Podcasts about DOC

Director Seth Porges joins Emily and Haley to discuss his new documentary Santacon, whether or not he would survive in outerspace, and the most disturbing fact he learned while making his documentary Class Action Park. Emily needs to know everything about Cash Cab, Haley gives us a behind-the-scenes insight on intimacy coordination, and we decide what the Tooth Fairy looks like. So flatter your cab driver, don't time travel, and get ob-Sethed with this episode of How To Make It.Follow us on Instagram: @HowToMakeItPodcastSubscribe to our YouTube channel: @HowToMakeItPodcastFollow Emily: @emilycappello_Follow Haley: @haleymuralee

Olivia Dean é uma das grandes revelações do último ano! Avaliamos o segundo álbum da cantora neo soul inglesa indicada ao Grammy. Venha ouvir nossas impressões! E você, curtiu? Qual próximo álbum você gostaria que fosse avaliado por nós?-Quer ajudar a custear o nosso podcast?Conheça o nosso ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apoie.se⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!Siga o Pop.Doc nas redes sociais: @docpopcast no ⁠⁠⁠Instagram e @pop.doc no Tik Tok⁠⁠⁠.Siga também a gente: Alexandre Santana (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@iexandre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), Paulo Corrêa (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@paulorcorrea⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) e Xande Levy (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@xande.levy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)!

In dieser Folge geht es um den Unterschied zwischen Steuern und Gebühren, um andere Verhältnisse in anderen Ländern und die Tatsache, dass der Staat sich später sein Geld zurück holt, das er in dich und deine Bildung investiert.Es geht aber auch um den steuerlichen Unterschied zwischen Einzelunternehmung und GmbH. Und was ein Steuerkurs dir wirklich bringt, erfährst du in dieser Folge von #ErstHoseDannSocken Neugierig geworden? Dann hört rein in #ersthosedannsockenWenn du diesen Podcast unterstützen möchtest, dann erzähle deinen Freunden, Kolleginnen und Kollegen von ihm und bewerte ihn beim Podcastdienstleister deiner Wahl! Ihr findet unseren Sponsoren unter: DZR Ihr findet uns online unter:Doc.Blattner: Instagram ThreadsDoc.Tandon: Instagram Threads Youtube WebsiteChristian Both: Instagram ThreadsMarius: InstagramFundamental: Instagram Threads YouTube Website

Doc , Albert Ingason og Jóhann Már

DOC will be charging for car parking at Aoraki Mount Cook, as part of a seven month pilot across three South Island sites. Mackenzie District Mayor, Scott Aronsen spoke to Corin Dann.

#DrKenyattaCavil #SportsLab #HBCUsports"Inside the HBCU Sports Lab" episode 756 with Doc, Mike, AD Drew, Bryan Fulford recapping the Cricket Celebration Bowl between Prairie View and South Carolina State.Special guest: Chennis Berry, South Carolina State Head Coach.00:00 - Intro; First segment -- Thoughts on the Celebration Bowl game14:56 - 1st commercial break15:42 - Second segment -- The HBCU culture17:56 - Final HBCU rankings of the season25:54 - 2nd commercial break27:29 - Third segment --  Coach Chennis Berry joins the show43:50 - 3rd commercial break45:58 - Final segment -- 2025 Cricket Celebration Bowl matchup 57:51 - Way, Way Too Early look at 2026 HBCU top 7 rankings01:12:03 - ConclusionTOPICS:Recap the 2025 Cricket Celebration Bowl matchup@InsidetheHBCUSportsLab on Facebook Live and Spreaker.‬Contributions welcome at CashApp $JafusCavil

In this episode of the Doc & Jacques radio variety show, Kenny Lee shares his musical journey, from growing up in Detroit and being inspired to pursue music after seeing the Beatles in concert, to teaching himself drums and playing in school bands. He recounts joining the Beatles tribute band Beatlemania after responding to an ad, collaborating with band members, and touring internationally. Kenny also describes memorable encounters with Beatles members and Julian Lennon. Currently, he hosts “Kenny, the Star Mania” live karaoke events, where he accompanies singers on guitar, offering a unique twist by performing without lyric screens. The conversation highlights his influences, experiences in music, and ongoing creative projects with his partner, Randee. Hosts: GiGi “Doc” Reed MD, Jacques Kepner; Producers: GiGi “Doc” Reed MD, Jacques Kepner Beginning and end music from freepd.com, in the public domain. House of the Rising Sun, performed by Kenny Lee, is a traditional American folk song. The harmonic piece was composed and performed by Kenny Lee. The opinions expressed here are those of the individual participants. Curry Coast Community Radio takes no position on issues discussed in this program. If you enjoy this program and want to hear more like it, consider supporting Curry Coast Community Radio. Here’s How.

