Podcasts about gita

In Chapter 3, Verse 21 of the Shrimad Bhagavad Gita, Shri Krishna deepens the teaching on right action by highlighting the importance of choosing the right role models. Great personalities—who think long-term, are inclusive, and live with Presence—inspire us to evolve from good to great to Divine, becoming peaceful within and prosperous without.➡️ To maximize your experience of this season, we encourage you to request your FREE copy of the Essential Love eBook. Incorporating accessible translations and practical application, the eBook accompanies each episode with additional ways to learn, synthesize, and reflect on key insights.

The Gita Series - A triune pilgrimage - 211 - Ch 17 - Slokas 04 to 06The Three Types of Worship

karmada anivaryate

From Struggle to Surrender: Controlling the Mind through DevotionAre you tired of fighting your own thoughts? Do you feel like "discipline" is just another word for "struggle"? In this episode, we explore a refreshing alternative from the Bhagavad Gita: controlling the mind through devotion. It turns out, the easiest way to empty the mind of junk is to fill it with something priceless.In This Episode, You'll Discover:The Trap of Suppression: Why trying to "kill" your desires usually backfires.The Ladder of Fall: The 8-step psychological crash that starts with a single glance.The Power of "Jodna": How to shift your focus from leaving the world to connecting with the Divine.The King Who Conquered: The inspiring story of King Ambarish, who mastered his senses without leaving his palace.The 3-Step Method: A practical tool (Notice, Interrupt, Replace) to practice devotion in the middle of a busy workday.We contrast the tragedy of King Bharata (who lost his spiritual standing due to attachment to a deer) with the triumph of King Ambarish. Ambarish proved that controlling the mind through devotion is not about where you live, but about what you love.Stop fighting the darkness with a stick. Learn how to turn on the light of devotion and find the peace you've been looking for.Your servant,krsnadaasahttps://pragmaticgita.com

karmavillade irabahude

Sankhya and yoga

Civilization is on the brink, the ego is in despair, and the old maps no longer work. In this satsang, Shunyamurti unveils A Bhagavad Gita for the Final Days—a newly received “Song of God” that speaks directly to the modern psyche, cutting through denial, confusion, and nihilism to reveal the inner war of the will. Discover how this new Gita can break open the ego shell, ignite the upper death drive, and attune you to the Fundamental Mind in time for the eschaton.

Arjuna prashna

This week, Gita, Riley, and Chris talk about many games that came out recently that will never win a Game Award, and what our attitudes about the event are. First, the enigmatic Ys-alike Angeline Era, a beautiful game with thoughtful design. Second, the toe tapping Rhythm Doctor which feels like it takes cues from Rhythm Tengoku and iNIS games like Ouendan. Then we discuss Skate Story, Faustian Tony Hawk with an incredible soundtrack that reminds us of Arctic Eggs. We give a shoutout to Demonschool, which has surprisingly good combat. Finally we discuss Shadow Labyrinth, the Dark Pac-Man game (announced at The Game Awards) that came out over the summer and has shockingly deep roots in UGSF lore.Lastly, we shout out Nightreign as one of our favorite games of the year and talk about its freaky new characters. We also answer your questions about peppermint treats, the NY game dev scene, AI and more!Credits- Hosts: Chris Person, Gita Jackson, and Riley MacLeod- Podcast Production & Ads: Multitude- Subscribe to Aftermath!About The ShowAftermath Hours is the flagship podcast of Aftermath, a worker-owned, subscription-based website covering video games, the internet, and everything that comes after from journalists who previously worked at Kotaku, Vice, and The Washington Post. Each week, games journalism veterans Luke Plunkett, Nathan Grayson, Chris Person, Riley MacLeod, and Gita Jackson – though not always all at once, because that's too many people for a podcast – break down video game news, Remember Some Games, and learn about Chris' frankly incredible number of special interests. Sometimes we even bring on guests from both inside and outside the video game industry! I don't know what else to tell you; it's a great time. Simply by reading this description, you're already wasting time that you could be spending listening to the show. Head to aftermath.site for more info. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

12/11 Gita 18.23○サットヴァの行為・ハタヨーガプラディーピカーの ヤマ,ニヤマ・クリシュナは私達に罰を与える？Q 「人をジャッジするのは私達ではなくクリシュナの仕事」と よく聞きますが、それと罰の違いについて教えて欲しい・Gitaは物質世界というゲームから抜け出る為の攻略本・死んだ後何処へ行くかをジャッジする神様は誰？

Chapter 3, Verse 9 of the Shrimad Bhagavad Gita explores the theme of dedication, as Shri Krishna explains that our attitude in action matters just as much as our intention. By engaging in selfless and dedicated actions, we dissolve the ego and sense of separation, experiencing true freedom—while selfish actions only deepen our limitations. ➡️ To maximize your experience of this season, we encourage you to request your FREE copy of the Essential Love eBook. Incorporating accessible translations and practical application, the eBook accompanies each episode with additional ways to learn, synthesize, and reflect on key insights.

