Podcasts about Docs

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

Allison reveals a critical gap of time the FBI left out of the pipe bomber affidavit, plus 8 other things the administration covered up this past week.Check out the video:https://www.youtube.com/live/_uiK9fzLyQc?si=tuaoElG_te8K1_5h Our Donation LinksNational Security Counselors - DonateMSW Media, Blue Wave California Victory Fund | ActBlueWhistleblowerAid.org/beansFederal workers - feel free to email AG at fedoath@pm.me and let me know what you're going to do, or just vent. I'm always here to listen. Find Upcoming Actions 50501 Movement, No Kings.org, Indivisible.orgDr. Allison Gill - Substack, BlueSky , TikTok, IG, TwitterDana Goldberg - BlueSky, Twitter, IG, facebook, danagoldberg.comCheck out more from MSW Media - Shows - MSW Media, Cleanup On Aisle 45 pod, The Breakdown | SubstackShare your Good News or Good TroubleMSW Good News and Good TroubleHave some good news; a confession; or a correction to share?Good News & Confessions - The Daily Beanshttps://www.dailybeanspod.com/confessional/ Listener Survey:http://survey.podtrac.com/start-survey.aspx?pubid=BffJOlI7qQcF&ver=shortFollow the Podcast on Apple:The Daily Beans on Apple PodcastsWant to support the show and get it ad-free and early?The Daily Beans | SupercastThe Daily Beans & Mueller, She Wrote | PatreonThe Daily Beans | Apple Podcasts Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Holiday travel can be stressful—especially when you're managing a chronic condition. In this episode, host Ron Aaronsits down with Dr. Tamika Perry from WellMed at Redbird Square to share expert strategies for staying healthy and safe while on the go. From medication management to planning ahead for emergencies, this conversation is packed with practical tips to help you enjoy the season without compromising your health. Docs in a Pod focuses on health issues affecting adults. Clinicians and other health partners discuss stories, topics and tips to help you live healthier. Docs in a Pod airs on Saturdays in the following cities:  7:00 to 7:30 am CT:  San Antonio (930 AM The Answer)  DFW (660 AM, 92.9 FM [Dallas], 95.5 FM [Arlington], 99.9 FM [Fort Worth])  6:30 to 7:00 pm CT:  Houston (1070 AM/103.3 FM The Answer)  7:00 to 7:30 pm CT:  Austin (KLBJ 590 AM/99.7 FM)  Docs in a Pod also airs on Sundays in the following cities:  1:00-1:30 pm ET:  Tampa (860 AM/93.7FM)   

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We start with the NFL Playoff Picture heating up and a look at three new sports documentaries you need to see! C-Lo returns with the update, starting with the Lions beating the Cowboys, and we hear Dak Prescott's thoughts on George Pickens' infamous effort. Then, Mike Francesa unleashes pure rage, calling Lane Kiffin a "clown" and a "jackass"! Plus: Jaxson Dart's bye week plans, Russell Wilson joining CBS's pregame, Jameis Winston heading to FOX, and the hilarious Moment of The Day: "This guy's got...gonorrhea"! Finally, our Week 14 NFL Picks to finish the week strong!

We looked at some NFL playoff scenarios and then talked about 3 new sports documentaries coming out.

    Unlock the secrets of military medicine and simulation technology with insights from two leading experts, retired Air Force Chief Master Sergeant Jason Robbins and Lou Oberndorf, CEO of Operative Experience Incorporated. Discover how these trailblazers have navigated the evolution of medical simulation, turning traditional training on its head and preparing medics for the chaotic and high-pressure environments they may face. Their stories reveal the critical role that high-fidelity simulators play in equipping healthcare professionals with the skills needed to manage physiological disparities, chaos control, and patient responsibility.     In a riveting conversation about the advancement of simulation technology, Jason and Lou explore the transition from traditional mentorship to cutting-edge, AI-driven simulators. By weaving personal experiences with industry shifts, they illuminate how medical education has undergone a dramatic transformation over the past 30 years. Their discourse reveals the monumental challenges and triumphs of integrating simulation technologies into both military and civilian healthcare settings, with a focus on the unique demands of combat medicine and on how AI is poised to further revolutionize this field.     Jason and Lou discuss the pressing need for anatomically accurate simulators, particularly for female soldiers. They provide an eye-opening look at how these innovations are dismantling social and psychological barriers and are vital for training efficacy. They candidly discuss the psychological toll of combat on healthcare providers and the irreplaceable value of real-life experience, underscoring that while simulation is a bridge for skill development, it cannot fully substitute the lessons learned from treating real patients. Join us in this compelling episode to understand how simulation is not just a tool but a pivotal element in preparing medics for the unforgiving realities of the battlefield.   Chapters: (00:04) Evolution of Military Medicine Simulation (09:55) Advancing Medical Simulation in Healthcare (17:31) Simulation Training in Special Operations (23:17) Medical Simulation Advancements for Training (36:17) Military Simulation Technology and AI (49:20) Preparing Military Medics with Simulation   Chapter Summaries: (00:04) Evolution of Military Medicine Simulation   Military medics discuss simulation technology, physiological disparities, and leadership lessons in chaotic environments.   (09:55) Advancing Medical Simulation in Healthcare   Commercialization of medical simulation technology, its integration into military medicine, and its impact on patient care.   (17:31) Simulation Training in Special Operations   Simulation, training standards, and cultural barriers are addressed in AFSOC's journey to improve special operations medical training.   (23:17) Medical Simulation Advancements for Training   Female simulators provide safe and effective training for military medics, addressing gender disparities and ensuring consistency.   (36:17) Military Simulation Technology and AI   AI has the potential to enhance medical simulation, with challenges in technology development and differences between military and civilian healthcare settings.   (49:20) Preparing Military Medics With Simulation   Medical simulators prepare healthcare professionals for combat trauma, but cannot replace real-life experience.   Take Home Messages: The Role of Medical Simulation in Military Medicine: The episode highlights the transformative impact of medical simulation technology on military medicine, emphasizing its role in preparing medics for high-stress and austere environments. It underscores how advancements in simulation, particularly with the integration of artificial intelligence, have enhanced the realism and effectiveness of medical training. Evolution from Defense to Healthcare: The conversation traces the journey of medical simulation technology from its origins in defense innovation during the early '90s to its widespread adoption in both military and civilian healthcare settings. This transition has replaced traditional mentorship models with high-fidelity simulators, revolutionizing medical education and training. Advancements in Anatomically Accurate Simulators: A significant development discussed is the creation of anatomically accurate female simulators, which address social and psychological barriers in medical training. These innovations ensure that medics are better prepared for real-world scenarios, particularly in treating female soldiers, thereby improving training efficacy. Continuous Training and Readiness: The importance of continuous training to maintain readiness is emphasized, especially in the context of military medicine where skill erosion can occur between conflicts. Simulation technology provides a safe environment for medics to practice and refine their skills, ensuring they are prepared for future challenges. Ethical Considerations in Simulation Technology: The episode also touches on the ethical and moral considerations in developing realistic simulation technologies. While simulators are essential for skill development, they cannot fully replicate the emotional and psychological challenges of real-life trauma, highlighting the need for a balanced approach in training methodologies.   Episode Keywords: military medics, trauma training, high-fidelity simulators, Operative Experience Incorporated, Jason Robbins, Lou Orberndorf, anatomical simulators, female simulators, training technology, medical education, combat medicine, civilian healthcare, simulation technology, patient care, chaos management, medical training, military healthcare, podcast episode   Hashtags: #wardocs #military #medicine #podcast #MilMed #MedEd #MilitaryMedicine #MedicalSimulation #CombatCare #HealthcareInnovation #AIMedicalTraining #CivilianHealthcare #MilitaryMedics #TraumaTraining #MedicalTechnology #SimulationAdvancements **This episode was supported by an educational grant provided by Operative Experience Inc.** Honoring the Legacy and Preserving the History of Military Medicine The WarDocs Mission is to honor the legacy, preserve the oral history, and showcase career opportunities, unique expeditionary experiences, and achievements of Military Medicine. We foster patriotism and pride in Who we are, What we do, and, most importantly, How we serve Our Patients, the DoD, and Our Nation.   Find out more and join Team WarDocs at https://www.wardocspodcast.com/ Check our list of previous guest episodes at https://www.wardocspodcast.com/our-guests Subscribe and Like our Videos on our YouTube Channel: https://www.youtube.com/@wardocspodcast Listen to the “What We Are For” Episode 47. https://bit.ly/3r87Afm   WarDocs- The Military Medicine Podcast is a Non-Profit, Tax-exempt-501(c)(3) Veteran Run Organization run by volunteers. All donations are tax-deductible and go to honoring and preserving the history, experiences, successes, and lessons learned in Military Medicine. A tax receipt will be sent to you. WARDOCS documents the experiences, contributions, and innovations of all military medicine Services, ranks, and Corps who are affectionately called "Docs" as a sign of respect, trust, and confidence on and off the battlefield,demonstrating dedication to the medical care of fellow comrades in arms.     Follow Us on Social Media Twitter: @wardocspodcast Facebook: WarDocs Podcast Instagram: @wardocspodcast LinkedIn: WarDocs-The Military Medicine Podcast YouTube Channel: https://www.youtube.com/@wardocspodcast