This week's new albums: Mungo's Hi-Fi | Troy Kingi | PabstAlso: unexpected empathy, geographical separation, rejected premises, previous benchmarks of this genre, pulling stumps, group credit, previous benchmarks of this artist, planning ep 1 of 2027, fantasy booking album 10/10, hiphop AOTY, sample detectives, the least worst stuff Diddy did, back of a length, release the masters, 4000 postcode noise, the magic number is 983 (not including classics/jokers), AOTY feels, algo fails, posthumous celebrations, band name reallocation, Chowder Putes, proof of concept, when music production is milk production, even dafter punk, the Konnichiwa doctrine, set the controls for the heart of the perineum, wins record false narratives, now and future kings of the West and the Kiwi-led rebounding renaissance. 1:01  Mungo's Hi-Fi5:18  Troy Kingi18:39  Pabst23:17  Bring Out Your Dead Week album picks37:45  After Dark (NBA)Next time: it's BOYD week, which means piling the playlist high with end of year clearance items from Alien Weaponry | De La Soul | Erick Sermon of EPMD | Automatic | Powder Chutes | Alison Wonderland | Bee Bee Sea | ROMES | possibly Mini Skirt & These New South Whales if we can get round to themSpotify playlists: 2025 review albums | Playlist archive | Doc and Beeso's 2025 mixtapesThe database: All our review albums and year-end top 5 listsFind us on: Spotify Podcasts | Apple Podcasts | RSS feed for other appsSocials: Beeso on Bluesky | Doc on BlueSky | Pod Facebook | Pod email

"Inside the HBCU Sports Lab" episode 756 with Doc, Mike, AD Drew, Bryan Fulford recapping the Cricket Celebration Bowl between Prairie View and South Carolina State.Special guest: Chennis Berry, South Carolina State Head Coach.00:00 - Intro; First segment -- Thoughts on the Celebration Bowl game14:56 - 1st commercial break15:42 - Second segment -- The HBCU culture17:56 - Final HBCU rankings of the season25:54 - 2nd commercial break27:29 - Third segment -- Coach Chennis Berry joins the show43:50 - 3rd commercial break45:58 - Final segment -- 2025 Cricket Celebration Bowl matchup 57:51 - Way, Way Too Early look at 2026 HBCU top 7 rankings01:12:03 - ConclusionTOPICS:Recap the 2025 Cricket Celebration Bowl matchup@InsidetheHBCUSportsLab on Facebook Live and Spreaker.‬Contributions welcome at CashApp $JafusCavil#DrKenyattaCavil #SportsLab #HBCUsports