A granola shot that goes down like bourbon and lands like a health upgrade. We bring Gita, the founder of Gut BFF, into the studio with Gabby to taste three flavors, Honey Glow, Apple Cinnamon Raisin, and Chocolate Peanut Butter, and dig into the big idea behind the crunch: 20 different plant ingredients per bag, designed to help you get closer to the 30-plants-per-week guideline from the American Gut Study.Gita shares how food-first changes helped her navigate insulin resistance and post-COVID cholesterol concerns, and why prebiotics plus probiotics beat supplements alone. Think of probiotics as seeds and prebiotics as fertilizer; feed both and you generate short-chain fatty acids that support immunity, brain energy, digestion, and overall wellness. We get practical about how people really eat granola, on yogurt for texture, by the handful at 4 p.m., or as a lighter cereal, while calling out what makes this different from the usual sugar bombs: popped ancient grains for clean crunch, nuts and seeds for fiber and protein, and restrained sweetness that lets flavor win.If you're building a consumer brand, there's a playbook here. Bootstrapping forced fast feedback loops, farmers markets, yoga studios, sampler three-packs, while an FDA-inspected regional facility bridged the scary gap between home production and big co-pack runs. We talk pricing, local retail rollout, and smart timing for a raise, plus how to scale without losing quality or shelf life. There's also a cultural shift powering demand: Gen Z is leaning into gut health and clean labels, not just because of dietary restrictions like celiac or alpha-gal, but because they want snacks that feel good and actually taste great.By the end, you'll know which flavor stole the show, how to hit your plant diversity goals without overthinking breakfast, and why taste is the most underrated health strategy. Try the sampler, top your favorite yogurt, and tell us your winner. Subscribe, share with a friend who lives on “healthy” snacks, and drop a review with your flavor pick, what should the next berry be?

Ashareera Brahma

Lecture by Swami Tyagananda on the 10th of December, 2025, at the Ramakrishna Vedanta Society of Boston, MA. For more information, please see https://vedantasociety.net/store?category=Gita

12/1 Gita in TTC 17.25〜18.2・オーム タット サット の意味・いただきますマントラの意味・クリシュナが喜ぶ活動,供物とは？・ヴェーダにおいて最も重要な至高主への信念第18章 放棄の完成 モクシャ サンニャーサ ヨーガ○モクシャの意味・魂の立ち位置 性質・モクシャへの道○サンニャーサの意味・サンニャーサの4段階・バラナアシュラマ(人生の4段階/人間の4種類)・放棄のベストタイミング

12/2 Gita in TTC 18.3〜18.9・供養,慈善,苦行も放棄すべき？・真理を求める道において放棄とは○タマスの放棄・睡眠について・潜在意識が起こしたカルマ(定められた義務)○ラジャスの放棄・義務を果たしきれない現代人・本当の放棄○サトヴィックの放棄・物質的交際と超越的意識

12/3 Gita in TTC 18.10〜18.12・苦しみの原因 ５つのクレーシャ・スピリチュアルとは？・何に拠り所を求めるか・活動は放棄せず 結果を放棄する・私達の体の主は誰？・死の瞬間何を思い出すか・今始まる ベストを尽くし結果を放棄するチャレンジ

12/8 Gita 18.13〜18.17*デバイストラブルのため、音声配信は途中までとなります。全編はzuddhaのInstagramアカウントのアーカイブよりご視聴ください。・ヴェーダにおける活動の5要素/究極の行為者は至高の魂・ブラフマーとサラスワティの関係性・人が行える行為 思考,言動,行動・個々のカルマによる活動の制限・物事は主によって動かされている・浄化される為にどうしたら良いか・戦いのルール