Welcome to Talk'n Docs, the monthly podcast where we dive into the world of documentaries and review them for your listening pleasure. Hosted by Jennifer Smith, Logan Crosland and Cowboy Roger, the crew finish Season 5 with a review of the 2023 documentary Untold: Swamp Kings. The crew discusses the documentary in great detail with topics including: Urban Meyer's arrival in Gainesville, cultish college football fans, their love/hate relationship with Tim Tebow, Florida's dominance and controversies, and much more!    

If you are on track for retirement, college, have an emergency fund, have bought all your cars in cash, and check all the other planning boxes, but find yourself with extra cash, where is the best place to put it? It may seem like a simple math problem to decide if investing is a better option than paying down your mortgage, but the math isn't actually that easy. Nate Reineke and Kyle Hoelzle break down why it's not an easy question to answer and the caveats that complicate the math. We also discuss how paying off your mortgage faster helps reduce risk as you head into retirement. We also answer your colleagues' questions. An ENT in New York says, “If my employer updates the plan's default investment option, does that change how my current retirement account is invested?” A Critical Care Doctor in Ohio asks, “My oldest child is in college, and we have some of his tuition money in a high-yield savings account. Should we move it to his 529?” An ENT in Oregon wonders, “How should investors think about owning broad index funds when they disagree with the practices of some of the companies inside them?” Are you ready to turn worries about taxes and investing into all the money you need for college and retirement? It's time to make a plan and get on track. To find out if we're a match visit physicianfamily.com and click get started or, you can ask a question of your own by emailing podcast@physicianfamily.com. See marketing disclosures at physicianfamily.com/disclosures

Scott and CJ sit down live at JSNation NYC with Iwo Plaza, creator of TypeGPU, to dig into how WebGPU is unlocking a new wave of graphics and compute power on the web. They chat about shader authoring in TypeScript, the future of GPU-powered AI in the browser, and what it takes to build a killer developer-friendly graphics library. Show Notes 00:00 Welcome to Syntax! 00:32 What is TypeGPU? High-level overview and why it exists 01:20 WebGPU vs WebGL – the new era of GPU access on the web 01:47 Why shader languages are hard + making them accessible 02:24 Iwo's background in C++, OpenGL, and discovering JS 03:06 Sharing graphics work on the web vs native platforms 03:29 WebGPU frustrations that inspired TypeGPU 04:17 Making GPU–CPU data exchange easier with Zod-like schemas 05:01 Writing shaders in JavaScript + the unified type system 05:38 How the “use_gpu” directive works under the hood 06:05 Building a compiler that turns TypeScript into shader code 07:00 Type inference, primitives, structs, and TypeScript magic 08:21 Leveraging existing tooling via Unplugin + bundler integration 09:15 How TypeGPU extracts ASTs and generates TinyEST metadata 10:10 Runtime shader generation vs build-time macros 11:07 How the AST is traversed + maintaining transparency in output 11:43 Example projects like Jelly Shader and community reception 12:05 Brought to you by Sentry.io 12:30 Does TypeGPU replace 3JS? How it fits the existing ecosystem 13:20 Low-level control vs high-level abstractions 14:04 Upcoming Three.js integration – plugging TypeGPU into materials compute shaders 15:34 Making GPU development more approachable 16:26 Docs, examples, and the philosophy behind TypeGPU documentation 17:03 Building features by building examples first 18:13 Using examples as a test suite + how docs shape API design 19:00 Docs as a forcing function for intuitive APIs 20:21 GPU for AI – browser inference and future abstractions 21:11 How AI examples inform new libraries (noise, inference, etc.) 21:57 Keeping the core package small and flexible 22:44 Building “TypeGPU AI”-style extensions without bloating the core 23:07 The cost of AI examples and building everything from scratch 23:41 Standard library design and future of the ecosystem 24:04 Closing thoughts from Iwo – OSS, GPU renaissance, and encouragement 24:34 Sick Picks & Shameless Plugs Sick Picks Iwo: Perogies Shameless Plugs Iwo: Syntax Podcast Hit us up on Socials! Syntax: X Instagram Tiktok LinkedIn Threads Wes: X Instagram Tiktok LinkedIn Threads Scott: X Instagram Tiktok LinkedIn Threads Randy: X Instagram YouTube Threads

Listen now: Spotify, Apple and YouTubeIn the first-ever live recording of Supra Insider, Marc and Ben sat down with Jacob Bank, founder of Relay.app, to unpack one of the most urgent questions facing product leaders today: How do AI agents actually change the way we work? Instead of abstract predictions, Jacob shares the very real workflows, failures, and breakthroughs behind running a 10-person company that delegates work to more than 300 AI agents.Across the conversation, the three dig into what PMs must learn next: writing job descriptions for agents, architecting responsibilities, managing automated execution, and understanding how agents influence velocity, product quality, and cross-functional collaboration. Jacob also discusses why PMs are lagging behind engineering and ops in adopting agentic workflows, and what will happen to teams who don't catch up.If you're a PM, founder, or operator trying to understand how AI is reshaping product development, or you've struggled to translate “agent hype” into concrete, repeatable workflows, this episode gives you a realistic, practitioner-level framework for building with agents today, and preparing for what's coming next.All episodes of the podcast are also available on Spotify, Apple and YouTube.New to the pod? Subscribe below to get the next episode in your inbox

