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We got an update about "aphantasia," the condition where you cannot see mental images, and now we're wondering if we're the weird ones because the way we see the images is apparently strange??? We think we are on the precipice of a scientific discovery that will be named after us. Susie talks about a man who had his wife cryogenically frozen, but now it's awkward because he got a new girlfriend, so hopefully they don't bring the wife back to life or he's going to have a lot of explaining to do. We hear why female scuba divers are better than their male counterparts, and Sarah is soooo happy. We learn about a woman who was stabbed to death (including in the back) and authorities are still claiming it was a suicide. Predictably, Sarah's got a theory. Plus, we learn about a "reparations happy hour" where people of color drink for free thanks to donations from white people who aren't allowed to come, and we debate whether this is a good or bad idea.Brain Candy Podcast Website - https://thebraincandypodcast.com/Brain Candy Podcast Book Recommendations - https://thebraincandypodcast.com/books/Brain Candy Podcast Merchandise - https://thebraincandypodcast.com/candy-store/Brain Candy Podcast Candy Club - https://thebraincandypodcast.com/product/candy-club/Brain Candy Podcast Sponsor Codes - https://thebraincandypodcast.com/support-us/Brain Candy Podcast Social Media & Platforms:Brain Candy Podcast LIVE Interactive Trivia Nights - https://www.youtube.com/@BrainCandyPodcast/streamsBrain Candy Podcast Instagram: https://www.instagram.com/braincandypodcastHost Susie Meister Instagram: https://www.instagram.com/susiemeisterHost Sarah Rice Instagram: https://www.instagram.com/imsarahriceBrain Candy Podcast on X: https://www.x.com/braincandypodBrain Candy Podcast Patreon: https://www.patreon.com/braincandy (JOIN FREE - TONS OF REALITY TV CONTENT)Brain Candy Podcast Sponsors, partnerships, & Products that we love:Get 40% off your first box PLUS get a free item in every box for life. Go to https://www.hungryroot.com/BRAINCANDY and use code BRAINCANDYGet $10 off your first month's subscription plus free shipping when you go to https://nutrafol.com and use promo code BRAINCANDYGot to https://auraframes.com to get $35 off Aura's best-selling Carver Mat frames - named #1 by Wirecutter - by using promo code BRAINCANDY at checkout. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Keanna Sanders.
Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Keanna Sanders.
We sit down with Jordan Ellenberg, a world-class geometer, who takes us on a far-ranging exploration of the power of geometry, which turns out to help us think better about practically everythingHis writing has appeared in Slate, the Wall Street Journal, the New York Times, the Washington Post, and the Boston Globe, and he is the New York Times bestselling author of How Not to Be Wrong – but in this episode we will discuss his new book, Shape: The hidden geometry of information, biology, strategy, democracy and everything else.Kitted Executive AcademyJordan Ellenberg's WebsiteJordan Ellenberg's Academic WebsiteJordan Ellenberg's TwitterShapeHow Minds ChangeDavid McRaney's TwitterDavid McRaney's BlueSkyYANSS TwitterShow NotesNewsletterPatreon Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Episode SummaryI revisit the E-v-E Ratio (Entertainment vs. Education) and explain how to master any new topic in record time..Show Notes Pagejeffsanders.com/605.Go Premium!Exclusive bonus episodes, 100% ad-free, full back catalog, and more!Free 7-Day Trial of 5 AM Miracle Premium.Perks from Our SponsorsStuff → Get 50% off your first year with code MIRACLEClickUp → Use my code MIRACLE to get 15% off all AI add onsSolaray → Try Solaray's new Testosterone Support supplement today!.Learn More About The 5 AM MiracleThe 5 AM Miracle Podcast.Free Productivity Resources + Email Updates!Join The 5 AM Club!.The 5 AM Miracle BookAudiobook, Paperback, and Kindle.Connect on Social MediaLinkedIn • Facebook Group • Instagram.About Jeff SandersRead Jeff's Bio.Questions?Contact Jeff.© 5 AM Miracle Media, LLC.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
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Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Keanna Sanders.
Your novel study can do more than build reading skills. It can become the heart of a rich, immersive homeschool unit. In this follow-up episode, we explore how to integrate history, science, writing, art, and even math into your novel studies. With creative examples and flexible approaches, we'll show you how to turn a single story into a multidisciplinary learning adventure. Find Secular Curriculum with our Resource Selector https://www.homeschool-together.com/secular-resources Support The Podcast If you like what you hear, consider supporting the podcast: https://homeschooltogether.gumroad.com/l/support Consider Leaving Us A Review If you have a quick moment, please consider leaving a review on iTunes - https://podcasts.apple.com/us/podcast/homeschool-together-podcast/id1526685583 Show Notes Wevideo - https://www.wevideo.com/ Canva - https://www.canva.com/ Connect with us Website: http://www.homeschool-together.com/ Store: https://gumroad.com/homeschooltogether Youtube: https://www.youtube.com/c/homeschooltogether Facebook: www.facebook.com/groups/homeschooltogetherpodcast/ Instagram: www.instagram.com/homeschooltogetherpodcast Twitter: https://twitter.com/hs_together The Gameschool Co-Op: https://www.facebook.com/groups/gameschoolcoop/ Email: homeschooltogetherpodcast@gmail.com
Priscilla Ward joins Dr. Sandie Morgan as they explore how true healing happens not through fixing or rescuing, but by learning to sit in discomfort, lead with curiosity, and create consistent communities where survivors can feel safe enough to begin their journey at their own pace. https://youtube.com/shorts/Jsi6YO3zobw?feature=share Priscilla Ward Priscilla Ward, LCSW, is the Founder and Clinical Director of Compass Rose Psychotherapy in Fullerton, California. With over 18 years in the helping profession and 15 years of clinical experience, she has dedicated her career to supporting youth, young adults, and families through trauma, anxiety, substance use, and grief. A graduate of the University of Southern California with a Master's in Social Work, Priscilla brings extensive experience from nonprofit agencies, community mental health clinics, correctional facilities, and school-based programs. She has led mental health teams for the Orange County Department of Education, developing trauma-responsive programs and training professionals in high-stress environments. Her bilingual Spanish fluency and cultural responsiveness make her a trusted ally across diverse communities. Beyond direct practice, Priscilla serves as a consultant and trainer, equipping educators, faith leaders, law enforcement personnel, and mental health professionals with trauma-informed, harm reduction, and motivational interviewing frameworks. Key Points People heal in community and relationship, not in isolation, and this healing process is rarely linear—it's complex and messy, especially for those who have experienced trauma. The shift from "what's wrong with this person" to "what happened to this person" is foundational to trauma-informed care and creates space for dignity and compassion over judgment. Harm reduction is a philosophy grounded in meeting people where they are, honoring their dignity even when they aren't ready to stop certain behaviors, and recognizing that small steps matter because keeping people alive and safe creates opportunities for future healing. Faith communities can love people well by learning to sit in discomfort and resist the urge to fix or rescue, instead focusing on building belonging without requiring behavioral compliance as a prerequisite. Understanding the stages of change (pre-contemplation, contemplation, preparation, action, maintenance, and sometimes relapse) helps helpers meet survivors appropriately at each stage rather than imposing expectations they're not ready for. Secondary trauma and burnout are real costs of caring, and taking care of our own wellness is critically important because we need to be healthy people in the room to truly serve others without reinforcing harm. Trust is the bridge for change, and consistency creates safety that literally rewires the brain—centering connection over correction leads to systemic change in how we support survivors. Listening to voices of lived experience is essential; helpers should ask "what do you need" rather than assuming they know what survivors need. Resources Compass Rose Psychotherapy Transcript [00:00:00] Priscilla Ward: what harm reduction looks like in my community might be very different than yours, but the spirit of harm reduction can be applied. Anywhere and everywhere. [00:00:11] Delaney: You know that uncomfortable space where things aren't neat or solved, what if that's where the real healing starts? Today's conversation leans into that gray area. The space where our instinct to fix meets the deeper need to simply be present. [00:00:25] When we let go of control and step into curiosity, we make room for safety, dignity, and real connection. That kind of community can change everything. Hi, I'm Delaney Menninger. I'm a student here at Vanguard University and I help produce this show. Today, Sandy talks with Priscilla Ward, a licensed clinical social worker who trains faith leaders and community team...