La suite numérique souveraine, la France et l’Europe veulent se libérer des suites Microsoft et Google. La suite numérique souveraine Dans notre quotidien professionnel, les suites bureautiques américaines comme celles de Google ou Microsoft sont devenues omniprésentes, presque une évidence. C’est dans ce contexte que le projet du gouvernement français, la “Suite Numérique”, apparaît comme une initiative particulièrement importante pour affirmer la souveraineté de nos informations. Il faut bien avoir à l’esprit que ces éditeurs utilisent leurs solutions pour commercialiser des informations sur les usages, habitudes, utilisations et ont accès aux données directement depuis leurs cloud propriétaires. Il ne s’agit pas de créer quelques outils isolés, mais bien de bâtir une alternative complète, cohérente et souveraine pour les agents du service public. Lancée en mai 2024, cette suite se veut une réponse souveraine et open source aux géants du marché. Lors d’un premier bilan présenté le 27 novembre 2025, la Direction interministérielle du numérique (Dinum) a dévoilé des chiffres qui dessinent les contours d’un projet stratégique aux premiers résultats surprenants. La suite regroupe déjà six outils phares : Visio (visioconférence), Doc (édition collaborative), Fichiers (stockage), Tchap (messagerie), Grist (gestion de données) et l’Assistant (IA générative). la souveraineté avant tout Le projet de suite numérique n’est pas qu’une simple mise à jour technologique. Sa mission, est d’assurer la souveraineté numérique de l’État. L’objectif est de fournir aux millions d’agents publics un environnement de travail dont les données sont hébergées en France et dont le développement, souvent basé sur des fondations open source, est entièrement maîtrisé. Cette approche garantit la transparence, la sécurité et l’indépendance face aux fournisseurs étrangers. Cette vision stratégique est le véritable moteur du projet. L'ambition est grande : redonner aux agents publics des outils sur lesquels l'Etat a réellement la main, sans dépendance à des services étrangers et sans compromis sur les fonctionnalités. Au passage aussi assurer un cout de fonctionnement réaliste face à des hausse d prix annoncées de 30% sur 4 ans pour office 365. La messagerie Tchap devient obligatoire Pour s’assurer que sa suite ne reste pas une option parmi d’autres, l’État a pris une décision radicale. Depuis le 1er septembre 2025, l’utilisation de Tchap, la messagerie instantanée sécurisée, est devenue obligatoire pour les ministères. Cette adoption forcée est une décision stratégique pour surmonter l’inertie administrative et atteindre rapidement une masse critique d’utilisateurs, créant ainsi un effet de réseau indispensable à son succès. Tchap Basée sur le protocole open source Matrix, développée et hébergée en France, Tchap compte déjà plus de 375 000 utilisateurs actifs mensuels bien au-delà des seuls ministères, touchant les collectivités territoriales, les établissements scolaires ou les hôpitaux. Avec des appels de groupe désormais disponibles et une nouvelle version mobile en préparation, cette décision montre que le gouvernement est prêt à imposer ses outils pour garantir la cohérence et la sécurité de ses communications. Grist connaît une croissance spectaculaire Parmi les différents outils, l’un d’eux connaît un succès inattendu : Grist. Cet outil de gestion de données “no-code” permet aux agents, même sans compétences techniques, de créer des tableaux collaboratifs, de visualiser des données et de bâtir de petites applications internes pour suivre des projets ou centraliser des informations. Grist Sa croissance est qualifiée de “spectaculaire” : en seulement un an, Grist est passé de 1 000 à 15 000 utilisateurs actifs mensuels. Ce succès n’est pas anodin ; il s’inscrit dans la tendance de fond du “no-code” qui démocratise la création d’outils métier, un besoin actuel des utilisateurs qui veulent apporter de la valeur sans passer par du code. Il révèle un besoin profond d’agilité pour manipuler et structurer des données sans devoir passer par des développements informatiques complexes. Un partenariat stratégique avec Mistral AI Loin d’être en retard, la Suite Numérique intègre l’une des technologies les plus avancées du moment grâce à l’Assistant. Ce chatbot d’intelligence artificielle générative est le fruit d’un partenariat stratégique avec Mistral AI. Sujet dejà évoqué dans cet article. Mistral ai Actuellement en test auprès de 10 000 agents avant un déploiement général début 2026, l’Assistant est déjà capable de reformuler du texte dans l’outil Doc, la solution de prise de notes collaboratives de la suite, ou de générer les transcriptions des réunions dans Visio. Plus qu’un simple outil, l’IA est pensée comme la future colonne vertébrale de la suite. L'ambition est “d'en faire le fil invisible entre toutes les briques, sans ajouter de complexité”. Cette vision est la réponse stratégique au plus grand défi de la Suite Numérique : l’interopérabilité. Tel que les éditeurs américains le proposent avec leurs suites. L’Assistant n’est pas une fonctionnalité de plus, mais le liant destiné à rendre l’expérience utilisateur aussi fluide que celle des géants du secteur. Visio et ses comptes rendus automatiques La meilleure façon de convaincre est de résoudre des problèmes concrets. C’est exactement ce que fait Visio, l’outil de visioconférence de la suite, qui compte plus de 60 000 utilisateurs mensuels. Sa fonctionnalité la plus marquante est la transcription asynchrone. Concrètement, à la fin de chaque réunion, l’outil génère automatiquement un compte rendu écrit de tous les échanges et l’envoie aux participants. Cette innovation, qui a déjà permis de produire plus de 1 000 comptes rendus pour le seul mois de septembre 2025, n’est pas un simple gain de productivité. Elle transforme la réunion en un document archivable et interrogeable, créant une mémoire institutionnelle automatique, un atout majeur pour la continuité de l’action publique. Des évolutions sont prévues, avec le sous-titrage en temps réel et la synthèse automatique. Visio prouve que la suite cherche à apporter une réelle valeur ajoutée au quotidien des agents et se mets au niveau d’un outil comme Teams. Pro connect pour unifier les identités Pro connect ProConnect est le service d'authentification unifiée développé par la France pour identifier de manière simple et sécurisée les agents de la fonction publique qui accèdent aux services numériques de l'administration. Plutôt que de multiplier les identifiants spécifiques à chaque portail, ProConnect permet à un professionnel d'utiliser une seule identité numérique liée à son adresse e-mail professionnelle et au numéro SIRET de son organisation pour se connecter à de nombreux services publics en ligne, tout en bénéficiant d'une session unique (authentification unique) sur l'ensemble des plateformes « ProConnectées ». Lancé en continuité avec des initiatives comme FranceConnect mais dédié aux usages professionnels, ProConnect remplace et unifie plusieurs anciens services d'authentification (MonComptePro, InclusionConnect, AgentConnect) pour simplifier l'accès des agents publics à leurs outils de travail et celui des entreprises à leurs démarches administratives. Dans une logique de souveraineté numérique, ce service renforce la maîtrise de l'identité et de l'accès aux données par l'État, diminue la dépendance à des solutions commerciales étrangères et facilite l'interopérabilité entre applications publiques, tout en s'appuyant sur des standards ouverts et des infrastructures sécurisées. La Suite Numérique de l’État est bien plus qu’une collection d’outils cotes à cotes. C’est un projet politique et stratégique cohérent, qui affiche des premiers résultats. La volonté politique est forte et déterminée à sortir les éditeurs qui ne sont pas compatibles avec nos objectifs de souveraineté. En s’appuyant sur l’open source, en rendant Tchap obligatoire, en répondant à un besoin métier avec Grist et en intégrant l’IA de pointe de Mistral AI comme futur liant de l’écosystème, la France prouve que son ambition de souveraineté numérique n’est pas un vœu pieux. Le principal défi, reconnu par la Dinum elle-même, sera de concrétiser cette vision d’une interopérabilité parfaite pour offrir une expérience utilisateur aussi fluide que celle des géants du marché. Sur la marché des alternatives crédibles existent comme NEXTCLOUD qui est orienté entreprises. Le plus difficile est de sortir de ses habitudes Microsoft ou Google pour éprouver d’autres solutions tout aussi efficaces par rapport à nos usages et surtout moins couteuses. Par Régis BAUDOUINThe post La suite numérique souveraine first appeared on XY Magazine.