W programie festiwalu jest m.in. "Cover up" - najnowszy film laureatki Oscara, Laury Poitras -  portret legendarnego amerykańskiego dziennikarza śledczego Seymoura Hersha, który poświęcił życie ujawnianiu najściślej strzeżonych tajemnic współczesności. "Kumotry" - historia przyjaźni kobiet zamieszkujących pustoszejącą polską wieś w rumuńskich Karpatach, "Divia" - dokument, który w został w całości poświęcony wpływowi wojny na Ukrainie na środowisko naturalne, sekcja poświęcona sytuacji w Palestynie czy cykl prezentujący arcydzieła dokumentalne ze Skandynawii i Finlandii.

In this episode of Docs in a Pod, hosts Ron Aaron and Dr. Tamika Perry from WellMed at Redbird Square sit down with LaWanda Crawford, NP from WellMed at DeSoto in DeSoto, TX, to discuss  how to avoid common medication mistakes. From understanding prescriptions to preventing dangerous mix-ups, this conversation offers practical, expert-backed tips to keep you and your loved ones safe. Whether you're managing multiple medications or just want to stay informed, this episode is packed with advice you can trust. Docs in a Pod focuses on health issues affecting adults. Clinicians and other health partners discuss stories, topics and tips to help you live healthier. Docs in a Pod airs on Saturdays in the following cities:  7:00 to 7:30 am CT:  San Antonio (930 AM The Answer)  DFW (660 AM, 92.9 FM [Dallas], 95.5 FM [Arlington], 99.9 FM [Fort Worth])  6:30 to 7:00 pm CT:  Houston (1070 AM/103.3 FM The Answer)  7:00 to 7:30 pm CT:  Austin (KLBJ 590 AM/99.7 FM)  Docs in a Pod also airs on Sundays in the following cities:  1:00-1:30 pm ET:  Tampa (860 AM/93.7FM)

Essen Sie noch oder schlucken Sie lieber Pillen und Pülverchen? Vitamin B, Vitamin D, Omega 3, Protein, Kreatin, Kalzium, Magnesium und und und. Das Angebot an Nahrungsergänzungsmitteln ist endlos. Schlank, schön, gesund und lange leben - das versprechen sich viele von der Einnahme. Und dann stehen schnell unzählige Tablettenpackungen neben dem morgendlichen Kaffee. Über die möglichen Nebenwirkungen wird nicht lange nachgedacht, nur das Loch im Portemonnaie ist schnell spürbar. Der Markt ist riesig, das Geschäft boomt, Kontrolle fehlt. Was ist nur Geschäft, was ist gesund, was gefährlich? Darüber spricht Karen Fuhrmann mit Franziska Gottschalk von der Uni Kiel, die die Wirkung von Proteinen untersucht, mit Sarah Häuser von der Verbraucherschutzorganisation Foodwatch, dem Ernährungssoziologen Daniel Kofahl und dem Ernährungsmediziner Matthias Riedl von den NDR Ernährungs-Docs. Podcast-Tipp: Die Ernährungs-Docs Mit Ernährung Krankheiten in den Griff bekommen oder sogar heilen. Das geht! Und die NDR Ernährungs-Docs wissen, wie es geht. Wissenschaftsjournalistin Julia Demann spricht mit Dr. Silja Schäfer, Dr. Viola Andresen und Dr. Matthias Riedl über ihre spannendsten Fälle und erstaunlichsten Erfolge. "Essen als Medizin" lautet ihre Strategie, die Themen reichen von antientzündlicher Ernährung bis Zuckerersatz. Gemeinsame Mission: eine Ernährung, die schmeckt, die beim Gesundwerden und -bleiben hilft und die man leicht zubereiten kann. Deshalb gibt es am Ende jeder Folge ein Rezept für zu Hause. https://www.ardaudiothek.de/sendung/die-ernaehrungs-docs-essen-als-medizin/urn:ard:show:c9684369f9824d59/

BachelorClues and PaceCase sit down with the hardest-working investigative journalist in reality TV, Rikkii Wise—aka @storytimewithrikkii—for a deep dive into her rise from dating-story TikToks to becoming the go-to source for Love Is Blind receipts. Rikkii opens up about her first major scoop, the catfish scandal that changed her approach, how she vets court documents, and the wild pipeline of secret tea she's trusted with. The trio digs into producer accountability, the Nick Viall “irrelevant” moment, why LIB Season 9 divided audiences, the future of reality casting, and whether Rikkii might take her talents to The Traitors. It's an unfiltered, hilarious, and illuminating conversation with one of reality TV's most essential voices.__Join the Pit on Patreon for more exclusive content and shows! : / gameofroses__Want coaching tips? email gameofrozes@gmail.com__Follow us on TikTok: @gameofrosesFollow us on Instagram-Game of Roses: @gameofrosespodPacecase: @pacecaseBachelor Clues: @bachelorclues Hosted on Acast. See acast.com/privacy for more information.

Text the ShowSardinia has 17 DOCs and 1 DOCG to explore, but in this episode, I focus on the most popular. Get the quick essentials on Vermentino di Gallura DOCG, the island-wide DOCs for Vermentino and Cannonau, and the rich red Carignano di Sulcis DOC.ExploreArgiolas

In this episode of Docs in a Pod, hosts Ron Aaron and Dr. Rajay Seudath from Optum – University welcome Dr. Kathleen Berger to explore a critical issue affecting older adults: fall risk. From common causes and warning signs to prevention strategies and clinical insights, this conversation sheds light on how falls can be avoided—and why awareness is key to staying safe and independent. Whether you're a caregiver, a healthcare professional, or someone looking to age well, this episode offers practical advice and expert perspectives to help you take control of your health. Docs in a Pod focuses on health issues affecting adults. Clinicians and other health partners discuss stories, topics and tips to help you live healthier. Docs in a Pod airs on Saturdays in the following cities:  7:00 to 7:30 am CT:  San Antonio (930 AM The Answer)  DFW (660 AM, 92.9 FM [Dallas], 95.5 FM [Arlington], 99.9 FM [Fort Worth])  6:30 to 7:00 pm CT:  Houston (1070 AM/103.3 FM The Answer)  7:00 to 7:30 pm CT:  Austin (KLBJ 590 AM/99.7 FM)  Docs in a Pod also airs on Sundays in the following cities:  1:00-1:30 pm ET:  Tampa (860 AM/93.7FM) 

Dr. Jessica Kuhn, a board certified pediatric nurse practitioner caring for children and adolescents, from birth to age 21, joins Amy & JJ to talk about winter, sick season, vitamins, immunizations, sports, supplements and more! See omnystudio.com/listener for privacy information.