In this episode of 'Resilience Unravelled,' host Russell Thackeray welcomes Ralph Brewer from Help for Men. Ralph shares his journey of overcoming personal challenges, including divorce and single fatherhood, which led him to create Help for Men and The Brotherhood. They discuss the concept of masculinity and its current crisis, touching on toxic masculinity, the role of men, and societal expectations. Ralph emphasises the importance of community, role models, and accountability in personal development and relationship growth. They also explore the impact of childhood experiences on adult relationships and the need for men to find secure spaces for vulnerability and growth. Ralph's organisation, Help for Men, offers support through books, conferences, and discussion forums for men worldwide.00:00 Introduction00:50 Ralph's Background and Journey02:01 Exploring Masculinity and Toxic Masculinity02:44 Pendulum Swing in Male Behaviour04:38 Cultural Constants and Masculinity07:02 Gender Roles and Societal Expectations11:06 Parenting, Education, and Masculinity13:47 Safe Spaces and Vulnerability16:03 Accountability in Relationships16:53 Anxious Men and Avoidant Partners17:53 Therapy and Group Sessions19:28 The Role of Community and Role Models21:30 Victim Mentality and Personal Growth26:03 Rebuilding and Parenting30:28 Global Reach and ConferencesYou can contact us at info@qedod.comResources can be found online or link to our website https://resilienceunravelled.com
It is that time of year – you have a list of things to do that is nearly a mile long. Your mind is scrambled, and you are trying to remember what you need to do for the practice and team to wrap up 2025 nicely. Dr. Kuba and Bethany are here to help! Together, they put together a list of their top year-end tips and reminders. Some of the items are easy to forget, like evaluating your fee schedule, while others are more challenging like evaluating your A/R trends. Nonetheless, this episode will help you maximize the last few weeks of this year to ensure that everything is checked off your list (and hopefully you don't have to check it twice!). If you're a subscriber, don't miss the BLACK FRIDAY SALE on the Hub. For the next 3 days, all Hub resources are 50% off!!
This week, we're taking a deep dive into the new Second Amendment history course that the Department of Education just granted funding. To give us insight into what the University of Wyoming's Firearms Research Center, which received the grant, hopes to accomplish, we have Ashley Hlebinsky back on the show. She is the Executive Director of the center, wrote the grant request, and will be one of the main people overseeing development of the educational resources. She said the goal of the project is not to impart a partisan view of the Second Amendment or guns onto students, but, rather, to give educators access to primary sources and scholars from varying viewpoints. She said the grant process was anything but political, and insisted the course materials would be as well. Hlebinsky said the plan is to develop a digital archive of historical documents related to the creation and ratification of the Second Amendment, as well as the state and federal gun laws that have come since that time. She said the center would develop video lessons that could be used for teacher education or classroom instruction. The teachers will also have access to webinars featuring Second Amendment scholars and the opportunity to attend an in-person conference. The course material will be available to secondary school teachers nationwide. However, it won't be a mandatory course. Instead, it's an opt-in teaching resource intended to help improve civics education during the nation's 250th anniversary. Special Guest: Ashley Hlebinsky.
Send us a textWig wearer for life ~ How masking hair loss could change your whole outlook on lifeSam is 40 years old, and she lives in Corby. She owns two childrens' day nurseries in Northampton.Sam has AuDHD, PCOS, AGA & TE! She shares her story of navigating hair loss, along with her diagnoses and being neurodiverse.We chat about navigating dating with hair loss, and how she used to spend hours styling her hair to try to disguise her alopecia, and the anxiety it would bring her.Sam describes her life at the time as a prison of shame, and says that wearing wigs has changed her whole outlook on life.We also discuss her failed hair transplant, which although didn't work, was the catalyst to her journey of change & healing. Sam bravely shares her vulnerability in the hope that it will help others.Connect with Sam:Instagram Hair & Scalp Salon Specialist course Support the showConnect with Hair therapy: Facebook Instagram Twitter Clubhouse- @Hair.Therapy Donate towards the podcast Start your own podcastHair & Scalp Salon Specialist Course ~ Book now to become an expert!
