Podcasts about HBO

We've been talking about the Paramount Skydance/Warner Brothers Discovery/Netflix Billionaire Boys Club Spectacular for a few days now. But it's really worth digging into the details to understand how all of this could reshape our media diets – and our politics. If Netflix buys Warner Bros. Discovery, that could be very bad news for Hollywood. But if Paramount buys Warner Bros. Discovery, the Trump-supporting Ellisons would own: CBS, CNN, HBO, Paramount, DC Studios, TNT Sports, Warner Bros., Oracle and a whole bunch more. It's basically a big, complicated mess — so to unpack what it means for consumers and why on earth President Trump is involved, we spoke to Ben Smith. He's co-founder and editor-in-chief of Semafor, and host of the Mixed Signals podcast.And in headlines, Trump brings his economic message to the American people on the first stop of his affordability tour, the Supreme Court hears arguments over campaign finance limits, and will Americans follow Australia's footsteps and ban social media for children?Show Notes:Check out Mixed Signals – https://tinyurl.com/ycxvkz6fCall Congress – 202-224-3121Subscribe to the What A Day Newsletter – https://tinyurl.com/3kk4nyz8What A Day – YouTube – https://www.youtube.com/@whatadaypodcastFollow us on Instagram – https://www.instagram.com/crookedmedia/For a transcript of this episode, please visit crooked.com/whataday Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Max Silvestri (new podcast I Need You Guys! I Love LA on HBO!) makes it weird!See omnystudio.com/listener for privacy information.

You might know the star of Rivals for his revealing role in the hit Disney+ show, but did you know about his dramatic allium allergy?! I thought not. Alex Hassell might be best known for his portrayal of the dashing bounder, Rupert Campbell-Black in the Emmy-Award winning TV adaptation of Jilly Cooper's Rivals but his career spans the Royal Shakespeare Company, a leading role opposite Anya Taylor-Joy in The Miniaturist, HBO's His Dark Materials and co-founding the pioneering Factory Theatre Company. In this conversation, Alex reflects on the role therapy and his marriage have played in weathering early-career rejection. We talk about his struggle with self-confidence, his unlikely 'failure' to get into trouble and the rebellious streak that defined his youth - including that time he took acid at Alton Towers. Plus: having to spray tan his own private parts. This episode was recorded live at the Barbican earlier this year. ✨ IN THIS EPISODE: 00:00 Intro 03:17 Season Two of Rivals 04:35 The Challenges of Acting 05:28 Therapy and Self-Reflection 11:17 Overcoming Self-Doubt 13:31 School Experiences and Bullying 20:13 The Factory Theater Company 23:31 Reflecting on Early Career Challenges 23:57 The Onion Allergy Struggle 28:16 Balancing Historical Accuracy and Sensitivity in 'Rivals' 29:30 The Pressure to Be Good 33:12 Family Influence and Personal Growth 40:57 The Actor's Vulnerability and Connection