"Inside the HBCU Sports Lab" episode 755 with Doc and Charles discussing Cricket Celebration Bowl between Prairie View A&M and South Carolina State.Special guests: John Grant, Executive Director of the Cricket Celebration Bowl; Dr. Charles McClelland, SWAC Commissioner; Chennis Berry, South Carolina State Head Football Coach; Sonja Stills, MEAC Commissioner; Tremaine Jackson, Prairie View A&M Head Football Coach.00:00 - Intro; First segment -- 05:38 - John Grant joins Doc and Charles17:43 - 1st commercial break20:30 - Second segment -- Dr. Charles McClelland, SWAC Commissioner joins Doc and Charles27:57 - 2nd commercial break30:21 - Third segment -- Coach Chennis Berry joins Doc and Charles40:03 - Dr. Sonja Stills, MEAC Commissioner joins Doc and Charles47:01 - Final segment -- Coach Tremaine Jackson joins Doc and Charles55:52 - ConclusionTOPICS:Celebration Bowl@InsidetheHBCUSportsLab on Facebook Live and Spreaker.‬Contributions welcome at CashApp $JafusCavil#DrKenyattaCavil #SportsLab #HBCUsports

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 9, 1994 review are as follows (NOTE: This was recorded 12/2/2025): HOW TO GIVE OR GIFT A PATREON MEMBERSHIP: https://www.patreon.com/BookingTheTerritory/gift   Opening Shenanigans! And Crockett is filling in for Doc and he is full of complaints! ( 0:02:02 )  One Man Gang's BTT plug and when and where it was recorded originally. ( 0:04:02 ) School snow days in the northeast and a Dman Christmas Update? ( 0:06:41 ) Harper's thoughts on the new LJN wrestling figures. ( 0:15:08 ) The time Dman called Stevie Richards by his shoot name. ( 0:22:11 ) 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! ( 0:24:16 )  WCW Saturday Night on TBS April 9, 1994 recap and Heenan talks Kimberly the Diamond Doll! ( 0:25:33 ) WCW Saturday Night on TBS April 9, 1994 recap continues! ( 0:29:28 ) Submit a 5-star review on Podcast Addict and Apple Podcasts and you will get a shoutout on air. Steve Austin is being stiff and dirty to Muta as Austin tries his best JYD imitation. ( 0:39:04 ) WCW Saturday Night on TBS April 9, 1994 recap continues! ( 0:41:49 ) Lane Kiffin is the new coach of LSU and he is re-opening Kenny's West in Metairie! ( 1:08:42 ) WCW Saturday Night on TBS April 9, 1994 recap continues! ( 1:12:42 ) Lord Steven Regal gets political? ( 1:25:33 ) WCW Saturday Night on TBS April 9, 1994 continues. ( 1:30:21 ) Flair and Steamboat wrap up the show. ( 1:32:47 ) 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 ( 1:37:58 ) What is going on with the WPAN with Corckett? And Crockett hates the movie Goonies. ( 1:42:20 ) Easy E tells you what you need to know! Become a Patron https://www.patreon.com/BookingTheTerritory ( 1:47:34 )  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.

Find the 9 Points Rating System here: https://www.alostplot.com/9-points/ Find the first Back to the Future review here:https://www.podomatic.com/podcasts/maverick51411/episodes/2024-08-08T15_26_59-07_00 In this episode, Maverick and Andrew review 'Back to the Future II', discussing their initial impressions, character development, and the overarching themes of consequences and growth. They explore the film's opening scene, the portrayal of Marty McFly, and how the narrative sets up for the third installment. They explore the nuances of Biff as a villain, the character arcs of Marty and Doc, and the film's climactic moments. The discussion also touches on the lasting legacy of the film and its place within the 'Back to the Future' franchise, ultimately questioning its depth and storytelling effectiveness.----------Highlights:0:00 'Back to the Future II' Introduction4:24 Opening Scene10:11 Marty McFly30:44 Biff x345:26 The Climax & Side Characters50:16 Lasting Impact#backtothefuture #martymcfly #heymcfly #alostplot #filmthoughts #film #heydoc #emmettbrown #thefuture #2015 #biff #themes #characterdevelopment #sequels #timetravel