In Episode 278 of Pool Nation Podcast, Edgar and Todd broadcast straight from the AquaStar Studio in Ventura, California, where they sit down with two incredible industry leaders: Michelle Watson (Shell's Pool & Spa) and Max O'Brien (Ventura Pool Pro & IPSA Region 2 Officer). In this powerful, conversation-driven episode, Michelle and Max open up about their journey as pool professionals, navigating growth, scaling challenges, commercial vs. residential service, hiring, California compliance, and the moment every pool pro faces — letting go and trusting a team. Michelle shares how she built a thriving business, her passion for doing things the right way, and how she balances entrepreneurship with surfing three times a week. Max dives into his 24-year pool career, commercial expertise, IPSA leadership, and his unbelievable work with the Ventura County Sheriff's Underwater Search & Rescue Team, including helicopter deployment training and real recovery missions. This episode is full of leadership, inspiration, business insight, and a deep look at the people elevating the swimming pool industry every single day. Perfect for pool pros who want to grow, lead, and take their business to the next level. Timestamps / Chapters 00:00 – Welcome to the Pool Nation Podcast Kickoff from AquaStar's studio; Todd, Edgar & crew set the tone for the night. 01:00 – Golden Ticket Event & First Laughs Behind the scenes, late-night jokes, and studio vibes. 03:00 – Edgar Discovers AquaStar's Hidden Detail A deep reflection on culture, quality, and details inside AquaStar HQ. 05:00 – Shoutouts & Getting Started Celebrating the Instagram Live audience and diving into the episode. 05:30 – Introducing Michelle Watson Pool Girl of the Year 2022, the creator behind the legendary Awards Afterparty, and a powerhouse entrepreneur. 07:00 – Michelle's Journey: From Solo Operator to Scaling a Team Trusting employees, handling growth, onboarding, preparing for W-2s, and running a business in California. 10:00 – Residential vs. Commercial Pools Why Michelle prefers commercial service and how she navigates health department regulations. 13:00 – Surfing, Balance & Burnout Prevention How Michelle stays grounded and energized while growing her business. 16:00 – Family, Business & Raising Hard Workers Her son's journey, firefighting dreams, and working alongside family. 18:00 – The Psychology of Scaling a Pool Business Letting go, employee mistakes, customer expectations, and the fear every owner faces. 20:00 – Building a Model That Works Anywhere Charging correctly, doing things legally, and proving success is possible even in tough markets. 23:00 – Introducing Max O'Brien Commercial specialist, remodel expert, and long-time Ventura pool pro. 24:00 – How Max Got Into the Industry From hotel maintenance → equipment installs → building pools → launching his own company. 26:00 – Operating a 130-Pool Service Company Commercial routes, 5-day-a-week accounts, and running teams. 28:00 – Max on Education, IPSA & Training the Next Generation Why he teaches, how he trains, and preparing techs to become future entrepreneurs. 31:00 – Inside IPSA Ventura: The Most Active Chapter in California Education, manuals, sick-route/tech-for-tech coverage, outreach, and 64-member collaboration. 34:00 – Tech-for-Tech Stories That Define the Industry Real examples of chapters covering full routes during illness, injury, and tragedy. 39:00 – Max's Second Life: Underwater Search & Rescue His 20-year role with the Ventura County Sheriff's Dive Team — car recoveries, searches, evidence retrieval, and blind-water operations. 41:00 – Jumping Out of Helicopters What helicopter deployments are really like (spoiler: full scuba gear and 35-foot drops). 43:00 – Recoveries, Emotions & Mental Resilience How divers process tough calls and why closure for families matters. 47:00 – Final Thoughts from Michelle & Max Business advice, industry inspiration, and the motor that pushes great pros forward. 50:00 – Closing Words from Edgar & Todd Celebrating leadership, professionalism, and elevating the pool service industry.
Lords: * Hallie * Peter * https://www.paschaefer.com/ Topics: * Do you know where all your things are? * How education doesn't melt * Bebop Bytes Back * Augustus Gloop by Roald Dahl * https://allpoetry.com/-Augustus-Gloop...- Microtopics: * The Directrix of Cybernetic Security. * Unity licensing from Unity as Unity. * Fantasy Book of the Month. (FBOM) * Part zombie, part ghost. * Accidentally GenMoing your WriMo. * A house with a bunch of your things in it, and they're everywhere. * Knowing someone who knows how to find things and knowing someone who knows where things are. * Knowing where to put something because it's where you first thought to look for it. * A person who itches when they see somebody not using a switch statement. * Having been gradually removing yourself from social media since back when Twitter was Twitter. * Back when you could get out of a chair without grunting. * Getting the whooping cough and coughing your disc out. (And you're in your twenties.) * Whether your dad named you after the murderous robot in 2001. * Seeing your students cheating poorly and teaching them how to do it well. * Scaffolding it pedagogically. * Big boat: hard turn. * How do we get education to exhibit swarm behavior? * A brand new exciting way to be bummed. * Education by Panopticon. * LLMs exposing how much of people's jobs and education are bullshit busywork. * When does the salt jump? * Putting together the 50s and then putting together the tens and then putting together the fours. * The simplest shallowest version of active listening that exists. * Doritos hacking the learning loop. * Continually finding new opiates of the masses. * Typing hex opcodes into the Beboputer. * An effective educational tool that has never been less appealing to the youth it's targeted at. * Steve Jobs coming out of his grave and slitting your throat if you install a programming tool on your iPhone. * Making the sun wink and realizing that this is the rest of your life. * Deescalating your LLM partner when it has an anxiety attack. * Your Socratic Oxford Don persona. * The Life Cycle of Software Objects. * There is a mistake, and it is being overcome. * Steps you can take to avoid Godzilla coming back and nature reclaiming the earth. * A poem written by a beloved children's author who absolutely loathes fat people. * Whether the terrible children in Charlie and the Chocolate Factory are all based on people that Roald Dahl knew. * SwitchBitch, Roald Dahl's famous Typescript library. * Making sure your weirdness is a kindness. * Roald Dahl: boy did he do the stuff. * Penning The Twits in an effort to "do something against beards." * Why Stephen King? * The Dollar Babies. * Whether Stephen King is still on MySpace. * Walking down the road and hearing Stephen King yelling at cloud. * The Dave Barry game jam. * Going into the sewer and solving puzzle platformer problems. * Group hug vs. forming a blob. * Tube Hippo is back! * The game engine sorting hat. * Coming out of character to talk about Inform 7. * The year that you fucked around with interactive fiction but never shipped anything. * Presuming that interactive fiction has continued to be great even after you stopped playing. * Choosing Twine over Inform 7 because of your absolutely enormous forelimbs. * LLMs as an extremely fancy Tarot deck.
In Episode 285 of The All About Nothing podcast, Barrett Gruber sits down with Colonel Joseph Chuck Hightower, a candidate for South Carolina House District 88.Colonel Hightower shares his extensive military service background and his vision focused on serving the constituents of District 88. The conversation addresses critical local issues, including tackling affordability, the need for better support systems for veterans' mental health, and his commitment to public education (opposing the diversion of funds to private schools).Hightower emphasizes that unity and collaboration are essential for economic growth and embracing the diversity of the community. Learn more about the candidate who aims to be a unifier in SC local governance.Hightower for House | InstagramHightower for House | XHightower for House | FacebookJoseph "Chuck" Hightower for State House | WebsiteBarrett Gruber | LinktreeThe All About Nothing: Podcast | LinktreeClick here for Episode Show Notes!As always, "The All About Nothing: Podcast" is owned and distributed by BIG Media LLC!Check out our network of fantastic podcasts!Click Here to see available advertising packages!Click Here for information on the "Fair Use Copyright Notice" for this podcast.Mentioned in this episode:ZJZ Designs Holiday 2024 Prints Available NowZJZ Designs Holiday 2024 Prints Available Now. Featuring Eddie The Elf! Check Out ZJZDesigns.com!ZJZ DesignsBIG Media LLC Copyright 2025This Podcast is a product of BIG Media LLC and Copyright 2025 Visit https://bigmediallc.com for more from BIG Media LLC!BIG Media LLC
One on One Video Call W/George https://tidycal.com/georgepmonty/60-minute-meetingSupport the show:https://www.paypal.me/Truelifepodcast?locale.x=en_USThe Lila Code: https://orcid.org/0009-0008-4612-3942
The Creativity, Education, and Leadership Podcast with Ben Guest
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
-- The U.S. Department of Education just awarded a grant to aid teaching the Second Amendment. Ashley Hlebinsky reveals how that came about.-- The myth of using rock salt loads for defense can get you killed.-- It's 120 years old, but the .30-06 cartridge still does everything hunters need.Gun Talk 12.07.25 Hour 3Become a supporter of this podcast: https://www.spreaker.com/podcast/gun-talk--6185159/support.