PODCAST LAS NOTICIAS CON CALLE DE 10 DE DICIEMBRE 2025 - Miami se va a demócrata por primera vez en casi 30 años - CNN- PR Aguanta fondos para Miss Universe - El Vocero - El gobierno insiste en que compres casa, Programa Casa Joven y Programa Pronto Pa Tu Casa - El Nuevo Día - LUMA dice que no puede cobrar 3% de lo que se usa de luz, le dicen que lo haga - El Nuevo Día - Noah y Carlos Beltrán compran participación en Salvador Colom - El Nuevo Día - Gobernadora vuelve a intentar que PR vuelva a coger prestado en visita a NY - El Vocero - El caso de Anthonieska se queda en tribunal de adultos por ahora - El Vocero - Salud dice que los casos por sobredosis bajará en un 15% la probabilidad de muerte - El Nuevo Día - Abrió el sexto Hyatt y el primero Centric en PR - Primera Hora - María Corina Machado no va a recoger el premio Nobel en persona, sigue escondida - NYT- Elon Musk va a valorar en 1.5 trillones SpaceX - Axios - Se calienta dramáticamente situación entre Japón y China, China experimenta con atacar y Japón responde en juegos de guerra, Rusia se unió a China en los juegos - Bloomberg - Se espera que hoy corten nuevamente la tasa de interés desde el FED - Bloomberg - Estrategia de Trump con HBO, incluye control sobre CNN - NYT - Trump se va a Pennsylvania a insistir en que la economía está bien - Economist • Buenos días, mi gente. Ya oficialmente empezó la Navidad, y si todavía no has empezado tus compras o no sabes qué regalar… te voy a resolver esto en dos minutos.• T-Mobile tiene la mejor variedad de regalos con opciones para todos los gustos. Y lo mejor: muchos empiezan en $0 pago inicial. Sí, escuchaste bien… cero.• Si tienes a alguien techie en tu vida, que siempre hay uno, aquí lo consigues todo: Meta Glasses, iPhone 17, smartwatches, tablets, audífonos… de todo.• Lo mejor de todo es que puedes resolverlo sin filas, sin estrés y sin meterte en un mall en plena Navidad.• Entras a T-Life o a t-mobile.com, escoges el regalo y lo pides desde tu casa o desde donde sea.• Así que si quieres quedar bien, o hacerte un regalo tú mismo que también cuenta, adelántate a Santa y resuélvelo con T-Mobile.Incluye auspicio

Today's guest is Dan Pelosi, the beloved cook, creator, and entertaining expert known for his comforting Italian American dishes, cozy kitchen content, and vibrant community of followers. Over the past few years, Dan has become one of the most recognizable and adored figures in the world of home cooking. He's also the bestselling author of the cookbooks “Let's Party” and “Let's Eat.” Dan joins host Kerry Diamond to talk about his food life, his previous life in fashion retail at places like Gap and Nike, self-care, dating, baby food as an ingredient, his NYT Cooking recipes, the HBO show “Heated Rivalry,” and what he's up to for the holidays. He also shares why he and Ina Garten should never be trapped on a desert island with each other. Order The Cake IssueTickets for our Working Lunch event in Charleston tomorrow, Thursday, December 11th, hereSubscribe to our SubstackJubilee NYC 2026 tickets hereCheck out Cherry Bombe on ShopMyMore on Dan: Instagram, website, “Let's Party” cookbookMore on Kerry: Instagram

Friends have a powerful conversation about "The Cost Of Healing In Silence" with Marina Franklin and guests Ashley McGirt and Nonye Brown-West on the latest episode. Ashley McGirt is a psychotherapist,TEDxinternational speaker, author, and the founder and CEO of theTherapy Fund Foundation, a nonprofit focused on eliminating barriers to mental health care in Black and historically excluded communities. She specializes in trauma, racial trauma, leadership, healthequity, mental health, and self-care. Ashley holds a Master of Social Work from the University ofWashington and a Bachelor of Science in Psychology,operating a private practice where she addresses racial trauma, depression, and anxiety. Featured in Forbes, MSNBC, and HuffPost, Ashley also serves as the NAACP State Area Conference Health Chair. Through her speeches, workshops, and consultations,she empowers individuals and organizations to unpack emotional burdens, prioritize self-care, and foster healing and equity. Her forthcoming book, The Cost of Healing in Silence: Navigating RacialTrauma and the Call for Culturally Responsive Care(March 31, 2026, Wiley), blends research, personal narrative, and clinical insight to challenge systemic inequities and inspire collective healing. It serves as an effective roadmap for culturally responsive mental health care that acknowledges, understands, and begins to heal the ways racial bias and stereotypes infiltrate counseling. Connect with Ashley further at https://www.ashleymcgirt.com Nonye Brown-West is a New York-based Nigerian-American comedian and writer. She has been featured in the Boston Globe's Rise column as a Comic to Watch. She has also appeared on Amazon, NPR, PBS, ABC, Sway In The Morning on Sirius XM, and the New York Comedy Festival. Check her schedule on nonyecomedy.com or Instagram to see when she's coming to a city near you. Always hosted by Marina Franklin - One Hour Comedy Special: Single Black Female ( Amazon Prime, CW Network), TBS's The Last O.G, Last Week Tonight with John Oliver, Hysterical on FX, The Movie Trainwreck, Louie Season V, The Jim Gaffigan Show, Conan O'Brien, Stephen Colbert, HBO's Crashing, and The Breaks with Michelle Wolf. Writer for HBO's 'Divorce' and the new Tracy Morgan show on Paramount Plus: 'Crutch  