For episode 634 of the BlockHash Podcast, host Brandon Zemp is joined by Mitchell Nicholson, Core Contributor to the Sierra Protocol.Sierra Protocol is the issuer of SIERRA, a liquid yield token (LYT) that offers the best risk-adjusted yield in a freely tradeable ERC20 token on Ethereum and Avalanche. SIERRA enables holders to earn passively accrue 6-12% APY compounded daily and does not require staking or claiming, holding periods or lockups, paying hidden fees or providing KYC. SIERRA will be going live in October followed by several exciting partnerships that offer additional yield and utility. Its reserves are managed by OpenTrade, an institutional-grade market leader offering stablecoin yield products and is backed by a16z, Circle, Mercury, Notion and other leading VC firms. ⏳ Timestamps: (0:00) Introduction(1:12) Who is Mitchell Nicholson?(2:02) What is Sierra?(2:44) What are Liquid Yield Tokens?(9:56) Underlying yield sources(12:56) Regulations & Compliance(15:40) Sierra exchange listings(17:30) Liquidity for Sierra(20:13) Partnerships(25:35) Prediction Markets(30:05) Sierra Roadmap(32:50) Sierra website & socials 

What made Donald Trump sign the paperwork to release the Epstein files and will it end up hurting the Democrats more than anyone else? Plus, the squad releases a new anti-law enforcement ad campaign that is dropping jaws and here's when jobs will start returning.

Headlines: – Welcome To Mo News (02:00) – The DOJ's Case Against Former FBI Director James Comey Looks Increasingly Shaky (04:40) – Operation Charlotte's Web: What's Happening in North Carolina? (09:20) – U.S. New Plan To End Ukraine War (15:20) – Just Dept Will Release Epstein Files Within 30 Days, Bondi Says (20:20) – Nvidia Earnings Soothe AI Bubble Fears (25:20) – Why You Should Embrace New Technology As You Age (27:50) – ‘Wicked: For Good' Aims for Biggest Opening of 2025 With $150 Million-Plus Debut (31:10) – On This Day In History (34:20) Thanks To Our Sponsors:  – ⁠LMNT⁠ - Free Sample Pack with any LMNT drink mix purchase –⁠ Industrious⁠ - Coworking office. 50% off day pass | Promo Code: MONEWS50 – Surfshark - 4 additional months of Surfshark VPN | Code: MONEWS – Factor Meals – 50% your first box plus free shipping | Promo Code: monews50off – ⁠Boll & Branch⁠ – 25% off, plus free shipping | Code: MONEWS – Aura Frames -  $45 off best-selling Carver Mat frames | Promo Code: MONEWS

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What does comprehensive treatment planning look like, and how can specialists and general dentists design it together? In this episode, Dr. Grant Stucki sits down with Florida general dentist and educator Dr. Vic Martel to unpack the ins and outs of comprehensive treatment planning. Dr. Martel explains why many dentists were never taught comprehensive planning in dental school, how this leads to a reactive mindset, and why slowing down to assess occlusion, periodontal health, joints, and restorative needs as a whole improves outcomes for patients and practices. Together, they explore real-world barriers and practical solutions to comprehensive treatment planning and the importance of surgeon-led education and interdisciplinary planning. Dr. Martel shares how he runs new-patient exams and builds trust with patients while coordinating with specialists. He also explains how investing in your referral network can help a practice grow and how a thoughtful, comprehensive treatment plan makes life easier for everyone on the team. Tune in now!Key Points From This Episode:Comprehensive treatment planning and why many dentists are underprepared.The difference between “tooth fixer” dentistry and being a “physician of the mouth.”Learn how comprehensive treatment planning benefits patients and practices.Find out about the biggest barriers to comprehensive treatment planning. How comprehensive planning impacts case acceptance, treatment, and patient outcomes.Hear how generalists and specialists can work together to design a comprehensive plan. Explore the history behind grand rounds and why it is an effective educational tool.Important considerations around implant solutions and the risk of removal. He shares his comprehensive dental exam setup and his overall approach. Discover how shared plans improve coordination, referrals, and patient confidence.Final takeaways and why dentists should focus on educating their referral network.Links Mentioned in Today's Episode:Dr. Victor Martel on LinkedIn — https://www.linkedin.com/in/victor-martel-dmd-91431922/ Dr. Victor Martel on Instagram — https://www.instagram.com/drvicmartel/ Dr. Victor Martel Email Address — martelacademy@gmail.com Dr. Victor Martel Phone Number — 561 602 7222 Martel Academy — https://martelacademy.com/ Everyday Oral Surgery Website — https://www.everydayoralsurgery.com/ Everyday Oral Surgery on Instagram — https://www.instagram.com/everydayoralsurgery/ Everyday Oral Surgery on Facebook — https://www.facebook.com/EverydayOralSurgery/Dr. Grant Stucki Email — grantstucki@gmail.comDr. Grant Stucki Phone — 720-441-6059

What made Donald Trump sign the paperwork to release the Epstein files and will it end up hurting the Democrats more than anyone else? Plus, the squad releases a new anti-law enforcement ad campaign that is dropping jaws and here's when jobs will start returning.

What made Donald Trump sign the paperwork to release the Epstein files and will it end up hurting the Democrats more than anyone else? Plus, the squad releases a new anti-law enforcement ad campaign that is dropping jaws and here's when jobs will start returning.

What made Donald Trump sign the paperwork to release the Epstein files and will it end up hurting the Democrats more than anyone else? Plus, the squad releases a new anti-law enforcement ad campaign that is dropping jaws and here's when jobs will start returning.

What made Donald Trump sign the paperwork to release the Epstein files and will it end up hurting the Democrats more than anyone else? Plus, the squad releases a new anti-law enforcement ad campaign that is dropping jaws and here's when jobs will start returning.

What made Donald Trump sign the paperwork to release the Epstein files and will it end up hurting the Democrats more than anyone else? Plus, the squad releases a new anti-law enforcement ad campaign that is dropping jaws and here's when jobs will start returning.

Despite headlines suggesting transparency is coming, today's deep dive reveals why the newly ordered release of “unclassified” Epstein documents is likely to produce nothing new. Tara and Lee dissect the political sleight of hand, historic agency stonewalling, and how past failures — including the still-hidden COVID origin files and resistance to Senate subpoenas — offer a blueprint for what's about to happen again. With control firmly held by intelligence agencies over Congress, even top figures like Kash Patel and Dan Bongino may be powerless to retrieve crucial evidence. Could this end up backfiring on Trump? And what happened to the semi-truck full of Epstein material removed by the FBI? This episode breaks it all down.

The leaked documents point to heavy financial pressure. OpenAI may be paying far more than expected. Industry watchers say this model can't scale.Get the top 40+ AI Models for $20 at AI Box: ⁠⁠https://aibox.aiAI Chat YouTube Channel: https://www.youtube.com/@JaedenSchaferJoin my AI Hustle Community: https://www.skool.com/aihustleSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

President Donald Trump now wants the House of Representatives to vote to release the Epstein files, claiming the Trump DOJ has "nothing to hide." He also wants Attorney General Pam Bondi to go after prominent Democrat names tied to the files, including former President Bill Clinton. The Sekulow team discusses the Trump Administration's reversal on the Epstein files, the Senate and the Cause of Action Measure, the ACLJ's legal work – and much more.