How Trump's litany of lawyers and appointed U.S. attorneys are ruining his retribution agenda; the important new research revealing the affordability struggles facing America's shrinking middle class; award-winning journalist Soledad O'Brien discusses her new documentary chronicling post-Roe America ‘The Devil Is Busy' To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Why the White House wants Americans to become an army of informants and how it's a flashing red light of America's authoritarian slide; fmr. HHS Secretary Kathleen Sebelius explains what the end of ACA subsidies would mean for Americans; why Trump's special envoy Steve Witkoff has a penchant for pushing Putin's positions To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
How Trump's lawyers and many of the U.S. attorneys he has appointed are ruining his retribution agenda; the important new research revealing the affordability struggles facing America's shrinking middle class; why Trump seemingly falling asleep during a cabinet meeting is a serious matter; the devastating consequences of the CDC's new recommendation regarding the Hepatitis B vaccine To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
A new week means new questions! Hope you have fun with these!What word is shared between some sports uniforms and a band's percussion setup?Ghosts that are said to appear on roadsides at night, usually in the form of a sad woman that disappears, are oftern said to be wearing clothes of what color?Which actor won an Academy Award for Best Supporting Actor for his role in A Fish Called Wanda?What is the term for the processes that result in the structure and properties of Earth's crust and its evolution?The Madison and the omnium are Olympic events in what summer sport?Which Shakespeare play has a Duke of Athens marrying the Queen of the Amazons?What video game holds the record for the highest selling single platform exclusive of all time?Which French city gained noteriety for a British retreat that Churchill called a miracle during WWII?In Star Trek: The Original Series, which character was the Enterprise's chief engineer?What is a sumo ring made from?Chemicals that are secreted or excreted by an organism, which trigger a social response in members of the same species, are known as what?A house having a low, broad, single or double-story frame building with a moderately-steep-pitched gabled roof, a large central chimney, and very little ornamentation is known as what New England location-inspired style?How many independant countries and territories are in North America?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!
Jethro Jones interviews Ben Downey, founder of Big Nest, about the vital role and challenges of parent teacher groups (PTAs/PTGs) in schools. They discuss how these groups are essential for building strong school communities but often face issues with organization, communication, and fundraising. Ben explains how his experience managing a local parent group inspired him to create Big Nest—a platform designed to simplify and modernize the management and fundraising efforts of parent teacher groups. The conversation highlights the unique needs of school-based nonprofits, the importance of preserving institutional knowledge, and how Big Nest streamlines processes like donations, record-keeping, and event organization to make parent involvement easier and more effective.How Big Nest got started. Parent teacher groups are chaotic by natureFundraising can and should be easier. Podcast about SoftwareCommunity to get people togetherSchool and parent groups are intertwinedNeed to have systems and methods to keep track of thingsAbout Ben DowneyBen Downey is the founder of Big Nest, a platform that helps parent-teacher groups build stronger, more connected school communities. He's been working with PTGs for the past six years, helping them modernize how they communicate, fundraise, and organize. Beyond the platform, Ben helps open lines of communication between parent groups so they can share best practices and avoid reinventing the wheel every year.Originally from the Pacific Northwest, Ben started his career in Chicago before settling in Spokane, Washington, where he lives with his wife and three kids. LinkedLeaders: You need support. Get just-in-time mentoring at LinkedLeaders.comWe're thrilled to be sponsored by IXL. IXL's comprehensive teaching and learning platform for math, language arts, science, and social studies is accelerating achievement in 95 of the top 100 U.S. school districts. Loved by teachers and backed by independent research from Johns Hopkins University, IXL can help you do the following and more:Simplify and streamline technologySave teachers' timeReliably meet Tier 1 standardsImprove student performance on state assessments
Before we start today's show, I'd like to welcome our newest FreshEd Members, Amy Stambach and Tian Renxiang. Thank you for your support. If you think FreshEd is a valuable educational resource and want to join our growing community, sign up at FreshEdpodcast.com. -- Today we unpack education alternatives to reimagine education for just futures. My guests are Frank Adamson and Carol Anne Spreen. Frank Adamson is associate professor of education leadership and policy studies at California State University, Sacramento. Carol Anne Spreen is a professor of international education at New York University. They were on the co-editorial team of the NORRAG Special Issue entitled “Education for Societal Transformation: Alternatives for a Just Future” and members of The Alternative Project, which I should mention I was a part of at its inception. -- freshedpodcast.com/adamson-spreen/ -- Get in touch! Twitter: @FreshEdpodcast Facebook: FreshEd Email: info@freshedpodcast.com
Resources:Strength training reduces injury risk substantially here and here and hereResistance training itself is a very safe activity here and hereFoot pronation increases risk of shin splints here, but has no effect on overall injury risk here and there is minimal evidence that any biomechanical variable predicts running injuries hereKnee valgus does not predict future ACL injury hereThis podcast uses the following third-party services for analysis: AdBarker - https://adbarker.com/privacy
French hit squads, MTG resignation, and NPCs take up most of our conversation tonight. Also, Trevor basically knows Joe Rogan now. Enjoy!Email us at happyfoolspodcast@gmail.comOrder Shroud-Pilled!Buy my book God's Eye View with this link: https://a.co/d/7CI89rvBuy the Audiobook: https://www.audible.com/pd/Gods-Eye-View-Audiobook/B0F55K2GT1?source_code=ASSGB149080119000H&share_location=pdpWant to publish a book? Check out my publisher https://hemisphericpress.com/Check out our ad free substack: https://hemisphericpress.substack.com/
Welcome back to Energetic Radio! In this inspiring episode, Dale Sidebottom and Paul Campbell dive into the simple rituals that spark joy, learning, and genuine connection, all amid the holiday season.You'll hear stories about cricket, golf, and the infectious anticipation of Christmas. More importantly, our hosts share practical strategies on:The power of play to regulate emotions, especially for kids (and grown-ups!).The transformational effects of "microplay" and why you should never label activities (hint: it works wonders in classrooms and family rooms).Real-life experiments with gratitude games that reframe challenging moments into laughter and connection.Advent calendars with a twist: moving from chocolate to kindness challenges, and how your family can build this habit year-round.Plus, there's honest advice on starting passion projects or businesses, why the safest route is to build while still working, and how to carve out time even in a busy life realistically.You'll discover:How regulated brains are ready brains, and why play is the secret sauce for everyone, including neurodiverse learners.Simple mindfulness and meditation studies (science-backed!) prove you can improve your memory, sleep, and mood with daily practice.The surprising benefits of reducing screen time, embracing creativity, and starting each morning with intention.There's lots of laughter and rapid-fire trivia along the way, including memorable failures (Uranus, really?) and random sports knowledge.As we wrap up the year, Dale and Paul challenge you: What's something you want to learn in 2026? How will you use play and mindfulness to regulate, grow, and create meaning in your life, long after the holidays are over?Don't miss these practical tips, real talk, and a healthy dose of encouragement to keep you energised into the new year.Topics covered:The joy and value of sporting traditionsUsing play to manage emotions in children and adultsKindness advent calendars and gamified daily challengesStarting a business: The practical path vs. passion pitfallsMindfulness and meditation for everyday AussiesThe importance of reducing screen timeBook recommendations and the power of nightly readingSetting intentional goals for personal growthLinks & Resources:The School of Play Daily Mission CardsKindness advent calendar creatorsMemory coach Tanzel Ali's podcast episodesPhil Jackson's book on leadershipListen in, take action, and let's energise life together, because there's always something new to create, learn, and celebrate.