On this week's episode, Sonny, Peter, and Alyssa look at another side of the Netflix/WB deal, namely what will happen to HBO and WB's more experiential events. Then they review Netflix's big awards season play, Jay Kelly. A movie about movies: will this help Netflix win that Oscar trophy they've been chasing? Make sure to swing by the Substack page on Thursday for our bonus episode on Quentin Tarantino's Kill Bill: The Whole Bloody Affair and his idiosyncratic top 20 list. And if you enjoyed this episode, please share it with a friend! 

Episode 301 – Chair Company, Bagonia & the Anxiety of Being Extremely Online Matt and Bob are back “to pod” and this week they're double-featuring two very different brands of unhinged: Tim Robinson's The Chair Company on HBO and Yorgos Lanthimos' new black comedy Bagonia. First up, they break down why Chair Company's pilot might be an all-timer — deviled eggs, mall-restaurant discourse, wheelbarrow talk, and HR meetings about accidental upskirt eye contact — but why the season's tone, length, and “Scrooge porn” detours make it a tougher hang than I Think You Should Leave or Friendship. There's bouncer Mike, Wazy Wanes, giant wieners, and the eternal question: how many huge bits are too many huge bits? Then they head into the basement with Bagonia, digging into Jesse Plemons' beautifully weird performance, Emma Stone's corporate-speak alien CEO, and a story that sits somewhere between Ari Aster dread and Wes Anderson precision. They unpack conspiracy-brain vs. Big Pharma, torture in a foil-lined basement, corporate “no PTO, but take all the time you need” doublespeak, and an ending that somehow manages to combine telekinesis, exploding heads, and puffy tribunal aliens in a way that's both dark and oddly funny. Along the way, the guys shout out Jim Downey's late-career run, Will Tracy's Onion/Succession DNA, and close with a few rapid-fire watches on their radar: Train Dreams, J. Kelly, Task, Hamnet, and the Safdies' Christmas chaos ride Marty Supreme. If you've ever fallen down a conspiracy rabbit hole, worked in a soul-sucking office, or just love watching deeply weird men completely derail their lives, this one's for you

You read that correctly! Diddy hit up Madflavor! Joey Diaz and Lee Syatt break down why Joey never responded, Joey also talks starting the year in the hospital and ending it at his show in Virginia and why it meant so much to him, Joey's thoughts on Netflix buying HBO, why Joey misses getting chased and much more!  Show Notes:  Get 15% off your first Bioma order with code JOEY at https://gobioma.com/church F*%k your khakis and get The Perfect Jean 15% off with the code CHURCH15 at https://theperfectjean.nyc/CHURCH15 For a limited time, our listeners get 60% off FOR LIFE AND 2 Free Gifts at Mars Men when you use code JOEY at http://mengotomars.com/