There you are. We've been looking for you. The time has come, once again, for your favorite Zombie Movie Podcast, the one and only Dead Man Still Walking, featuring your favorite zombie expert (and ours), Dr. Walking Dead (Kyle William Bishop)! Here in this 57th edition of DMSW, the mad doctor discusses a new and noteworthy zombie flick. You see, this past summer, Dr. Bishop's esteemed colleague, the literary and cultural scholar Sarah Juliet Lauro ("The Transatlantic Zombie" and "Zombie Theory: A Reader"), recommended Outside (2024), a Filipino, post-apocalyptic Zombie Horror film co-written and directed by Carlo Ledesma. We hope you enjoy Episode 173 of Jay of the Dead's New Horror Movies, and if you don't, then it's Dr. Walking Dead's fault. However, we still think you will love it, so join us! Note: This episode was recorded in August 2025. Also, to view ALL of Dr. Bishop's Dead Man Still Walking solocast episodes can USE THIS LINK. And to view ALL of Dr. Bishop's episode-by-episode commentaries on The Last of Us – Seasons 1 and 2, with Jay of the Dead, then USE THIS LINK. Dead Man Still Walking is a biweekly, short-form solocast hosted by Dr. Walking Dead Kyle Bishop, author of American Zombie Gothic and How Zombies Conquered Popular Culture. Dr. Walking Dead also presents a popular segment called The Dead Zone on regular episodes of this podcast. For his Dead Man Still Walking solocast episodes, Dr. Bishop will focus exclusively on zombie films, with the occasional exploration of zombie-related themes, zombie television, and other zombie media (e.g., comics, literature, etc.). Dr. Bishop is an academic and professional scholar of zombie films and other zombie narratives. He has been teaching for 23 years. Dr. Bishop serves as an English professor, Film Studies professor, and he's currently the English Department Chair at Southern Utah University. You are welcome to reach out to Dr. Bishop with comments or questions via email: bishopk@suu.edu, X: @DrWalkingDead, BlueSky and Instagram (@DrWalkingDead). You can also watch the documentary, Doc of the Dead (2014), which features Dr. Walking Dead. Find more links below for Dr. Bishop. Be sure to subscribe to Jay of the Dead's new Horror movie podcast on: Apple PodcastsSpotifyDeezer   You are welcome to email our show at HauntingYourHeadphones@gmail.com. You can also follow Jay of the Dead's New Horror Movies on X: @HorrorAvengers Dead Man Still Walking with Dr. Kyle Bishop is brought to you by Jay of the Dead's New Horror Movies, an audio Horror movie podcast. It features nine experienced Horror hosts review new Horror movies and deliver specialty Horror segments. Your hosts are Jay of the Dead, Dr. Shock, Gillman Joel, Mister Watson, Dr. Walking Dead, GregaMortis, Mackula, Ron Martin, Dave Zee and Spawn of the Dead! Due to the large number and busy schedule of its nine Horror hosts, Jay of the Dead's New Horror Movies will be recorded in segments, piecemeal, at various times and recording sessions. Therefore, as you listen to our episodes, you will notice a variety of revolving door hosts and segments, all sewn together and reanimated like the powerful Monster of Dr. Frankenstein!

Doc, Danger, and special guest Beermakersfan of RotoGrinders go over a sneak peek of the #DFS Main Slate for #NFL Week 15

This week C.J. and Kent stick to the news and discuss the candidates in next year's governor's race, DOC employees being placed on administrative leave following Morgan Geyser's escape, and the financial risk faced by teachers due to their health insurance coverage.

Happy Friday, yo! Enjoy the balmy temps before the really cold stuff shows up tonight & throughout the weekend. Thankfully, it looks like it's going to rebound next week & get back into the upper-30's. In the news this morning, we talked about tomorrow's massive Powerball drawing, a "Viagra for women" is apparently available, In sports, Week 15 in the NFL kicked off last night with the Falcons upsetting the Bucs, a look at the rest of this weekend's NFL schedule, a win over the Celtics for the Bucks last night, the Badger women's volleyball team is getting ready to face #2 Stanford this afternoon, and the latest on Sherrone Moore. We let you know what's on TV this weekend and what's new in theaters. Plus, Doc joined us just after 8am thanks to County Materials in Holmen to talk about the NASCAR lawsuit getting settled yesterday, and to talk about the bus trip he's hosting later this month! A whole bunch of grandmas baked thousands of cookies to set a new world-record for a cookie exchange. And speaking of grannies…did you see the one who almost burned her house down when she lit her cake on fire? It's an absolutely WILD video! Just in case you still aren't in the holiday spirit, we gave you a few quick & simple ways to try & increase your festive mood. Plus, a list of movies that COULD possibly be considered "Christmas movies". Elsewhere in sports, an update on the condition of Commanders QB Jayden Daniels, the Army/Navy game is tomorrow and so is the first bowl game of the season. And John Cena's "final" match is also happening tomorrow! And in today's edition of "Bad News with Happy Music", we had stories about a DoorDash driver that sprayed something on a couple's order after dropping off their food, several people got busted after using kids to bring counterfeit $20 bills into stores to get actual change, a guy is facing numerous charges after his kid brought some crack-cocaine to school, a guy in NJ who rescued a neighbor from a house fire & is now being charged in their death, and a woman who drank another person's blood after killing them.See omnystudio.com/listener for privacy information.