Today's Episode:Why do so many Chinese viewers love Zootopia 2 but dislike its Chinese dubbing? In this episode, we explore why celebrity voice acting often feels “not right”, why people say they “get pulled out of the story”, and what audiences really want. Let's dive in!Membership Preview:In next MaoMi Chinese+ episode, we look at some fun and surprising Chinese translations of famous films, and explore the culture, humour, and history behind them. If you've ever wondered why titles change so much in China, this one's for you!Support MaoMi & Get exclusive to premium content!https://www.buzzsprout.com/1426696/subscribe ↗️Transcript and translations are available on https://maomichinese.comInterested in any topics? Leave me a message on: https://maomichinese.com or https://www.instagram.com/maomichinese/?hl=en*Please note that Spotify does not support the membership program.Text me what you think :)Support the show
X: @RepFine @ileaderssummit @americasrt1776 @NatashaSrdoc @JoelAnandUSA @supertalk @JTitMVirginia Join America's Roundtable (https://americasrt.com/) radio co-hosts Natasha Srdoc and Joel Anand Samy with U.S. Congressman Randy Fine. Randy Fine was elected to represent Florida's 6th Congressional District in April of 2025 and serves on the House Foreign Affairs and the Education and Workforce Committee. A third-generation Floridian, Randy built a career as a successful entrepreneur, founding and running businesses in retail, technology, and hospitality. At 40, he retired from the private sector to focus on raising his two sons, Jacob and David, with his wife, Wendy. Randy's retirement didn't last long. In 2016, he was elected to the Florida House - before moving on to the Florida Senate and then Congress. As the only Jewish Republican in the Florida Legislature, Randy led the fight to make Florida the safest state in America for Jewish families and people of faith. Randy graduated magna cum laude from Harvard College with a degree in government and later earned his MBA from Harvard Business School. Topics: 1) Update on the U.S. economy, inflation, grocery prices and cost of gas. The inflation rate under President Biden's administration was 9.1% (year-over-year, as measured by the Consumer Price Index), which occurred in June 2022. This was the highest rate in approximately 40 years. Through President Trump's leadership on the economic front, the high inflation rate has dropped to 3%. The record high inflation under the Biden-Harris administration pushed up grocery prices to an all-time high. Congressman Fine addresses the concerns of the high cost of living with a clear explanation. Gas prices under the Biden administration surged to a high of $5.016 per gallon for regular unleaded, recorded on June 14, 2022. Today, gas prices have dropped to a national average of $2.93, with the average gas price in Mississippi dropping to around $2.57 per gallon of regular unleaded. Today, Democrats are running elections on "affordability" while facts clearly reveal that they created the economic crisis in the first place. It was the Biden administration's policies voted by Democratic Party members of Congress which have hurt American families and the US economy. The conversation focuses on how decent hard-working Americans will benefit from the tax cuts including no tax on tips, no tax on overtime and the removal of taxes on social security impacting retirees. 2) The rise of anti-Semitism in America with a focus on polling showing that anti-Israel sentiment is rising on the Republican side, especially among young voters. 3) President Trump's efforts to curtail the flow of drugs from Venezuela by targeting boats transporting cocaine to America. In the US, around 42 million people had used cocaine at some point in their lifetime as of 2024. An estimated 22,174 people died from a cocaine-involved overdose in 2024. 4) Bringing to the forefront how NATO member Croatia sold illicit Iranian oil stored in Croatian government facilities. The illegal scheme (operating between 2022 and 2024) where nearly one million barrels of sanctioned Iranian oil were allegedly stored in a Croatian facility before being sold as Malaysian oil to evade U.S. sanctions. Report: "A civil forfeiture complaint was filed early this year in the U.S. District Court for the District of Columbia alleging that $47 million in proceeds from the sale of nearly one million barrels of Iranian petroleum is forfeitable as property of, or affording a person a source of influence over, the Islamic Revolutionary Guard Corps (IRGC) or its Qods Force (IRGC-QF), designated Foreign Terrorist Organizations (FTOs). 5) The China threat. 6) Focusing on Congressman Randy Fine's effort in co-sponsoring the bill The Veterans' Assuring Critical Care Expansions to Support Service members (ACCESS) Act of 2025 with Chairman Mike Bost, House Veterans Affairs Committee, a Marine veteran. americasrt.com (https://americasrt.com/) https://ileaderssummit.org/ | https://jerusalemleaderssummit.com/ America's Roundtable on Apple Podcasts: https://podcasts.apple.com/us/podcast/americas-roundtable/id1518878472 X: @RepFine @ileaderssummit @americasrt1776 @NatashaSrdoc @JoelAnandUSA @supertalk @JTitMVirginia America's Roundtable is co-hosted by Natasha Srdoc and Joel Anand Samy, co-founders of International Leaders Summit and the Jerusalem Leaders Summit. America's Roundtable (https://americasrt.com/) radio program focuses on America's economy, healthcare reform, rule of law, security and trade, and its strategic partnership with rule of law nations around the world. The radio program features high-ranking US administration officials, cabinet members, members of Congress, state government officials, distinguished diplomats, business and media leaders and influential thinkers from around the world. Tune into America's Roundtable Radio program from Washington, DC via live streaming on Saturday mornings via 68 radio stations at 7:30 A.M. (ET) on Lanser Broadcasting Corporation covering the Michigan and the Midwest market, and at 7:30 A.M. (CT) on SuperTalk Mississippi — SuperTalk.FM reaching listeners in every county within the State of Mississippi, and neighboring states in the South including Alabama, Arkansas, Louisiana and Tennessee. Tune into WTON in Central Virginia on Sunday mornings at 9:30 A.M. (ET). Listen to America's Roundtable on digital platforms including Apple Podcasts, Spotify, Amazon, Google and other key online platforms. Listen live, Saturdays at 7:30 A.M. (CT) on SuperTalk | https://www.supertalk.fm
A Dunedin school says the new English and maths curriculums have changed the way its teachers teach. Education correspondent John Gerritsen reports.