12/9 Gita 18.18〜18.22・行動の原動力(ｲﾝｽﾋﾟﾚｰｼｮﾝ)3要因と行為を構成する3要素/例:呼吸,お出かけ・超越界へ向かう行為・サットヴァの知識・ラジャスの知識・タマスの知識Q 一般人に備わった知識は常に無知？マヤの中で忘れたのではないの？・ウェイロンジからのアドバイス

11/24 Gita in TTC 17.11〜17.14・人生の責任においての犠牲・アグニ 火の神・サトヴィックな供養・太陽礼拝って何？なぜ108回なの？・スーリヤナマスカーラマントラの意味・ラジャスな供養・タマスな供養・体に関するタパス・ここにある禁欲はどういった意味の禁欲？・意味のある人生を歩むために〜女性へ向けたアドバイス〜

11/26 Gita in TTC 17.16○心に関するタパス・満足について・シータとラクシャマナの献身・重力　惹きつける力・死のダルシャン・行動,言動,思考の三界を超えたジーバムクティ・ジーバムクティは外から見て分かる？・ジャナカ王とアシュタバクラのお話

11/25 Gita in TTC 17.15○言葉のタパス・スワディヤーヤの重要性Q "他人を乱す言葉を使わない"とありますが、真実を伝えた時 乱れる事があるとおもいます。ここで言う"乱す"とはどういう事を指していますか？・真実を伝える手法・真実を聞いた時 乱れる心の正体・ルーミーの詩 ブッダの方便・親との関係性/敬うことへの挑戦・真実を伝える時 最も重要なこと

11/29 Gita in TTC 17.23〜17.24・至高主を表す言葉「オーム,タット,サット」・鸚鵡返しは意味がない・浄化のマントラの意味・「オーム」の重要性・ヨガクラスは供養の儀式・シャンティマントラの意味・マントラを唱えるうえで大切なこと

Brahma Niraakarane?

11/28 Gita in TTC 17.21〜17.22○ラジャスの慈善・義務を行う時の心情・この物質世界でタパスはマスト○タマスの慈善・先生の体験談・本当の慈善,助けになることは何か・チャリティーをしないのも良くない？・慈善活動を可能にするサットサンガ・本当の豊かさ・お金への執着を手放す為のマントラはある？・男性で出家しない場合「サレンダーする」をどう捉えたらよい？・キリスト教,ヴェーダにおいて 家族の在り方と義務

11/20 Gita 17.7〜17.10○物質自然の三様式に応じた食べ物3種類・サトヴィックな食べ物・ラジャスな食べ物・タマシックな食べ物・消化力を高めるために・食生活についてQ 17章10節に 3時間以上前に調理されたものは闇の様式ですが、プラサーダムを除いて とあります。プラサーダムは何時間経ってもサトヴィック？

11/27 Gita in TTC 17.17〜17.20○サトヴィックな苦行・体,言葉,心のタパス おさらい・サットヴァの妨げとなる資本主義の影響○ラジャスな苦行・幸せに生きる方法○タマスな苦行・洗脳/カルトとカルチャー・ヨガの目的○サトヴィックな慈善

11/18 Gita 17.1〜17.63種類の信念・現代人にありがちな信念の傾向・物質界の三様式に応じて育つ個々の癖 信念・浄化のプロセスで物質界の三様式を超える・トリグナそれぞれの崇拝対象・タパスの目的 動機

11/17 Gita 16.22〜16.24・魂を堕落へ導く 情欲 怒り 貪欲・タマスとは・地獄へ続く門から出て行くには・カリユガ(現代)の症状・知識は行うことで役立つ・私達と至高主 関係性のはじめ方・経典を通し規定原則を学ぶ・制約された魂である私達の4つの主要な欠陥・神聖な質を培うために

The Gita Series - A triune pilgrimage - 210 - Ch 17 - Slokas 01 to 03Whatever one's faith is, that is who one is.