There was once a time when documentaries could be found only on public television or in art-house cinemas. But today, documentaries are more popular and accessible than ever, with streaming services serving up true crime, celebrity documentaries, music documentaries and so much more.On today's Sunday Special, Gilbert is joined by The New York Times's chief television critic, James Poniewozik, and Alissa Wilkinson, a Times film critic, to talk about the documentaries that are worth your viewing time. On Today's Episode:James Poniewozik is the chief TV critic for The Times.Alissa Wilkinson is a movie critic at The Times, and writes the Documentary Lens column. Background Reading:What ‘The American Revolution' Says About Our Cultural Battles‘Come See Me in the Good Light': The Sweetness After a Terminal Diagnosis  Discussed on this episode:“The American Revolution,” 2025, directed by Ken Burns“The Alabama Solution,” 2025, directed by Andrew Jarecki and Charlotte Kaufman“The Jinx: The Life and Deaths of Robert Durst,” 2015, directed by Andrew Jarecki“Making a Murderer,” 2015, directed by Laura Ricciardi and Moira Demos“The Yogurt Shop Murders,” 2025, directed by Margaret Brown“The Perfect Neighbor,” 2025, directed by Beet Gandbhir“The Last Dance,” 2020, directed by Jason Hehir“Copa 71,” 2023, directed by Rachel Ramsay and James Erkine“Cheer,” 2020, created by Greg Whiteley“Last Chance U,” 2016, directed by Greg Whiteley, Adam Ridley and Luke Lorentzen“Pee-wee as Himself,” 2025, directed by Matt Wolf“The Remarkable Life of Ibelin,” 2024, directed by Benjamin Ree“Ladies & Gentlemen … 50 Years of SNL Music,” 2025, directed by Questlove“Cameraperson,” 2016, directed by Kirsten Johnson“An American Family,” 1973, created by Craig Gilbert“Look Into My Eyes,” 2024, directed by Lana Wilson“When We Were Kings,” 1996, directed by Leon Gast Photo: Mike Doyle/American Revolution Film Project and Florentine Films Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app.

Welcome to The Blathering LIVE on The Napzok Network. Part ramble, part rant, part joy, part anger -- but all done in the fashion of an old school radio show with segments and live listener calls. The on-air sign goes on, and the show goes from there. The live episodes are recorded on Ken's YouTube, Twitch, and Facebook channels.Get Ken's Comedy Album⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IN MY DAY⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Purchase Ken's book ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Why We Love Stars: The Great Moments That Built A Galaxy Far, Far Away.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Enjoy ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Moonagers⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠kennapzok.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Trump is in a full rage after new explosive Epstein emails came out. Republicans are switching their vote and are now planning to support releasing the files. The shutdown is over but backlash against the democrats is still going on. The Trump admin is blaming the democrats for the jobs report not coming out. Marjorie Greene is mocking Trump after his comments about H-1B visas.  Host: John Iadarola (@johniadarola) ***** SUBSCRIBE on YOUTUBE TIKTOK  ☞        https://www.tiktok.com/@thedamagereport INSTAGRAM  ☞   https://www.instagram.com/thedamagereport TWITTER  ☞         https://twitter.com/TheDamageReport FACEBOOK  ☞     https://www.facebook.com/TheDamageReportTYT

During a live CNN segment, Rep. Jasmine Crockett (D-TX) was called out on air after trying to push a false Epstein-Trump narrative using redacted documents that Democrats selectively edited for political spin. Even CNN's own anchors weren't buying it — pressing Crockett on why Democrats withheld key details while attempting to smear President Donald Trump.▶Sign up to our Free Newsletter, so you never miss out: https://bio.site/professornez▶Original, Made in the USA Neznation Patriot Merch: https://professornez.myspreadshop.com/all

The release of long-suppressed Epstein investigation files threatens to reshape national politics while Georgia prepares for critical 2026 races, but locally, two key Democratics Barry Wolfert, running for Georgia's 11th Congressional District to challenge Rep. Barry Loudermilk, and Scott Sanders, the lone Democrat in the House District 23 special election, hop on calls to introduce themselves. But the biggest story of the day centers on the newly released Epstein estate emails and the House vote advancing a discharge petition to force release of the full DOJ archive. Heather Cox Richardson's step-by-step breakdown of what happens over the next 7–10 days is quite useful.Why Donald Trump is fighting desperately to stop these documents from seeing daylight is the mystery - because he's totally innocent, y'all. The emails already released contradict Trump's past claims—suggesting awareness of Epstein's predatory behavior, discussing girls at Epstein's properties, and hinting at damaging leverage Epstein believed he held. Even conservative voices like Howard Kurtz expressed concern about the revelations. Ron also analyzes Laura Ingraham's awkward/bizarre White House interview with Trump, where he was openly dismissive of American workers' abilities, while defending expanded visa labor, and made questionable economic claims. You can almost hear Laura's "BS meter" going off with her tone. Also, are she and Sean Hannity openly trying to sink Trump? It sort of feels like it.Also at Fox, Howard Kurtz throwing a little shade, himself. Tune in to catch the Ron Show weekdays from 4-6pm Eastern time on Georgia NOW! Grab the app or listen online at heargeorgianow.com.#HearGeorgiaNow #TheRonShow #BarryWolfert #ScottSanders #GeorgiaPolitics #EpsteinFiles #TrumpNews #GA11 #GA23 #ProgressiveVoices

The web of Operation Arctic Frost expands, new Jeffrey Epstein documents hit the press, and the State Department designates several Antifa-aligned groups as terror organizations. Get the facts first with Evening Wire. - - - Wake up with new Morning Wire merch: https://bit.ly/4lIubt3 - - - Privacy Policy: https://www.dailywire.com/privacy morning wire,morning wire podcast,the morning wire podcast,Georgia Howe,John Bickley,daily wire podcast,podcast,news podcast Learn more about your ad choices. Visit podcastchoices.com/adchoices

Support a company that actually cares about this country. Go to http://BlackoutCoffee.com/Graham and use code GRAHAM for 20% off your first order.   Protect yourself and your family from cybercrime this holiday season with 60% off Webroot Total Protection at http://webroot.com/GRAHAM. That's 60% off for a limited time, but only with my exclusive code!   Shop Beam's Black Friday Sale! Get up to 50% off with my link: https://shopbeam.com/DEARAMERICA (limited time only). No code needed - discount will auto apply at checkout!   Go get your NEVER WOKE merch at https://neverwokeapparel.com/