#DrKenyattaCavil #SportsLab #HBCUsports"Inside the HBCU Sports Lab" episode 755 with Doc and Charles discussing Cricket Celebration Bowl between Prairie View A&M and South Carolina State.Special guests: John Grant, Executive Director of the Cricket Celebration Bowl; Dr. Charles McClelland, SWAC Commissioner; Chennis Berry, South Carolina State Head Football Coach; Sonja Stills, MEAC Commissioner; Tremaine Jackson, Prairie View A&M Head Football Coach.00:00 - Intro; First segment -- 05:38 - John Grant joins Doc and Charles17:43 - 1st commercial break20:30 - Second segment -- Dr. Charles McClelland, SWAC Commissioner joins Doc and Charles27:57 - 2nd commercial break30:21 - Third segment -- Coach Chennis Berry joins Doc and Charles40:03 - Dr. Sonja Stills, MEAC Commissioner joins Doc and Charles47:01 - Final segment -- Coach Tremaine Jackson joins Doc and Charles55:52 - ConclusionTOPICS:Celebration Bowl@InsidetheHBCUSportsLab on Facebook Live and Spreaker.‬Contributions welcome at CashApp $JafusCavil

Grab a beer and join us tonight for another installment of Necro Overtime! We're marking the 45th anniversary of John Lennon's murder by talking less about Mark David Chapman and more about his wife Gloria. How she was just photographed up in Buffalo still wearing her wedding ring, why she moved from Hawaii to New York to be closer to his prison, and what their strange, super-religious prison marriage has looked like over the years. Then we'll head to Washington state for the latest on Gary Ridgway, the reports that he's in end-of-life care versus the DOC saying that's not true. https://www.necronomipod.com https://www.patreon.com/necronomipod Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Doc, Gunnar Birgisson og Keli á fimmtudegi.

Welcome to a special Holiday Edition of Pop Goes the Couch, a limited series that looks at some of the greatest Christmas TV Specials in history.   In this edition, Steve Riddle is joined by Andy Atherton and Mirandia Berthold as they live-watch the 1987 special, "A Muppet Family Christmas". Join the trio as they discuss what was on TV that same night, Andy and Mirandia making new Christmas memories as parents, the crossing over of Muppets, Sesame Street, and Fraggle Rock, favorite Muppet movies, Doc being flustered at not having a quiet Christmas, running gags, the numerous songs throughout the special, the Christmas turkey outsmarting the Swedish Chef, Miss Piggy trying to brave the storm, the concept of re-gifting, Kermit and Robin meeting the Fraggles, the big carol sing, and seeing Jim Henson making a cameo appearance at the end. In addition, they officially announce the next tournament that will take place on the PTB Facebook group.   So join Steve, Andy, and Mirandia as they head to Fozzie's mom's farmhouse  and discuss a forgotten Christmas TV Special, just watch out for the icy patch. https://www.youtube.com/watch?v=Bi9qSKZuvC4 

Hour 3 1:12 - Doc and Anthony Giants-Commanders Preview + Expectations 20:50 - Hard Knocks Episode 2 Recap 31:58 - Doc and Anthony Pick Commanders-Giants

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.

In this episode of Wild Life Outdoors, Russell sits down with Doc Jaynes for one of the most informative conversations we have ever had about wild game cooking, proper meat handling, ethical harvest, and long range shooting.The episode opens with a bold statement that sparks the entire discussion. If your wild game tastes gamey, chances are it is not the animal it is the way the meat was handled. From there, we dive deep into the cold, clean, dry rule and how improper field care, storage, and processing can destroy the quality of even the best harvest.Doc breaks down how to properly handle deer, bear, waterfowl, and other wild game from the moment of harvest all the way to the freezer. We discuss aging meat, whether soaking in water actually helps or hurts, how to properly grind wild game, and why removing silver skin and sinew matters more than most hunters realize.Russell also shares his experience cooking snow geese during the conservation order and how proper preparation turned a commonly disliked bird into incredible pulled BBQ and fajitas that even his kids loved. The conversation expands into black bear cooking, including bear gumbo, rendered bear fat, and why historically bear grease was a staple in American cooking.Later in the episode, the talk shifts to long range shooting. Doc explains his mountain shooting setup, what it takes to shoot extreme distances, and how small fundamentals make massive differences in accuracy. Russell also shares lessons learned from archery hunting on public land and how understanding animal behavior changes your success in the field.This episode is packed with real world knowledge for hunters, anglers, wild game cooks, and anyone who wants to better understand responsible harvest and ethical use of our natural resources.If you care about conservation, field to table living, and becoming a more capable outdoorsman, this episode is for you.Bucked Up- https://bckd.co/vnjzgTkForetold Coffee Co.- https://www.foretoldcoffeeco.com00:00 When Wild Game Tastes Gamey It Is Not the Animal02:10 Introducing Doc Jaynes and His Background05:25 The Cold Clean Dry Rule Explained09:40 The Biggest Field Care Mistakes Hunters Make14:55 Aging Wild Game Meat Properly18:20 Water Soaking Myth Does It Help or Hurt22:05 Snow Goose Cooking During Conservation Order26:40 Pulled Goose and Goose Fajitas for Kids30:15 Black Bear Cooking Traditions and Bear Gumbo34:10 Rendering Bear Fat and Historical Uses38:40 Grinding Wild Game the Right Way43:00 Removing Silver Skin and Sinew for Flavor47:30 Long Range Shooting Setup and Gear52:15 Shooting Fundamentals That Matter the Most57:20 Mountain Hunting and Shot Placement1:01:45 Ethics of Harvest and Respecting the Animal1:06:10 Final Advice for Better Wild Game and Better Hunting#wildgamecooking #fieldtotable #hunttotable #wildgamemeat #howtomakewildgametastegood #gameymeatfix #deermeatprocessing #bearmeatcooking #snowgooserecipes #waterfowlcooking #wildgamerecipes #huntingandcooking #coldcleandryrule #ethicalhunting #meathandlingforhunters #wildgamefieldcare #wildgameprocessingmistakes #blackbearmeat #beargumborecipe #snowgooseconservationorder #howtoprocessdeer #publiclandhunting #longrangeshooting #extremelongrangeshooting #huntingaccuracy #mountainhunting #flyfishingpodcast #huntingpodcast #outdoorpodcast #WildLifeOutdoors #RussellWildLifeOutdoors #conservationhunting #huntereducation #wildgamemeattips