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

On this week's episode, Nathan, Gita, and Chris are joined by the one and only John “Super Eyepatch Wolf” Walsh, YouTuber extraordinaire and, now, author of The Bizarre World Of Fake Games, a book about exactly what it says it's about: meticulously crafted settings and rule sets for games that don't actually exist. Walsh explains his fixation with fake games and how, as he sees it, they broaden the landscape of who can create and imagine games in the first place. He also gives us a history lesson about proto-fake games like the almost unnervingly strange Codex Seraphinianus. Then we discuss more modern, regrettably AI-driven fake game trends like Bird Game 3, which has become a bonafide TikTok sensation. After that, we move on to the week's biggest video game news: Horses, an otherwise off-the-beaten-path art game from a small indie studio, got banned on Steam for reasons that remain unclear, causing a series of cascading impacts on other stores like Epic and Humble. What does it mean for a single storefront to essentially have sole say over what and what does not constitute acceptable art? And why is everyone losing their minds over a game that, according to Chris, is actually pretty tame? Lastly, we share our wild animal horror stories.Credits- Hosts: Nathan Grayson, Gita Jackson, Chris Person, & special guest Eyepatch Wolf- Podcast Production & Ads: Multitude- Subscribe to Aftermath!About The ShowAftermath Hours is the flagship podcast of Aftermath, a worker-owned, subscription-based website covering video games, the internet, and everything that comes after from journalists who previously worked at Kotaku, Vice, and The Washington Post. Each week, games journalism veterans Luke Plunkett, Nathan Grayson, Chris Person, Riley MacLeod, and Gita Jackson – though not always all at once, because that's too many people for a podcast – break down video game news, Remember Some Games, and learn about Chris' frankly incredible number of special interests. Sometimes we even bring on guests from both inside and outside the video game industry! I don't know what else to tell you; it's a great time. Simply by reading this description, you're already wasting time that you could be spending listening to the show. Head to aftermath.site for more info.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Join Nick Zei and Hitesh in Rishikesh for a long-form conversation on the Bhagavad Gita and the hidden mechanics of consciousness. This is not a religious discussion. It is a direct exploration of how Krishna's dialogue with Arjuna reveals the structure of human experience, choice, and purpose.Most recent “What If with Nick Zei” episode (Bhagavad Gita episode currently in solo production):https://youtu.be/9efBN-qWxEQFind Hitesh on YouTube:http://www.youtube.com/@UC3wxPA1Sph–HxKGdOGVjrgSupport the podcast and the work:Direct contribution:https://donate.stripe.com/bJe3cn61Ic486iE1Q1fIs0821 Day Shadow Integration Challenge:https://buy.stripe.com/5kQ3cndua6JOayU7alfIs09Black Stuff:https://www.black-stuff.com/nickzeiAll other links:https://linktr.ee/nick.zeiThe Bhagavad Gita is presented here as a living manual for the modern seeker. The discussion moves through its core teachings:Dharma and action with clarityKarma Yoga and the mechanics of choiceBhakti Yoga and devotion as intelligenceJñāna Yoga and the unity of Self and SourceEquanimity, surrender, and flow as a mode of masteryNick and Hitesh connect the Gita with broader philosophies, the biblical tradition, and the modern creator's path. Expect exploration into identity, death, devotion, and navigating life with purpose.Filmed on the banks of the Ganga in Rishikesh, this episode weaves Eastern philosophy with modern consciousness studies. It reflects on the art of living and the practical structure of the Human Game.Host: Nick ZeiGuest: HiteshLocation: Rishikesh, IndiaChapters00:00 – Opening Context in Rishikesh03:25 – The Nature of Reality and Consciousness07:42 – Why Humans Feel Confused About Purpose12:36 – The Game of Life as a Spiritual System18:44 – Identity, Ego, and the Search for Clarity26:01 – The Inner War Between Thought and Awareness34:58 – Dharma and Aligned Action Explained42:17 – Karma Yoga and the Mechanics of Choice49:06 – Hidden Structures of the Mind55:38 – How Conditioning Shapes the Player01:03:24 – The Roots of Suffering and Self-Misunderstanding01:12:10 – True Spiritual Practice in the Modern World01:21:53 – How to Discern Truth from Illusion01:30:40 – Direct Experience and Inquiry01:37:58 – Vedic Knowledge and Universal Principles01:46:22 – What the Gita Suggests About Human Nature01:55:41 – The Path of Inner Mastery02:04:12 – The Field, Subtle Perception, and Awareness02:12:54 – Why Humans Fear Change02:20:33 – Consciousness Expanding Through the Player02:29:18 – Realization and Higher Intelligence02:37:06 – Integrating Teachings into Daily Life02:45:42 – The Journey Toward Self-Knowledge02:53:33 – Reflections in Rishikesh02:59:41 – Closing Message

Lecture by Swami Tyagananda on the 3rd of December, 2025, at the Ramakrishna Vedanta Society of Boston, MA. For more information, please see https://vedantasociety.net/store?category=Gita