MeidasTouch host Ben Meiselas reports on Donald Trump ending the press conference on the CR being signed into law over questions about the Epstein emails that were released. Visit https://meidasplus.com for more! Remember to subscribe to ALL the MeidasTouch Network Podcasts: MeidasTouch: https://www.meidastouch.com/tag/meidastouch-podcast Legal AF: https://www.meidastouch.com/tag/legal-af MissTrial: https://meidasnews.com/tag/miss-trial The PoliticsGirl Podcast: https://www.meidastouch.com/tag/the-politicsgirl-podcast The Influence Continuum: https://www.meidastouch.com/tag/the-influence-continuum-with-dr-steven-hassan Mea Culpa with Michael Cohen: https://www.meidastouch.com/tag/mea-culpa-with-michael-cohen The Weekend Show: https://www.meidastouch.com/tag/the-weekend-show Burn the Boats: https://www.meidastouch.com/tag/burn-the-boats Majority 54: https://www.meidastouch.com/tag/majority-54 Political Beatdown: https://www.meidastouch.com/tag/political-beatdown On Democracy with FP Wellman: https://www.meidastouch.com/tag/on-democracy-with-fpwellman Uncovered: https://www.meidastouch.com/tag/maga-uncovered Coalition of the Sane: https://meidasnews.com/tag/coalition-of-the-sane Learn more about your ad choices. Visit megaphone.fm/adchoices

Watch The X22 Report On Video No videos found (function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:17532056201798502,size:[0, 0],id:"ld-9437-3289"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="https://cdn2.decide.dev/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs");pt> Target is lowering its prices for Thanksgiving just like Walmart. This is going to be a cheap holiday for the people. Inflation has been tamed and with lowering fuel prices Trump is countering the [CB] inflation. Fed Bostic is retiring which will leave an opening for Trump, slowly but surely is gaining control over the Fed. Trump is taking back control of the economy. The [DS] tried everything to take Trump down and it has failed. The pushed the Epstein files hoax on him and he didn't take the bait, now they failed with the shutdown, so they decided they would release the hoax. They took the bait and now they have started the Epstein narrative. Attacks will intensify against Trump team, when the time is right he will strike like a thunderbolt.   Economy Target reduces prices on 3,000 groceries and essentials Target announced Tuesday it is lowering prices on 3,000 food, beverage and essential items, though prices could vary by location and online. This is the latest in a string of initiatives the retailer has rolled out to offer shoppers lower prices. The retailer also announced a $500,000 donation to Feeding America to support its hunger relief efforts amid increased demand at food banks. Lowering prices on thousands of items that shoppers frequently buy “will make a difference for families managing tight household budgets during the holidays,” Lisa Roath, chief merchandising officer of food, essentials and beauty at Target, said in the announcement. The press release noted it will not reduce prices in Alaska and Hawai'i. The price cuts build on Target's growing affordability efforts as the holiday season arrives. The retailer highlighted in the Tuesday announcement its lowest price ever for a Thanksgiving meal, which the retailer unveiled earlier this month. The meal feeds four for less than $5 per person and includes a Good & Gather turkey that costs 79 cents per pound. Source: retaildive.com (function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:18510697282300316,size:[0, 0],id:"ld-8599-9832"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="https://cdn2.decide.dev/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs"); Bessent, Treasurer Striking Final Penny at Philadelphia Mint Treasury Secretary Scott Bessent and Treasurer Brandon Beach will visit the Philadelphia Mint on Wednesday to oversee production of the final circulating one-cent coin or penny, each of which costs nearly 4 cents to produce, the Treasury Department said. President Donald Trump said in February he was ordering the Treasury to halt what he called the "wasteful" minting of pennies, prompting gas stations, fast-food chains and big-box stores to adjust prices and round cash transactions. Source: newsmax.com https://twitter.com/DoryBeutel/status/1988579974354477175?s=20 More Doves Incoming: Atlanta Fed President Bostic To Retiring Feb 2026 More turnover at the Fed ahead of what can be a historic, for the US central bank, year as Trump prepares to stack the Fed with a deep bench of uber-doves. With the "fired" Lisa Cook's lawsuit marinating at the Supreme Court, moments ago the Atlanta Fed announced that its president Raphael Bostic would retire at the end of his current term in February. Bostic, who in the press release was described as "the first African American and openly gay president of a regional Federal Reserve Bank in its 111-year histo...

In the latest twist from the trove of Jeffrey Epstein's emails released by House Democrats, a 2016 message from the convicted pedophile to disgraced author Michael Wolff appears to allege that Hillary Clinton had a sexual affair with former White House Deputy Counsel Vince Foster. Are the dems sure they really want the Epstein files released!? And GOP senators have been caught slipping a self-serving provision into what was supposed to be a “clean” continuing resolution (CR) to end the government shutdown. This sneaky clause could hand eight GOP senators a whopping $500,000 each in taxpayer-funded payouts, all tied to a potential lawsuit over the DOJ's aggressive snooping during Special Counsel Jack Smith's witch hunt against President Trump and the 2020 election integrity fight.Guest: Stephen Gardner - Host, The Stephen Gardner ShowSponsor:My PillowWww.MyPillow.com/johnSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