Send us a textIn this episode we're discussing why renters are moving less than at any point in the last 40 years, and whether you manage one unit or ten, this affects your strategy, revenue, and renewals in a big way. So, Kevin and I are unpacking what's behind the sharp drop in renter mobility and what it means for your business. We talk through why renewing a lease is cheaper than moving, why ownership remains out of reach for many renters, and how construction slowdowns and underbuilding are freezing vacancy chains. We also break down demographic shifts — from long-term renters in their 50s+ to younger renters relocating less because of job instability and cost-of-living pressures. Climate migration plays a surprising role too — many renters want safer living locations but can't afford to relocate, which means staying put longer than ever. Most importantly, we share practical strategies to help you adapt: improving renewal conversations, creating predictable systems, using landlord software, and screening wisely to prevent fraud. Longer tenancies can be great — but only if you proactively manage communication, planning, maintenance, and rent increases. If you want to run your rentals like a real business — with professionalism, confidence, and systems — today's episode is packed with insight you can put to work immediately. 

Have you ever wondered if you were broken because of trauma or bad outcomes have affected your body? Doc's tools help your body to fix the effects of those events in your life and the rules made by your subconscious mind to keep you safe after a problem event. Turn off the bad and on the good with Doc's Tools.

In this episode of Card Talk, hosts Mr. eBay, Dr. Chad, and Mrs. Doc dive into a comprehensive review of various upcoming card products for 2025, including Topps Allen and Ginter, Upper Deck The Cup, Topps Chrome Update Series, Panini Rookies and Stars, Topps Star Wars Galaxy Chrome, and Topps Archives. Each product is evaluated based on its features, pricing, and overall appeal to collectors, with lively discussions and humorous banter throughout. Check Out Our Other Content:  New Product Releases with Mrs. Doc - Every Wednesday Fanatics Football Card Auction Review - Every Friday

Episode 1620 - Frayed Extenson Chord We talk about Stoney's birthday trip. We recall trips to Memphis and realize just how ghetto Elvis was. Ern "forces" us to try scotch. Doc's tattoo horror story and our future tattoos. Doc gives a recount of his former high school's triumph. The Thanksgiving tradition continues, a little late. We listen to different covers. A health update from Doc.

On this episode of the East Dallas Podcast, Camille and Rich sit down with Dr. Ashley Agan to talk about something simple, powerful, and surprisingly life changing. Walk with a Doc is a global movement that started with one frustrated cardiologist who just wanted his patients to get moving. What began as a Saturday stroll in an Ohio park has grown into more than 500 chapters around the world.Dr. Agan shares how the East Dallas chapter is giving our neighborhood a chance to get outside, get answers, and feel connected. There is no pressure. No pace requirement. Just real conversations with a doctor who cares, and a community taking small steps toward better health.If you want an easy way to move your body, learn something useful, and meet your neighbors, Walk with a Doc might be exactly what you need. Come join us.Connect with us! Instagram - Facebook www.visiteastdallas.comPartner with us! connect@visiteastdallas.com

#DrKenyattaCavil #SportsLab #HBCUsports"Inside the HBCU Sports Lab" episode 753 with Doc, Mike, Charles, Wilton, AD Drew and David L. Rhodes discussing HBCU news and sports and taking an early look at the Cricket Celebration Bowl between Prairie View A&M and South Carolina State.Special guest: Alan Williams from the 1876 Sports and Culture Podcast00:00 - Intro; First segment -- HBCU sports news and info of the week01:38 - Rest in power, Dr. Rod Paige.04:35 - What would the SWAC look like without 2 divisions?08:25 - FAMU is looking for a new head football coach09:35 - What's on your mind?18:08 - Alan Williams from the 1876 Sports and Culture Podcast 20:28 - 1st commercial break23:27 - Second segment -- a look at the Cricket Celebration matchup between South Carolina State and Prairie View A&M30:21 - 2nd commercial break33:10 - Third segment -- More discussion about this weekend's Cricket Celebration Bowl matchup44:20 - 3rd commercial break47:24 - Final segment -- A look at the battle in the trenches01:04:10 - ConclusionTOPICS:SWAC commissioner says no divisions doesn't guarantee best title game matchup from HBCUSports.comNCCU QB Walker Harris and SCSU DB Jarrod Washinton Named 2025 MEAC Offensive and Defensive Players of the Year from MEACsports.comCIAA Announces HBCU Go Broadcast Schedule for 2025-26 Basketball Seasonfrom TheCIAA.comSouthern Women Basketball Upsets Houston On the Road 70-62 from SWAC.orgAndrew Body named top HBCU football player after career seasonCoppin State's TaKenya Stafford Earns AVCA All-Region AccoladesCelebration Bowl Preview: Quarterback breakdown from HBCUGameday.com@InsidetheHBCUSportsLab on Facebook Live and Spreaker.‬Contributions welcome at CashApp $JafusCavil