Buku yang saya tulis, ‘What It Takes: Southeast Asia', sekarang sudah tersedia dalam Bahasa Indonesia dan Inggris. Dapatkan di sini: https://books.endgame.id/Sudah baca? Tinggalkan review-mu di sini:https://www.goodreads.com/book/show/2...---------------------Bagaimana arah kebijakan dan lanskap ekonomi ke depan?Untuk pertama kalinya, Purbaya Yudhi Sadewa berbincang selama lebih dari 90 menit untuk membahas segala aspek yang penting untuk Anda pahami: mengapa uang beredar penting, bagaimana meningkatkan penanaman modal asing dan penerimaan pajak, hingga strategi mencapai target pertumbuhan 8%.Purbaya dan Gita juga menyentuh topik lainnya, termasuk dana pendidikan, desentralisasi ekonomi, serta peningkatan elektrifikasi. Terlebih lagi, Purbaya juga membahas beberapa hal personal seperti latar belakang pendidikan dan filsafat ekonomi beliau.#Endgame #GitaWirjawan #PurbayaSadewa---------------------Episode lainnya yang mungkin Anda sukai:https://youtu.be/DTz5X5NVSdk?si=M_1xg...https://youtu.be/S0GcAdhLKYE?si=5Dd3_...https://youtu.be/A9jWMsM4-wU?si=6oQTm...

The Shrimad Bhagavad Gita is a powerful roadmap -- and on this season, we're exploring its essential verses. On this episode, we explore Chapter 2, Verse 55. Here, Prince Arjuna asks about the experience of a still intellect, and Shri Krishna explains that it comes from fulfilling one's responsibilities with dedication. By renouncing all desires, the ego dissolves into the Spirit, leading to contentment, completeness, and the experience of Independent Joy.➡️ To maximize your experience of this season, we encourage you to request your FREE copy of the Essential Love eBook. Incorporating accessible translations and practical application, the eBook accompanies each episode with additional ways to learn, synthesize, and reflect on key insights.

Juliana Mulligan shares her transformative journey with the psychedelic ibogaine as a treatment that finally worked for her substance use disorder. She discusses her personal experiences with addiction, the limitations of traditional treatment methods, and the profound impact of trauma on recovery. Juliana explains the unique experience of ibogaine treatment, its effects on brain chemistry, and the importance of post-treatment support. She addresses common misconceptions about ibogaine and emphasizes the need for thorough research when seeking treatment. The conversation highlights the potential of ibogaine as a powerful tool for healing and the promising future of its use in addiction treatment. Links:  Juliana's website: https://www.innervisionibogaine.com/ Finding a Clinic: https://www.innervisionibogaine.com/findingaclinic About Juliana:  Juliana Mulligan, LMSW, is a psychotherapist who is formerly opioid dependent, formerly incarcerated, and has been working in the ibogaine treatment community for thirteen years. In 2011, with the help of ibogaine treatment, Juliana left opioids behind and set off on a path to transform the way drug users and their treatment is approached. She has worked in multiple ibogaine clinics, was the Psychedelic Program Coordinator at the Center for Optimal Living, and was a consultant for the Kentucky Ibogaine Initiative. She currently runs Inner Vision Ibogaine, which supports clients in preparation and integration around ibogaine treatment and offers consulting services for those wishing to approach ibogaine through their projects. She is also the founder of Idryma, the first ibogaine treatment training and certification program. Juliana has presented at psychedelic and harm reduction conferences, is the author of the Guide to Finding a Safe Ibogaine Clinic, and co-author of Fireside's Warning Signs When Selecting a Psychedelic Facilitator. She has taught about ibogaine at Charite University in Berlin and Southwestern College in New Mexico and has written for multiple publications about ibogaine, including Double Blind Magazine and Chacruna. Her quotes have been featured in the New York Times, Rolling Stone Magazine, National Geographic, and most recently she was mentioned on the Joe Rogan podcast. Her focus on abuse and ethics in the ibogaine treatment space has also led to her survivor advocacy and client support work with GITA and the Shine Collective. Keywords: Ibogaine, addiction treatment, substance use disorder, psychotherapy, trauma, recovery, psychedelic therapy, mental health, neurochemistry, harm reduction