It's easy to get caught up in all the health trends—saunas, red light therapy, cold plunges, expensive supplements—but at the end of the day, nothing will trump the basics. In this episode, I'm walking you through two lifestyle changes I've made recently that are supporting my health in a big way. One is a little "crunchy," and one is super accessible. Neither replaces the big rocks of health (like reducing processed foods, stabilizing blood sugar, managing stress, and getting good sleep), but both have helped me reinforce the foundation. Here's what we dive into: Why I started milling our own flour (and what you're really getting in store-bought flour) What "bleached" flour actually means—and what that's doing to your body What's really in dough conditioners (and why you want to avoid them) How fresh-milled flour tastes better, saves money, and massively improves nutrient density The simple morning fiber drink I take with psyllium husk and citrus How fiber helps you detox and reduce inflammation Why detox pathways matter for fat loss, hormones, and inflammation And most importantly, how to stop chasing trends and come back to the daily practices that actually move the needle. ✨ Want to pursue weight loss by reducing inflammation in January? Join me for my 4-week Impact Inflammation Group kicking off in January! We'll focus on: Simple changes that lower inflammation Meal ideas & recipes Supplement recommendations Education around detox, gut health, blood sugar & more
This week: “Jesus Bots” & AI Spirituality: Sean and Scott discuss a New York Times piece on religious chatbots, raising concerns about me-centered faith, shallow “AI Jesus” advice, and how tech may distort spiritual formation.UC San Diego's Education Crisis: A Wall Street Journal editorial reveals that 1 in 12 UCSD freshmen can't perform middle-school math, prompting a conversation about grade inflation, DEI pressures, COVID learning loss, and the need for academic accountability.AI & the Decline of Critical Thinking: An Atlantic article sparks discussion on how people increasingly outsource decision-making to AI, rewiring their brains, avoiding discomfort, and creating new forms of dependency.The New Singlehood Dilemma: The hosts unpack cultural mixed messages—society simultaneously pushes people to find a partner and to celebrate being single—leading to confusion, shame, and loneliness.Listener Question – Tattoos & Piercings: Sean and Scott explain that Old Testament prohibitions were tied to pagan rituals, meaning tattoos today are largely a wisdom issue rather than a moral one.Listener Question – Guns in Church Security: They discuss self-defense biblically and practically, concluding that armed security can be appropriate when trained and focused on protecting the congregation.Listener Question – Devotionals for Teens: Recommendations include reading Scripture together or using teen-friendly devotionals, with Sean mentioning his book A Rebel's Manifesto as a helpful cultural guide.==========Think Biblically: Conversations on Faith and Culture is a podcast from Talbot School of Theology at Biola University, which offers degrees both online and on campus in Southern California. Find all episodes of Think Biblically at: https://www.biola.edu/think-biblically. Watch video episodes at: https://bit.ly/think-biblically-video. To submit comments, ask questions, or make suggestions on issues you'd like us to cover or guests you'd like us to have on the podcast, email us at thinkbiblically@biola.edu.
Tish Hyman walks into a women's locker room at a LA Gold's Gym and sees naked male bodies. She tries to ignore it, but it keeps happening for months. When management does nothing, she reaches a breaking point and explodes in an exasperated rant captured on a viral video. But the mainstream media has a problem: Tish is a proud black gay woman and a Grammy nominated songwriter. The person she confronted was Alexis Black (formerly Kyle Grant Freeman), who is white and appeared male – and was reportedly “sentenced to one year in an Ohio prison in 2022 after pleading guilty to savagely beating his then-wife and breaking her jaw” (NY Post). Now the MSM is tied up in pretzels. Can't call her racist. Can't call her homophobic. Can't call her sexist. So instead, the media dismisses 2025's top story about the erosion of women's rights, leaving the real journalism to TMZ. Education activist Corey DeAngelis joins to discuss the Trump admin's dismantling of the Department Of Education, and a whistleblower video of teachers union members claiming “biology is a spectrum.” Tish Hyman (AKA Latisha Tawana Hyman) is a Grammy-nominated songwriter and artist who has has collaborated with Alicia Keys, Kanye West, Ty Dolla $ign, H.E.R., and many others. Follow at https://x.com/listen2tish Corey DeAngelis is a senior fellow at the American Culture Project and a visiting fellow at the American Institute for Economic Research. He holds a PhD in education policy. Follow at https://x.com/deangeliscorey 「 SUPPORT OUR SPONSORS 」 • AUGUSTA PRECIOUS METALS – Thousands of Americans are moving portions of their retirement into physical gold & silver. Learn more in this 3-minute report from our friends at Augusta Precious Metals: https://drdrew.com/gold or text DREW to 35052 • FATTY15 – The future of essential fatty acids is here! Strengthen your cells against age-related breakdown with Fatty15. Get 15% off a 90-day Starter Kit Subscription at https://drdrew.com/fatty15 • PALEOVALLEY - "Paleovalley has a wide variety of extraordinary products that are both healthful and delicious,” says Dr. Drew. "I am a huge fan of this brand and know you'll love it too!” Get 15% off your first order at https://drdrew.com/paleovalley • VSHREDMD – Formulated by Dr. Drew: The Science of Cellular Health + World-Class Training Programs, Premium Content, and 1-1 Training with Certified V Shred Coaches! More at https://drdrew.com/vshredmd • THE WELLNESS COMPANY - Counteract harmful spike proteins with TWC's Signature Series Spike Support Formula containing nattokinase and selenium. Learn more about TWC's supplements at https://twc.health/drew 「 ABOUT THE SHOW 」 Ask Dr. Drew is produced by Kaleb Nation (https://kalebnation.com) and Susan Pinsky (https://twitter.com/firstladyoflove). This show is for entertainment and/or informational purposes only, and is not a substitute for medical advice, diagnosis, or treatment. Executive Producers • Kaleb Nation - https://kalebnation.com • Susan Pinsky - https://x.com/firstladyoflove Content Producer & Booking • Emily Barsh - https://x.com/emilytvproducer Hosted By • Dr. Drew Pinsky - https://x.com/drdrew Learn more about your ad choices. Visit megaphone.fm/adchoices
A status check on the blunders, errors, and failures of the members of Trump's cabinet that are making the administration unpopular and ineffective; the consequences of the President's new attacks on Somali immigrations; the ramifications of a growing number of Republicans speaking out against Speaker Mike Johnson To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
Why it's imperative the American people don't allow President Trump and the administration to normalize the boat strikes in the Caribbean; Ben Rhodes discusses why Democrats need a new strategy on Israel; why affordability is not a con job as Trump claims, and how is policies have contributed to the issue To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
How the incompetence of the Trump administration is having devastating consequences for America; the latest from Indianapolis ahead of the state's redistricting vote; Rep. Pramila Jayapal discusses the inhumane conditions at ICE detention centers; author Elaine Castillo discusses Jane Austen's classic “Pride and Prejudice” in this week's meeting of the Velshi Banned Book Club To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.