Hour 2 1:12 - Kevin Sheehan on the Commanders' Collapse: “At Least We Have a QB” 18:18 - Should Jayden Daniels Sit? Doc and Anthony Push Back on Schefter 29:36 - Calls On If Jayden Daniels Should Sit

Doc and Angus celebrate the Holiday Season with a nostalgic blast from the 90's past ... Santa The Barbarian!Santa the Barbarian #1https://www.amazon.com/Santa-Barbarian-1-Maximum/dp/B002YBBHIM/Leave a message at kirbyskidspodcast@gmail.comJoin the Community Discussions ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://mewe.com/join/kirbyskids⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Please join us for our 2025 Graphic Novel Reads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.kirbyskids.com/2024/11/kirbys-kids-giving-thanks-2025-graphic.html⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Please join us for our 2026 Graphic Novel Reads⁠⁠⁠⁠⁠https://www.kirbyskids.com/2025/11/the-kids-talk-2026-kirbys-kids-graphic.html⁠⁠⁠⁠⁠For detailed show notes and past episodes please visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.kirbyskids.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Doc, Albert Inga og Sigurður Bond á þriðjudegi.

Doc, Albert Inga og Sigurður Bond.

Ep 133In this episode, Cole breaks down why the new Diddy documentary adds nothing to the conversation. From 50's ego play to the recycled information, Cole explains why the doc feels like a waste of time and money.Cole also reacts to Trap Lore Ross' new video on NBA YoungBoy and talks about why creators who lean into street politics need to stand on their words when the pressure hits.Tap in for honest hip hop commentary and real conversations about media responsibility.Timestamps(1:16) Initial Thoughts / 50's Involvement(2:40) What Is the Doc About?(6:59) What Was the Purpose?(8:13) Diddy's Love Life(9:21) R. Kelly vs. Diddy(10:51) Diddy Is Just Like White Executives(14:02) Final Thoughts on the Doc(15:14) Trap Lore Ross Going at YoungBoy(16:43) Who Is Wrong?(20:02) I Won't Blame Artists(22:07) Stand By Your Statement!(24:31) Hip Hop Is ALWAYS the Blame(25:56) Stop Supporting TLR(27:44) Outro

DOC is investigating after shuttle operators dropped hikers at the start of the Tongariro Alpine crossing despite a bad weather forecast, Meaning they shouldn't be on the track. Transport operators must adhere to official NIWA advisories and not take anyone to the walk if there's a bad forecast. Meanwhile multiple blazes have broken out in Tongariro, just a month after another massive wildfire ripped through three thousand hectares of the national park. Tongariro Operations Manager Libby O'Brien spoke to Lisa Owen.

Doc Walker and Anthony react to Dan Quinn's message to Commanders fans, reassuring everyone that this disappointing season won't carry over into next year. Doc takes the conversation a step further, asking the key question: Who do you want — and not want — to see play over the final stretch of the season? With the future in mind, Doc makes it clear he wants to see the young guys take the field and get meaningful reps.

Doc Walker and Anthony react to Commanders guard Sam Cosmi's appearance on B-Mitch and Finlay, where he firmly stated that head coach Dan Quinn has not lost the locker room despite the team's struggles. Doc and Anthony break down Cosmi's message, what it reveals about the players' mindset, and whether the public reassurance matches what we're seeing on the field.

The Virginia model, collective punishment, today is December 1st, 2025. Collective punishment, recognized worldwide as illegal and immoral. In Virginia, DOC, collective punishment is regularly used. Over the holiday weekend, Thanksgiving, collective punishment, the denial…

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

En este episodio nos subimos de nuevo al DeLorean para viajar a uno de los capítulos más locos, ingeniosos y divertidos de la trilogía: Regreso al Futuro II. Una secuela que no solo expandió el universo de Marty y Doc, sino que nos regaló el 2015 más delirante y maravilloso jamás imaginado (y también el que luego nos hizo preguntarnos si nos habíamos vuelto idiotas como sociedad). En esta aventura temporal nos acompañan Javi Carrillo, Frikilandias, José, Mario y el mamado Lidel, que llegan preparados para desgranar cada salto temporal, cada paradoja imposible, cada detalle oculto y cada invento futurista que jamás nos llegó (pero que seguimos esperando). Hablamos del Hill Valley del futuro, del 1985 alternativo con aroma a pesadilla distópica, de la caída en desgracia de Biff Tannen, de por qué todo lo que pasa es culpa de un almanaque maldito, y del brillante rompecabezas narrativo que convirtió esta película en una obra maestra del género. Un episodio lleno de análisis, curiosidades, humor marca La Guarida y pura nostalgia ochentera. Ajusta los circuitos temporales, marca el destino… y dale al play. Aquí empieza nuestro viaje a 140 km/h.

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

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