The Gita Series - A triune pilgrimage - 209 - Ch 17 - Summary

Gita Ke 18 Adhyaon Ka Saar : Pujya Sant Shri Asharamji Bapu Satsang

Gita Ke 18 Adhyaon Ka Saar : Pujya Sant Shri Asharamji Bapu Satsang

Link to video of this interview: https://youtu.be/qMKonpTHj24A candid discussion about Orthodox Judaism and its views on abortion, infertility and loss of unborn life.This discussion is Part 2 of a two-part interview. WATCH PART 1 HERE: https://youtu.be/jjk5K5Rp6e4In this episode, we explore reproductive halacha: Jewish legal thought on abortion, infertility, contraception, gender identity, sexual norms, and the wider landscape of ethical questions around them. The aim is a thoughtful, free-flowing conversation that makes room for nuance, real history, and lived experience. Rabbi Katz grew up in Hasidic Williamsburg and later left Hasidism while remaining within the Orthodox world. He has served as Senior Rabbi of the Prospect Heights Shul and is currently Chair of the Talmud Department at Yeshivat Chovevei Torah. Throughout his career, he has engaged with what he calls “cutting-edge issues” inside halachic discourse — including gender, sexual abuse, and other areas of communal tension. Many viewers also know his mother, Gita Katz, the sharp, unforgettable Hasidic woman featured in several of my videos. Rabbi Katz is her eldest, once considered a standout student in the Williamsburg community before charting his own path. Today he brings a rare mix of insider knowledge, rigorous training, and a willingness to tackle difficult conversations publicly. He also maintains an active presence on Facebook, where he moderates discussions that often get very heated.Rabbi Katz's Facebook: https://www.facebook.com/ysoscher.katzIf this conversation resonates, you may also enjoy these related interviews:Related Videos: Part 1 with Rabbi Katz https://youtu.be/jjk5K5Rp6e4 -My earlier interview with Rabbi Katz on the Satmar Rebbe: https://youtu.be/8oVcC5z24c4The book I mentioned is 'I am Forbidden' by Anouk Markovits: https://amzn.to/49lfr09A Hasidic woman's views on women's issues — my interview with Pearl (and yes… Pearl is Gita's close friend!) https://youtu.be/IaqonzHozVMA note of thanks: Many thanks to all of you who are able to support this channel. If you do end-of-year giving, please consider making a tax-deductible donation to help cover the cost of producing these videos. Many episodes cost far more to edit than YouTube pays in ad revenue, and the channel only continues because of the generosity of its viewers. Donate here: https://shorturl.at/WqXnLBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-frieda-vizel-podcast--5824414/support.

The Bhagavad Gita is a world classic often considered to be not just the 'Hindu Bible' but sometimes the 'Indian Bible' as well. Over the last two centuries, it has attracted much scholarly attention from Indologists. Ithamar Theodor's bold and revisionist monograph The Philosophy of the Bhagavad-Gita (Cambridge UP, 2025) aspires to further develop their scholarship by treating the Gita as a discrete philosophy and by offering a systematic survey of its main topics and doctrines, in so doing emphasising their philosophical potential. A major innovation here is the articulation of the Gita's structure extracted from Vedantic and Yogic pattens of thought, presented in a modern fashion. This centres on the Gita's Vedantic concept of hierarchical reality and its Yogic concept of a ladder. Beyond its overarching philosophical and holistic approach to the Bhagavad Gita, the book addresses major themes such as dharma, rebirth, Yoga and Sankhya, bhakti, the Upanishadic nature of the text, and concepts of divinity. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Bhagavad Gita is a world classic often considered to be not just the 'Hindu Bible' but sometimes the 'Indian Bible' as well. Over the last two centuries, it has attracted much scholarly attention from Indologists. Ithamar Theodor's bold and revisionist monograph The Philosophy of the Bhagavad-Gita (Cambridge UP, 2025) aspires to further develop their scholarship by treating the Gita as a discrete philosophy and by offering a systematic survey of its main topics and doctrines, in so doing emphasising their philosophical potential. A major innovation here is the articulation of the Gita's structure extracted from Vedantic and Yogic pattens of thought, presented in a modern fashion. This centres on the Gita's Vedantic concept of hierarchical reality and its Yogic concept of a ladder. Beyond its overarching philosophical and holistic approach to the Bhagavad Gita, the book addresses major themes such as dharma, rebirth, Yoga and Sankhya, bhakti, the Upanishadic nature of the text, and concepts of divinity. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The Bhagavad Gita is a world classic often considered to be not just the 'Hindu Bible' but sometimes the 'Indian Bible' as well. Over the last two centuries, it has attracted much scholarly attention from Indologists. Ithamar Theodor's bold and revisionist monograph The Philosophy of the Bhagavad-Gita (Cambridge UP, 2025) aspires to further develop their scholarship by treating the Gita as a discrete philosophy and by offering a systematic survey of its main topics and doctrines, in so doing emphasising their philosophical potential. A major innovation here is the articulation of the Gita's structure extracted from Vedantic and Yogic pattens of thought, presented in a modern fashion. This centres on the Gita's Vedantic concept of hierarchical reality and its Yogic concept of a ladder. Beyond its overarching philosophical and holistic approach to the Bhagavad Gita, the book addresses major themes such as dharma, rebirth, Yoga and Sankhya, bhakti, the Upanishadic nature of the text, and concepts of divinity. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