First: The Trump Administration is scrambling to contain the fallout from thousands of Jeffrey Epstein emails, many naming the president. But will they be able to rein in Republicans who are pushing for full transparency?  Plus: Tens of millions of Americans are now facing skyrocketing health care costs. We'll break down how their struggle may define the 2026 midterms.  And: Disagreeing without being disagreeable is sadly rare in politics. But we'll show you a top Democrat and Republican in the Senate do just that on the college campus where CharlKe kirk was assassinated.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Mapping the Landscape of Technical Standards: A Nationwide Review of Medical Schools Interviewees: Carol Haywood, PhD, OTR/L — Assistant Professor, Medical Social Sciences, Northwestern University Feinberg School of Medicine Chris Moreland, MD, MPH — Professor of Internal Medicine; Division Chief for Hospital Medicine; Interim Associate Chair for Faculty Affairs and Development, Dell Medical School (Comments made in ASL and voiced through interpreters) Interviewer: Lisa Meeks, PhD, MA — Guest Editor, Academic Medicine Supplement on Disability Inclusion in Undergraduate Medical Education Description: In this episode of Stories Behind the Science, we sit down with Dr. Carol Haywood and Dr. Chris Moreland to explore a deceptively powerful document: the medical school technical standards. These quietly influential statements—often tucked deep in an admissions webpage—shape who feels welcome to apply, who gains access, and how institutions imagine the future of their profession. Haywood and Moreland, co-authors of a national analysis featured in the Academic Medicine supplement on Disability Inclusion in Undergraduate Medical Education, unpack what happens when ambiguous language, outdated assumptions, and vague expectations collide with real people making real decisions about their careers. Together, they dig into the nuances of functional vs. organic standards, the importance of clarity for applicants who lack insider knowledge, and the ripple effects of inequitable policies across a learner's entire training experience. What emerges is both sobering and hopeful: a field undergoing change, a growing recognition that words matter, and a roadmap for institutions ready to bring their values into alignment with their practices. The discussion reviews: How technical standards became a gatekeeper—and why revising a single sentence can shift an entire culture. Why students with disabilities read these documents differently—and why that matters for equity. How ambiguity in admissions can deter talented future physicians long before they step foot in a classroom. What schools can do now to create standards that prioritize competence, flexibility, and inclusion. Dr. Haywood brings a researcher's lens and an occupational therapist's creativity to the conversation, illuminating how functional expectations—not assumptions about bodies—should guide medical training. Dr. Moreland shares deeply personal reflections on navigating technical standards as a deaf physician, offering rare insight into how these documents land on applicants with lived experience. This episode invites the audience to imagine a medical education landscape where technical standards do what they should do—define competence, set expectations, and open doors—rather than unintentionally closing them. Bios:  Carol Haywood, PhD, OTR/L, is Assistant Professor of Medical Social Sciences in the Determinants of Health Division and core faculty in the Center for Health Services and Outcomes Research at Northwestern University Feinberg School of Medicine in Chicago, IL. Building from her work as an occupational therapist in acute rehabilitation, she completed a PhD in occupational science at the University of Southern California and a postdoctoral fellowship in health services and outcomes research at Northwestern University. Using qualitative, mixed methods, and community-engaged research approaches, she studies disability in a variety of contexts, as well as health care access, coordination, and quality. She is driven by a vision of health care that facilitates equity for people with disabilities. Chris Moreland, MD MPH, is a professor of medicine, interim associate department chair for faculty affairs, and division chief for hospital medicine at Dell Medical School at UT Austin. He practices clinically as a hospitalist. As a career-long clinician educator, his teaching has been recognized regionally and nationally. His collaborative advocacy and research efforts describe the experiences of our healthcare workforce and learners with disabilities, as well as strategies to foster pathways to thriving clinicians. He has served as president and longtime board member for the Association of Medical Professionals with Hearing Losses; he holds current roles on the Docs with Disabilities Initiative advisory board, the AAMC Group on Diversity and Inclusion steering committee, and as a consultant with the National Deaf Center. Transcript: https://docs.google.com/document/d/18hUPguWf_jWeDC1fmOgSKSXPv4xGnkQIPUi3zhfH540/edit?usp=sharing Resources: Singer, Tracey; Madanguit, Lance MD; Fok, King T. MD, MSc; Stauffer, Catherine E. MD; Meeks, Lisa M. PhD, MA; Moreland, Christopher J. MD, MPH; Huang, Lynn MS; Case, Benjamin MPH; Lagu, Tara MD, MPH; Kannam, Allison MD; Haywood, Carol PhD, OTR/L. Mapping the Landscape of Technical Standards: A Nationwide Review of Medical Schools. Academic Medicine 100(10S):p S144-S151, October 2025. | DOI: 10.1097/ACM.0000000000006135   McKee, M.M., Gay, S., Ailey, S., Meeks, L.M. (2020). Technical Standards. In: Meeks, L., Neal-Boylan, L. (eds) Disability as Diversity. Springer, Cham. https://doi.org/10.1007/978-3-030-46187-4_9 Equal Access for Students with Disabilities: The Guide for Health Science and Professional Education (2nd Ed). Meeks LM, Jain NR, & Laird EP. Springer Publishing, 2020. Key Words: Disability inclusion · Technical standards · Medical education · Admissions · Accessibility · Equity · Policy reform

     What if you could transform the future of military medicine with the power of AI and technology? Join us for a captivating conversation with retired Navy Master Chief and Independent Duty Corpsman Joe Espinosa, who takes us through his remarkable journey in military healthcare. From his early days navigating the austere environments with the 2nd Battalion, 1st Marines, to becoming a strategic leader shaping the hospital corps, Joe offers invaluable lessons on adaptability, preparation, and the critical balance between clinical confidence and humility.      Listen as Master Chief Espinosa shares his pivotal experiences on smaller Navy ships and the USS Stockdale, where he honed skills in resource management and prioritization—an essential foundation for his role as Force Medical Master Chief. His insights into leadership are enriched by real-world frontline experiences, underscoring the vitality of robust support systems for those serving in combat zones. A decisive encounter with a Master Chief mentor propelled Joe into a leadership role, ultimately guiding the strategic direction of the corpsman community and championing the integration of healthcare technology with T6 Health Systems.     Explore the future of military healthcare as Joe discusses the integration of AI and predictive logistics to enhance decision-making and improve survivability in the most critical situations. Delve into the innovative developments aiming to address communication challenges in deployed healthcare systems and the seamless integration of technologies like MHS Genesis. With an emphasis on how emerging tools can support the military's medical personnel, this episode serves as a beacon for understanding the evolving landscape of military medicine and the pivotal role technology plays in shaping its future.   Chapters: (00:04) Master Chief Espinosa's Path in Military Medicine (11:58) Healthcare Leadership and Strategic Planning (20:58) Transition and Future of Military Medicine (29:51) Future of Military Healthcare Communication (35:41) Software Development and Military Healthcare (40:23) AI Integration in Military Healthcare (45:17) Future Developments and Challenges in Military Healthcare   Chapter Summaries: (00:04) Master Chief Espinosa's Path in Military Medicine    Retired Navy Master Chief Joe Espinosa shares his journey in military medicine, emphasizing mentorship and the need for innovation and technology.   (11:58) Healthcare Leadership and Strategic Planning    Transition from smaller to larger ships, managing medical supplies, frontline experiences, unexpected path to leadership.   (20:58) Transition and Future of Military Medicine     Enlisted voices shape military medical systems and face challenges transitioning to civilian life, but can use leadership skills in new roles.   (29:51) Future of Military Healthcare Communication    Improving communication in deployed military healthcare systems with bi-directional feedback and innovative solutions like animated QR codes.   (35:41) Software Development and Military Healthcare     MHS Genesis integrates with other systems, ensuring seamless transfer of healthcare records for veterans in military and VA services.   (40:23) AI Integration in Military Healthcare     Technology and healthcare intersect in military and civilian settings, with AI and wearables aiding decision-making for medical personnel.   (45:17) Future Developments in Military Healthcare     The role of technology in healthcare, predictive logistics for medical supply management, and transitioning from military to civilian healthcare technology.   Balancing functionality and resource efficiency in military healthcare through agile development and user feedback.   Take Home Messages: Intersection of Military Medicine and Technology: The episode explores the transformative impact of technology on military medicine, highlighting how advancements like AI and predictive logistics are revolutionizing communication and decision-making in challenging environments. This integration empowers medical personnel, especially junior corpsmen, to enhance their clinical decision-making and improve patient outcomes. Mentorship and Leadership Development: Emphasizing the importance of mentorship, the episode discusses how strategic planning and resource management are vital for effective healthcare leadership. Experiences from frontline medical roles significantly shape leaders, underscoring the need for adaptability and open communication within the military healthcare system. Navigating Career Transitions: Transitioning from a military to a civilian career can be challenging. The episode offers insights into recognizing the value of leadership and problem-solving skills gained in the military and encourages an open-minded approach to exploring diverse career opportunities beyond traditional paths. Improving Healthcare Communication: Addressing longstanding communication challenges in deployed settings, the episode discusses innovative solutions like bi-directional communication systems and animated QR codes that ensure seamless information transfer, enhancing the overall experience for medical personnel and patients in disconnected environments. Future of Military Healthcare: The episode envisions a future where technology, including mobile devices and AI, plays a crucial role in healthcare delivery. It discusses the potential for real-time data capture and analysis to alleviate cognitive burdens on healthcare providers, fostering confidence and improving decision-making in critical situations. Episode Keywords: Military medicine, healthcare innovation, AI integration, Joe Espinosa, War Docs podcast, frontline experiences, medical leadership, T6 Health Systems, predictive logistics, healthcare technology, Navy Master Chief, mentorship in healthcare, medical department setup, medical resource management, communication in healthcare, AI in military medicine, clinical decision support, military healthcare systems, medical mentorship, operational medicine Hashtags: #MilitaryMedicine #AIinHealthcare #HealthcareInnovation #FrontlineMedicine #JoeEspinosa #MentorshipInMedicine #WarDocsPodcast #PredictiveLogistics #MedicalLeadership #HealthcareTechnology   **This Episode was supported by an Educational Grant from one of our WarDocs Sponsors- T6 Health Systems**   Honoring the Legacy and Preserving the History of Military Medicine The WarDocs Mission is to honor the legacy, preserve the oral history, and showcase career opportunities, unique expeditionary experiences, and achievements of Military Medicine. We foster patriotism and pride in Who we are, What we do, and, most importantly, How we serve Our Patients, the DoD, and Our Nation.   Find out more and join Team WarDocs at https://www.wardocspodcast.com/ Check our list of previous guest episodes at https://www.wardocspodcast.com/our-guests Subscribe and Like our Videos on our YouTube Channel: https://www.youtube.com/@wardocspodcast Listen to the “What We Are For” Episode 47. https://bit.ly/3r87Afm   WarDocs- The Military Medicine Podcast is a Non-Profit, Tax-exempt-501(c)(3) Veteran Run Organization run by volunteers. All donations are tax-deductible and go to honoring and preserving the history, experiences, successes, and lessons learned in Military Medicine. A tax receipt will be sent to you. WARDOCS documents the experiences, contributions, and innovations of all military medicine Services, ranks, and Corps who are affectionately called "Docs" as a sign of respect, trust, and confidence on and off the battlefield,demonstrating dedication to the medical care of fellow comrades in arms.     Follow Us on Social Media Twitter: @wardocspodcast Facebook: WarDocs Podcast Instagram: @wardocspodcast LinkedIn: WarDocs-The Military Medicine Podcast YouTube Channel: https://www.youtube.com/@wardocspodcast