GALACTIC AKASHIC RECORDS Readings, Sessions, Packages &Mentorships with PInk Bella Aloha ** NEW Holiday GRATITUDE Offer on all Sessions & Packages - eGIFT Cards Available** 2 CRYSTAL eBooks included with all December Bookings ** ** #1 - Manifesting Quantum Abundance with Crystals, #2 Staying Balanced & Calm with CrystalsWEBSITE - https://alohapinkbella.weebly.com/EMAIL - alohapinkbella@gmail.com** FREE STARSEEDS eBook Now available for download on my website! ** STARSEEDS 7 Keys for your Awakening **Pink Bella Aloha - specializes in:* Deep Dives into Galactic Akashic Records for CLARITY / SOUL MISSION & Guidance -Clearing Personal & Ancestral Contracts, Patterns & Karmic Loops* Ascension Wayshower to Prepare Starseeds, Lightworkers & the 144000for 5D New Earth & Galactic Starseed Origins* Higher Self Liaison* Quantum MultiDimensional Healer incl 12-22 Chakras & Meridian Systems* Starseed Origins & Galactic Councils of Light Transmissions* DRAGON Activations & Training* DIVINE GODDESS Codes Activations
Neoborn Caveman lets loose a marble-mouthed pro-humanity satire on privilege, warhawk hypocrisy, and bureaucratic tyranny, questions whether melanin or blood clots define true privilege while mocking coerced silence from Ofcom and the BBC's admitted propaganda, slams leaders who send others' children to trenches while hiding behind manipulated news, defends populists who actually serve people over parasitic cockroaches, celebrates an Oklahoma student flunked for quoting Christian beliefs in a gender essay, demands accountability for unelected bureaucrats funded by everyday purchases, and reminds listeners that sovereignty begins with refusing mortgages, Uber, and fake honey while reclaiming local power through recalls and pressure; the second half features a throwback interview with Soul Sparkles (Patreon exclusive).Music guest: Van Hechter with his latest song, Boy ProblemsKey TakeawaysPrivilege is life itself, not pigment or compliance.Warhawks never fight their own wars.Legalised lying by government is the death of trust.Populists rise when elites stop serving.Bureaucrats must face recall or pressure.Tax is hidden in every purchase—you fund your own cage.Education now punishes honest reasoning.Sovereignty rejects debt slavery and green agendas.History repeats when accountability vanishes.You are special—never listen to inner naysayers.Sound Bites"Is it the pigment level? The melanin level? The blood clots level?""None of the warhawks in white tie ever join from the trenches.""Hussein Obama made it legal to lie to the people.""Putin… seems to serve the people's interest… then the people won't change that person.""Getting a zero point because she was quoting Christian beliefs in a gender essay.""If there is a bureaucrat, fire them!""We need to set a good example… the rest of the world can learn from that example.""You are special. You are amazing! You are one of the kind."Gather for unfiltered rambles (and the full throwback interview with Soul Sparkles) at patreon.com/theneoborncavemanshow —free join, chats, lives.keywords: privilege, warhawks, populism, propaganda, bureaucratic tyranny, Christian persecution, sovereignty, accountability, debt slavery, green agendaHumanity centered satirical takes on the world & news + music - with a marble mouthed host.Free speech marinated in comedy.Supporting Purple Rabbits. Hosted on Acast. See acast.com/privacy for more information.
Ever wondered where a traffic stop actually ends, or why a simple order to step out of the car can ignite a constitutional fight? We brought on a rare voice who has lived both sides of the badge—a former highway patrol sergeant turned Harvard Grad attorney, Anthony Bandiero—to demystify search and seizure with plain, usable rules. Together, we press into the places cops and citizens collide: Qualified Immunity, the moment a warning becomes a ticket, what Pennsylvania v. Mims truly permits, and how to handle speech without letting emotion drive enforcement.We move from the curb to the front door and into the yard, where curtilage is the most violated and least understood terrain. You'll hear a clean framework—consent, recognized exception, or warrant—for any search or seizure at a home, plus clear guidance on arrests at a suspect's domicile versus third-party residences under Steagald. We unpack real scenarios: loud backyard parties and exigency, knock-and-talks that drift into unlawful entry, and what “reason to believe” someone is present actually looks like.Then we widen the lens to modern surveillance. Flock cameras, fusion centers, and private feeds don't automatically trigger Katz today, but a mesh of cameras tracking your movement like virtual GPS might. We talk policy, FOIA pitfalls, and how agencies can protect privacy while still solving crime. And yes, we tackle qualified immunity—where it makes sense, where it fails, and why courts should be forced to answer whether a right was violated before awarding immunity. The fix isn't just legal; it's cultural: more training, better articulation, less ego. That's how you cut lawsuits, strengthen cases, and earn trust.If you care about the Fourth Amendment, practical policing, or simply understanding your rights, this conversation delivers clarity without the legal fog. Subscribe, share this episode with a friend who loves a good legal debate, and leave a review with the one rule you think every officer and citizen should know.send us a message! twocopsonedonut@yahoo.comPeregrine.io: Turn your worst detectives into Sherlock Holmes, head to Peregrine.io tell them Two Cops One Donut sent you or direct message me and I'll get you directly connected and skip the salesmen.Support the showPlease see our Youtube channel https://www.youtube.com/c/TwoCopsOneDonut Join our Discord!! https://discord.gg/BdjeTEAc *Send us a message! twocopsonedonut@yahoo.com
With all the parties and gathering this holiday season, it is good to be prepared for entertaining or gifting. Some tips to ensure every event is a success this year. For more information, and to check out some of the incredible selections Ted and the team at Haskell's has to offer, visit Haskells.com.
