonight, we're taking you through the full timeline of how Morgan Geyser — the attacker in the Slender Man stabbing — went from a secure psychiatric institution to a residential street in Madison. Not because she “served her time,” but because judges, doctors, and state agencies convinced themselves she was ready for “community reintegration,” despite red flags that would stop any other case in its tracks. We dig into the decisions that opened the door:  • The court rulings that shifted her from a locked facility to a group home.  • The warnings about disturbing reading material and troubling outside contacts.  • The placement that got scrapped after residents found out who was coming.  • The next placement, quietly sealed by the court to avoid public backlash.  • The neighborhood full of families who had no idea she had moved in.  • And the ankle-monitor alert that DOC brushed off as a “device glitch” while she walked freely into the night. And then — the escape.  A missing GPS signal.  A 12-hour communication delay.  A 42-year-old man by her side.  And a capture behind a truck stop in Illinois after officers realized the woman they found didn't want to say her name because she'd “done something really bad.” This isn't just a story about an escape. It's a story about a system that trusted a fragile treatment plan more than it trusted the memory of what she had already done. It's about the gap between courtroom optimism and real-world danger. And it's about how the people most affected — the victim's family, the neighbors, and the public — were kept in the dark until everything fell apart. If you've ever wondered how someone with a violent, delusion-driven history ends up living quietly next to families with no warning, this breakdown will answer that — and raise questions Wisconsin will be forced to confront. #SlenderManCase #MorganGeyser #TrueCrimeNews #HiddenKillers #CrimeAnalysis #JusticeSystem #Wisconsin #CrimeBreakdown #PublicSafety #TrueCrimeToday Want to comment and watch this podcast as a video? Check out our YouTube Channel. https://www.youtube.com/@hiddenkillerspod Instagram https://www.instagram.com/hiddenkillerspod/ Facebook https://www.facebook.com/hiddenkillerspod/ Tik-Tok https://www.tiktok.com/@hiddenkillerspod X Twitter https://x.com/tonybpod Listen Ad-Free On Apple Podcasts Here: https://podcasts.apple.com/us/podcast/true-crime-today-premium-plus-ad-free-advance-episode/id1705422872

Easy Honey has been creating some fantastic rock music for about the last 8 years. Situated in Charleston, they just released a live album from the Windjammer and just played Tampa. Before they played Florida, Webster Austin was nice enough to stop by the show! Webster and Doc talked about starting the band at college, doing Traffic Jams in Charleston, finding common musical ground with the rest of the band, social media strategy, releasing new music and so much more. Meanwhile on the rest of the show Doc invites long time friend of the show Claude Lathan back on the show as co-host. Doc fights the urge to call him Mike and they both profess their love for Arby's Introduction: 0:00:23 NBA Analysis: 2:41 Birthday Suit 1: 26:29 Ripped from the Headlines: 29:24 Shoutouts: 39:14 Miscellaneous File: 42:58 Webster Austin Interview: 44:47 Mike C Top 3: 1:37:34 Birthday Suit 2: 1:47:45 Birthday Suit 3: 1:50:34

Right About Now with Ryan Alford Join media personality and marketing expert Ryan Alford as he dives into dynamic conversations with top entrepreneurs, marketers, and influencers. "Right About Now" brings you actionable insights on business, marketing, and personal branding, helping you stay ahead in today's fast-paced digital world. Whether it's exploring how character and charisma can make millions or unveiling the strategies behind viral success, Ryan delivers a fresh perspective with every episode. Perfect for anyone looking to elevate their business game and unlock their full potential.     Resources: Right About Now Newsletter | Free Podcast Monetization Course | Join The Network |Follow Us On Instagram | Subscribe To Our Youtube Channel | Vibe Science Media SUMMARY In this episode of "Right About Now," host Ryan Alford interviews Charles Nader, CEO of Doc.com, about revolutionizing global healthcare access through telemedicine and AI. Charles shares his inspiration from witnessing healthcare challenges in Mexico and explains how Doc.com offers free, AI-powered medical consultations via smartphone. The discussion covers Doc.com’s for-profit model, which funds free care through pharmacy sales, its rapid expansion, and upcoming NASDAQ listing. Charles also highlights the company’s mission to make healthcare universally accessible and invites listeners to follow Doc.com’s journey toward transforming healthcare worldwide. TAKEAWAYS Overview of Doc.com and its mission to revolutionize healthcare access globally. The role of telemedicine in providing free basic healthcare consultations. Use of AI technology to enhance the diagnostic process and streamline patient-doctor interactions. Discussion of the challenges in healthcare accessibility observed in Mexico. The business model of Doc.com, including its for-profit structure and revenue generation through a pharmacy. Efficiency of consultations, with a focus on primary care and preventative medicine. Statistics on case resolution rates during initial telemedicine consultations. Plans for expansion of services, including therapy and veterinary care. Preparation for a public offering on the NASDAQ stock exchange. Strategic importance of the Doc.com domain name for global branding and outreach.  