On this season of Live Vedanta, we're distilling the Shrimad Bhagavad Gita into its 70 essential verses. In Essential Verse 5 -- from Chapter 2, Verse 47 -- Shri Krishna shifts from teaching about our Real Nature and the nature of change to explaining the importance of fulfilling our responsibilities. When our intention is focused solely on right action—not results or inaction—we cultivate quietude, purity, and freedom from restlessness, laziness, and inertia.➡️ To maximize your experience of this season, we encourage you to request your FREE copy of the Essential Love eBook. Incorporating accessible translations and practical application, the eBook accompanies each episode with additional ways to learn, synthesize, and reflect on key insights.

The Gita Series - A triune pilgrimage - 208 - Ch 16 - Slokas 20 to 24Kama, Krodha and Lobha - the triple gateway to hell

Most people think they know what the Hare Krishna movement is, until they actually speak with a monk living the lifestyle. In this eye-opening conversation recorded at Spirit Fest USA, we sit down with Jadardana Krishna Das, a modern monk who breaks down the truth behind one of the world's most misunderstood spiritual traditions. If you've ever wondered what the robes mean, why monks shave their heads, what Krishna Consciousness actually teaches, or whether the Bhagavad Gita has anything to offer someone who isn't Hindu…this episode will challenge your assumptions and force you to see spiritual awakening in a completely different light. This isn't dogma. This isn't recruitment. This is practical mind-training, ancient consciousness science, and a path toward inner clarity that anyone, any faith, any background, can explore. What You'll Learn in This Episode:✔ What the Hare Krishna movement really teaches Not the stereotypes. Not the assumptions. The actual mission: raising consciousness, reconnecting with the soul, and empowering people from any background to develop a spiritual foundation. ✔ The surprising truth about the Bhagavad Gita It's not a “Hindu book.” It predates Hinduism and Buddhism and offers universal teachings on the mind, the self, and the battlefield within.  ✔ Why monks shave their heads & wear orange robes Purification, simplicity, detachment, spiritual focus, and yes, hygiene. The symbolic meaning goes far deeper than most people realize.  ✔ What the forehead markings really represent Not decoration...purification, protection, and identity within a specific philosophical lineage.  ✔ Are Hare Krishnas trying to convert people? Short answer: no. Long answer: this episode explains why the movement focuses on knowledge, not recruitment.  ✔ How chanting really works Why anyone, child or adult, any religion or none, can chant Hare Krishna and experience its effects anytime, anywhere.  ✔ The monk's personal journey From sports, movies, and a secular upbringing…to a life-changing realization in college that led him to choose a life of spiritual training. Why This Conversation Matters:This isn't a fringe movement. This is one of the oldest consciousness-expansion systems on Earth. And it speaks directly to the problems modern seekers face:mental overwhelmlack of meaningdisconnection from selfthe inner “battlefield” the Gita describes so wellthe pressure of material lifethe desire for spiritual grounding without dogmaJadardana shows how these teachings are not about escaping life...they're about engaging with it from a higher state of awareness.Resources Mentioned:• Bhagavad Gita As It Is The recommended version with Sanskrit, translation, and commentary used in the Hare Krishna tradition. Available online, in libraries, and in print.  • Local Hare Krishna Temples & Centers Found in most major cities. Offer meditation, classes, and free vegetarian food. Ideal For Listeners Seeking:Spiritual AwakeningConsciousness ExpansionMysticism & Esoteric KnowledgeMind-Body ConnectionAlternative SpiritualityExploring the UnknownPractical Meditation & Higher Self WorkNon-dogmatic paths to spiritual growthListen Now This episode will shift the way you think about spirituality, identity, and what it means to live a conscious life, whether you resonate with the Hare Krishna path or not. Subscribe, Rate & Review! If you found this episode enlightening, mind-expanding, or even just thought-provoking (see what we did there?), please take a moment to rate and review us. Your feedback helps us bring more transformative guests and topics your way! Subscribe to The Skeptic Metaphysicians on your favorite podcast platform and YouTube for more deep dives into spiritual awakening, consciousness, spirituality, metaphysical science, and mind-body evolution.Connect with Us: 