Time to be thankful. Join us as we talk a We Love Wrestling, a rare show for all of us to be on. Also we give our plans for Docs favorite holiday, Thanksgiving.

In this episode of Docs in a Pod, hosts Ron Aaron and Dr. Rajay Seudath welcome Dr. Leandro Bosques-Sanchez, from Optum - Conway to explore a vital question: Are older adults getting the vitamin D they need to stay healthy? From bone strength and immune support to mood and energy levels, vitamin D plays a crucial role in aging well. Tune in as our experts break down the latest research, common misconceptions, and practical tips for ensuring seniors maintain optimal levels — whether through sunlight, diet, or supplements. Docs in a Pod focuses on health issues affecting adults. Clinicians and other health partners discuss stories, topics and tips to help you live healthier. Docs in a Pod airs on Saturdays in the following cities:  7:00 to 7:30 am CT:  San Antonio (930 AM The Answer)  DFW (660 AM, 92.9 FM [Dallas], 95.5 FM [Arlington], 99.9 FM [Fort Worth])  6:30 to 7:00 pm CT:  Houston (1070 AM/103.3 FM The Answer)  7:00 to 7:30 pm CT:  Austin (KLBJ 590 AM/99.7 FM)  Docs in a Pod also airs on Sundays in the following cities:  1:00-1:30 pm ET:  Tampa (860 AM/93.7FM) 

Watch every episode ad-free & uncensored on Patreon: https://patreon.com/dannyjones As the Cold War turns Central America into a battlefield of spies and sabotage, a Panamanian soldier trained by Mossad, the DEA, and Castro's Cuba becomes the right-hand man to dictator Manuel Noriega and must survive the covert war launched by the very intelligence networks that created him. SPONSORS https://whiterabbitenergy.com/?ref=DJP - Use code DJP for 20% off EPISODE LINKS https://www.therighthandmanbook.com https://www.instagram.com/dunne.cillian FOLLOW DANNY JONES https://www.instagram.com/dannyjones https://twitter.com/jonesdanny OUTLINE 00:00 - Panama during the Cold War 05:31 - Fidel Castro's personal Mossad agent 12:20 - how Manuel Noriega became a CIA asset 19:45 - CIA helped fund Fidel Castro 28:31 - Manuel Noriega & the drug trade 38:22 - Manuel Noriega & George HW Bush's relationship 41:24 - Venesuela 50:51 - China is taking over Latin America 55:55 - Graham Linehan, free speech & the Twitter files 01:05:52 - people live in different realities 01:09:09 - Tucker Carlson's new documentary 01:18:24 - Intelligence agencies are more evil than you think 01:25:24 - Manuel Noriega's best-kept secret 01:33:17 - life in Cuba & "dodgy boxes" 01:40:29 - ex-CIA agent on Charlie Kirk shooting 02:02:15 - Gary Webb & CIA assassinations 02:07:54 - Money laundering in Panama 02:16:27 - DEA's letter to Manuel Noriega Learn more about your ad choices. Visit podcastchoices.com/adchoices

In breaking news, a South Carolina Federal Judge who will decide whether Trump's novice prosecutor Lindsey Halligan will keep her judge, has issued a devastating order against Halligan, calling her “the indictment signer” only and refusing to use her US Attorney title, and ordering that “all documents relating” to her “participation in the grand jury” be turned over to the Judge. Michael Popok explains why this is so damning as the Judge considers whether to bounce Halligan AND whether she will throw out the Former FBI Director James Comey and NY AG Tish James Indictment along with it. Learn more about the Popok Firm: https://thepopokfirm.com Subscribe:  @LegalAFMTN  Remember to subscribe to ALL the MeidasTouch Network Podcasts: MeidasTouch: https://www.meidastouch.com/tag/meidastouch-podcast Legal AF: https://www.meidastouch.com/tag/legal-af MissTrial: https://meidasnews.com/tag/miss-trial The PoliticsGirl Podcast: https://www.meidastouch.com/tag/the-politicsgirl-podcast The Influence Continuum: https://www.meidastouch.com/tag/the-influence-continuum-with-dr-steven-hassan Mea Culpa with Michael Cohen: https://www.meidastouch.com/tag/mea-culpa-with-michael-cohen The Weekend Show: https://www.meidastouch.com/tag/the-weekend-show Burn the Boats: https://www.meidastouch.com/tag/burn-the-boats Majority 54: https://www.meidastouch.com/tag/majority-54 Political Beatdown: https://www.meidastouch.com/tag/political-beatdown On Democracy with FP Wellman: https://www.meidastouch.com/tag/on-democracy-with-fpwellman Uncovered: https://www.meidastouch.com/tag/maga-uncovered Coalition of the Sane: https://meidasnews.com/tag/coalition-of-the-sane Learn more about your ad choices. Visit megaphone.fm/adchoices