This is The Briefing, a daily analysis of news and events from a Christian worldview.On today's edition of The Briefing, Dr. Mohler discusses an Oklahoma university student who failed an assignment for expressing Christian views on gender and sexuality, and he answers questions about gambling and fantasy football, where to study astronomy, the nature of Jesus's body, and questions to ask on a first date.Part I (00:13 – 10:20)College Instructor Put on Leave Over Zero Grade for Gender Essay by The New York Times (Mark Arsenault)A Conservative Student Got a Zero on Her Paper About Gender. Did She Deserve It? by Chronicle of Higher Education (Emma Pettit)University of Oklahoma Student Receives Zero on Essay after Citing Bible by TPUSAPart II (10:20 – 15:04)Part III (15:04 – 18:14)Part IV (18:14 – 21:30)Part V (21:30 – 23:58)Part VI (23:58 – 26:22)Sign up to receive The Briefing in your inbox every weekday morning.Follow Dr. Mohler:X | Instagram | Facebook | YouTubeFor more information on The Southern Baptist Theological Seminary, go to sbts.edu.For more information on Boyce College, just go to BoyceCollege.com.To write Dr. Mohler or submit a question for The Mailbox, go here.
Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Kimberly Kelly. A real estate broker and entrepreneur who overcame a challenging upbringing in foster care, teen motherhood, and systemic adversity to become a successful businesswoman. Kimberly shares her journey of resilience, faith, and determination, offering inspiration to anyone facing difficult circumstances. Her story is a testament to perseverance, adaptability, and the power of believing in oneself.
Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Kimberly Kelly. A real estate broker and entrepreneur who overcame a challenging upbringing in foster care, teen motherhood, and systemic adversity to become a successful businesswoman. Kimberly shares her journey of resilience, faith, and determination, offering inspiration to anyone facing difficult circumstances. Her story is a testament to perseverance, adaptability, and the power of believing in oneself.
Through the Mystic Eye is a series of episodes featuring Sadhguru in conversation with several eminent personalities. Shekhar Kapur, KV Kamath, Virender Sehwag, JP Narayan and many more of India's leading celebrities and public figures engage Sadhguru in discussions ranging from business and governance to sports, education and mysticism. Set the context for a joyful, exuberant day with a short, powerful message from Sadhguru. Explore a range of subjects with Sadhguru, discover how every aspect of life can be a stepping stone, and learn to make the most of the potential that a human being embodies. Conscious Planet: https://www.consciousplanet.org Sadhguru App (Download): https://onelink.to/sadhguru__app Official Sadhguru Website: https://isha.sadhguru.org Sadhguru Exclusive: https://isha.sadhguru.org/in/en/sadhguru-exclusive Inner Engineering Link: isha.co/ieo-podcast Yogi, mystic and visionary, Sadhguru is a spiritual master with a difference. An arresting blend of profundity and pragmatism, his life and work serves as a reminder that yoga is a contemporary science, vitally relevant to our times. Learn more about your ad choices. Visit megaphone.fm/adchoices
If you think America's schools fell into decline solely as a consequence of 2020's pandemic and a year of alternate instruction models, guess again. Eric Hanushek, the Hoover Institution's Paul and Jean Hanna Senior Fellow and a leading scholar on the economics of education, discusses misperceptions in the Covid-education debate (learning and achievement were in decline years before the pandemic struck), why education reform remains elusive despite decades of talk and treasure, a few sleeper concerns (long-term absenteeism), lessons to be learned from learning and teaching innovations in Dallas and Mississippi, plus the future impact of learning loss on earning power and America's GDP.
This episode of the Uniquely Human: The Podcast features Nina Schiarizzi-Tobin and Vanessa Harwood discussing innovative supports for neurodivergent college students, highlighting the START program at the University of Rhode Island. The conversation explores common challenges neurodivergent students face upon entering college, the specific support needs, and how these compare to those of neurotypical students. The episode also delves into the mission of the START program and its role in fostering community and inclusion.Find out more and access the transcripts on our website! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
A teenage hacker inspired by “Mr. Robot” takes on his principal, teachers, and the Board of Education. And a night-shift doctor shares a story of life after death. STORIESCode YellowA teenage hacker inspired by “Mr. Robot” takes on his principal, teachers, and the Board of Education.This story contains strong language, sensitive listeners please be advised. This piece was adapted from the podcast, Darknet Diaries. Listen to the full story, called Finn.Produced by Jack Rhysider with assistance from Nancy Lopez, original score by Renzo Gorrio. Artwork by Teo Ducot.The Lazarus EffectA night-shift doctor shares a story of life after death.This story comes to us from the podcast, The Nocturnists, and was performed live in San Francisco in 2018. You can listen to the full story, called The Lazarus Effect.Special thanks to Emily Silverman, Ana Adlerstein, Ali Block, Adelaide Papazolou, Marina Poole, Kirk Klocke, and the storyteller, Joe Sills.Snap Classic – Season 16 Episode 56 Learn about your ad choices: dovetail.prx.org/ad-choices
This is The Briefing, a daily analysis of news and events from a Christian worldview.On today's edition of The Briefing, Dr. Mohler discusses America's educational crisis, DEI and the decline of America's educational system, the rise of dumbing down educational curriculum, and the ban of biological males from Girlguiding groups in the UK.Part I (00:13 – 13:45)America is in an Educational Crisis: Attempts to Fix Both Kids and Schools Have FailedAmerica's Children Are Unwell. Are Schools Part of the Problem? by The New York Times (Jia Lynn Yang)Accommodation Nation by The Atlantic (Rose Horowitch)The College Students Who Can't Do Elementary Math by The Wall Street Journal (Allysia Finley)Part II (13:45 – 21:08)DEI and the Decline of America's Educational System: The Societal Transformation Towards Therapeutics and DEI Initiatives is a Big Part of This ProblemPart III (21:08 – 22:39)Idiocy on the Rise: Dumbing Down Educational Curriculum, Like Removing College Algebra From the Curriculum, Will Lead to More Dumbing Down Than You ThinkA Math Horror Show at UC San Diego by The Wall Street Journal (The Editorial Board)Part IV (22:39 – 26:37)Girlguiding is Only For Girls Now: UK Women's and Girls' Groups “Regrettably” Ban Biological Males, Deeming Their Groups are for Women Only – Who Would've Thought?Two U.K. Women's Groups Ban Transgender Girls and Women by The New York Times (Michael D. Shear)Sign up to receive The Briefing in your inbox every weekday morning.Follow Dr. Mohler:X | Instagram | Facebook | YouTubeFor more information on The Southern Baptist Theological Seminary, go to sbts.edu.For more information on Boyce College, just go to BoyceCollege.com.To write Dr. Mohler or submit a question for The Mailbox, go here.
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