Lecture by Swami Tyagananda on the 19th of November, 2025, at the Ramakrishna Vedanta Society of Boston, MA. For more information, please see https://vedantasociety.net/store?category=Gita

In this episode of The Mentor Sessions, I share something a little different: a Dharma talk I recently offered in my monthly class for yoga teachers. These monthly gatherings are one of my favorite places to teach—intimate, thoughtful, and deeply rooted in practice—and this particular talk felt important to bring to the podcast. Over the last several months, as the political situation in the United States has become more extreme and more frightening, I've been turning again and again to a Buddhist teaching known as The Four Reminders. These contemplations come from the Tibetan Buddhist lineage, and while they are simple, they cut right to the heart of what matters most. They have become the anchor of my own personal practice during this time of rising fascism, fear, and widespread suffering. In this episode, I share how I came back to these teachings—interestingly, prompted not by the worst harm being done in this country, but by the moment Jimmy Fallon was taken off the air for criticizing the administration. Watching someone with so much privilege get silenced instantly made me realize that we weren't sliding toward fascism. We were already living inside it. And from that moment, I knew I didn't want to get stuck in despair. I wanted to stay awake, engaged, loving, and grounded. The Four Reminders helped me do that. In this episode, you'll hear: Why these four contemplations feel so powerful and clarifying How reflecting on the preciousness of human life expands our compassion for ourselves, each other, and the planet The truth of impermanence — and how it can become a liberatory force rather than a source of fear The reality of karma and interdependence, and why even the smallest actions matter The universality of suffering, and why it is not inevitable How these teachings help me hold a vision of a world where every being is safe, free, and fed Why joy is not a luxury but an essential part of practice—especially in oppressive times The role of protest, collective action, and tiny daily choices in shaping the world we believe is possible After the Dharma talk, I share some of the reflections and questions that came up in conversation with the teachers in class. One theme that surfaced again and again was how grounding it feels to hold a positive vision—not in a naïve or spiritually bypassing way, but as a guiding truth that helps us stay resourced, energized, and committed. I talk about the small actions I take to stay connected to this vision, like calling my representatives or supporting my local food bank, and why these seemingly insignificant acts matter. We may not see the fruits of our labor in our lifetime, but as the Gita reminds us, that doesn't mean the work isn't ours to do. If you're feeling overwhelmed right now… I hope this episode reminds you that your life is precious, your presence matters, and your choices—however small—ripple outward. I hope it gives you permission to feel your grief and to feel joy. And I hope it encourages you to stay rooted in your own vision of what is possible for humanity. Thank you for being on this path with me. OfferingTree is a proud sponsor of this episode and I am honored to be an affiliate.  Visit OfferingTree at www.offeringtree.com/mentor and you'll get 50% off your first three months (or 15% off any annual plan).   OfferingTree supports me with each sign-up and I'm proud to be supported by a public benefit company whose mission is to further wellness access and education for everyone.

Depth and play intertwine as Raghunath and Kaustubha riff on Gillian Anderson's reincarnation quote, Krishna's "Grand Theft Butter" pastims in vrindavan, and the modern obsession with empiric evidence. From debates with the "new atheists" to analogies of murder investigations and reasonable doubt, they explore what kinds of proof actually convince the heart. The conversation tracks the soul's journey from jñāna to bhakti—from intellectual knowing to loving understanding—where genuine realization always expresses itself as compassion, never condescension. ********************************************************************* LOVE THE PODCAST? WE ARE COMMUNITY SUPPORTED AND WOULD LOVE FOR YOU TO JOIN! Go to https://www.wisdomofthesages.com WATCH ON YOUTUBE: https://youtube.com/@WisdomoftheSages LISTEN ON ITUNES: https://podcasts/apple.com/us/podcast/wisdom-of-the-sages/id1493055485 CONNECT ON FACEBOOK: https://facebook.com/wisdomofthesages108 ********************************************************************* Join the Gita Collective Whatsapp channel: https://whatsapp.com/channel/0029VbAxNYgJuyAJR8SHhy2j