Doc, Nablinn og Arnar Laufdal í Fast Media.

Ahead of Turkey Day, Doc and Friar discuss this week's releases in comic book shops!

Please check out Doc's links: YouTube: https://www.youtube.com/@PLP423 Twitter: https://x.com/Prometheus_Lens Podcast: Prometheus Lens- https://bit.ly/4mLw6xF In this episode, special guest Justin Brown of the Prometheus Lens podcast joins the discussion to explore the Serpent Seed Theory from multiple perspectives, including biblical parables where Jesus may be referencing an ancient Seed War. The conversation also touches on The Dragon Legacy by Nicholas DeVere, which presents the Serpent Seed concept through a secular lens, connecting it to elite and royal bloodlines. The episode delves into the mystery of Esau's unusual birth and introduces the topic of elongated skulls, with a close look at a real specimen. These skulls, with their distinct non-human features, are examined as possible evidence of a hybrid race linked to the fallen ones and the ongoing Seed War. #history #ancienthistory #ancient #usa #podcast #aliens

If you can afford it and love what we do, please consider supporting our show by becoming a BTT Podcast Patreon Member! Also, purchase a BTT Podcast t-shirt or two from our Pro Wrestling Tees Store!  This week's Time Stamps for our WCW Saturday Night on TBS recap from March 19, 1994 review are as follows (NOTE: This was recorded 11/11/2025):  HOW TO GIVE OR GIFT A PATREON MEMBERSHIP: https://www.patreon.com/BookingTheTerritory/gift   Opening Shenanigans! ( 0:02:02 )  Harper and Doc meet in person for the first time? How did this happen? ( 0:02:39 )  WCW Saturday Night on TBS March 19, 1994 recap and Bobby Heenan is the all around GOAT! ( 0:39:30 ) Submit a 5-star review on Podcast Addict and Apple Podcasts and you will get a shoutout on air. Sting tricks Rick Rude into signing to defend Rude's title. ( 0:48:23 ) Harper imitates Dman crtiquing Cornette and more. ( 0:54:16 ) Become a patron at https://www.patreon.com/BookingTheTerritory or tinyurl.com/PatreonBTT! You can sign up monthly or annual. When signing up for an annual plan in November you get 2 MONTHS FREE! ( 0:56:53 ) WCW Saturday Night on TBS March 19, 1994 continues. ( 0:57:16 ) Harper loves to fart. ( 1:01:47 ) WCW Saturday Night on TBS March 19, 1994 continues. ( 1:03:01 ) Colonel Parker and Bunkhouse Buck talk! ( 1:16:03 ) WCW Saturday Night on TBS March 19, 1994 continues. ( 1:22:12 ) Who gets the Rolex and/or Toot Toot award? And become a BTT Patreon member! Don't forget to become a BTT Patreon member at https://www.patreon.com/BookingTheTerritory ( 1:35:43 ) Easy E tells you what you need to know! Become a Patron https://www.patreon.com/BookingTheTerritory ( 1:42:07 )  Harper lays out what it will take to do Ask Harper segments on the main show! Paypal him $5 per question. Harper's PayPal is, get your pen and paper out, cc30388cc@yahoo.com . Then email Harper ( ChrisHarper16Wildkat@gmail.com ) and Mike ( BookingTheTerritory@gmail.com ) letting them know you submitted $5 to Harper's paypal and he will answer your question on an upcoming show.  Information on Harper's Video Shoutout, Life and Relationship.  1. First things first, email Harper with the details of what you want in your video shoutout or who the shoutout is too. His email address is ChrisHarper16Wildkat@gmail.com . Also in that email tell him what your paypal address is. 2. Paypal him $20. Harper's PayPal is, get your pen and paper out, cc30388cc@yahoo.com .  3. Harper will then send you the video to the email address that you emailed him from requesting your video shoutout. That's it! Don't email the show email address. Email Harper. If you missed any of those directions, hit rewind and listen again.