En esta ocasión hablamos de la posible compra de Netflix a Warner y cómo podría afectar al cine para siempre. Además, conversamos de la razón real por la cual las empresas millonarias siguen gastando tanto dinero. Si quieres ver más contenido de Escuela de Nada, suscríbete a Patreon donde por $6 al mes tendrás acceso a un episodio exclusivo cada viernes. También podrás elegir el tópico principal de un episodio al mes en nuestro Tema de Oro y además tendrás acceso a los primeros 200 episodios del podcast. https://www.patreon.com/escueladenada Gracias a: NordVPN Deal ➼ https://nordvpn.com/edn Deal exclusivo de 4 meses gratis. MERU, la billetera digital global que te permite manejar tu dinero sin fronteras. Usa el código EDN. Descárgala aquí https://getmeru.com/referrals/?referralCode=EDN y mira lo fácil que es enviar dinero a LATAM y usar tu IBAN desde la app. Y por último, síguenos en nuestras redes sociales: ESCUELA DE NADA  Instagram: https://www.instagram.com/escueladenada/ Twitter: https://twitter.com/escueladenada Tik Tok: https://www.tiktok.com/@escueladenada Facebook: https://www.facebook.com/escueladenada Discord: https://discord.com/invite/S8bYM6A 0:00 Intro 4:15 Chris se desesperó y se afeitó completamente 7:00 Chris intenta explicar el corte de pelo de los sifrinos  11:30 ¿Netflix compró Warner Bros? 11:15 ¿Está muriendo el cine? 21:04 El origen de Netflix 23:08 El lost media y tener el contenido en físico 24:45 Por esta razón las empresas millonarias gastan tanto dinero 26:54 HBO y la polémica de Mad Men 29:00 Hulu es la mejor plataforma para ver stand up 33:27 Regresó la piratería con todo 37:30 Estamos hartos de que el contenido esté dividido en tantas plataformas 41:15 La experiencia del usuario está por el piso 43:48 La burbuja de la IA en el entretenimiento 48:30 Cada vez es más difícil estar al día con todo el contenido Learn more about your ad choices. Visit megaphone.fm/adchoices

Rohan Goswami, business reporter at Semafor, and Katie Campione, senior TV and labor reporter at Deadline, discusses the recent merger talks for Paramount and Netflix to buy up parts of Warner Bros. Discovery, including news of Paramount's "hostile" bid of $108 billion — one of the largest ever.

In this episode, Sean and Lexi brings a wild, off-the-cuff take on the 'Gremlins' film, aiming to break away from the usual format. Throughout the episode, the gang touches on various topics such as the new Gremlins movie, the chaotic nature of the original 1984 film, and its impact on the PG-13 rating. Additionally, the show delves into the potential Netflix acquisition of Warner Bros and HBO, industry drama, and hilarious mishaps with animated puppets. Join us as we get Holly Jolly Weird. 00:00 Introduction and Episode Disclaimer 02:39 Netflix and Warner Brothers Merger Drama 06:54 Paramount vs. Netflix: The Battle for Warner Brothers 11:44 Gremlins: A Nostalgic Dive 13:11 Middle School Crushes and Personal Anecdotes 15:07 Gremlins: The Movie Breakdown 35:09 Spielberg's Influence and Directorial Mysteries 39:34 Backlot Trivia and Movie References 40:29 Howie Mandel's Viral Moment 44:11 Gizmo and the Animatronics 49:08 Dark Themes in Gremlins 55:14 Cory Feldman and Cult Allegations 01:04:12 Favorite Gremlins and Scenes 01:05:32 Gremlins 2 and Future Speculations 01:16:02 Wrapping Up and Final Thoughts Learn more about your ad choices. Visit megaphone.fm/adchoices

We discuss the hottest topics from the week! Netflix Buys Warner Bros? Golden Globe Nominations Announced Quinten Tarantino Dislikes Paul Dano 'The Boys' Season 5 Trailer ‘28 Years Later: The Bone Temple’ Trailer ‘Ready or Not 2’ Trailer Scarlett Johansson is in talks to star in ‘The Batman: Part 2’? Nic Cage’s Spider-Noir Spinoff Restored Star Wars Getting Theatrical Release Vin Diesel's 'Rock 'em Sock 'em Robots' Paramount's New Movie Focus Pairings for Season 23 of Variety’s Actors on Actors & SO MUCH MORE! Join the conversation... FacebookInstagramTwitterTikTokYouTubeRate/Review/Subscribe:Apple PodcastsSpotifyYouTubeSee omnystudio.com/listener for privacy information.

Nick brings Hollywood Reporter TV critic Dan Fienberg back for a fresh round of TV talk, starting with the latest SNL episodes and the unexpected charm of “Pluribus.” Dan runs through his newest reviews, including the Netflix western “The Abandons” with Gillian Anderson and the HBO Max hockey drama and love story “Heated Rivalry,” and he offers an early look at the wonderfully unhinged HBO comedy special “Sarah Squirm: Live + In The Flesh.” They also size up the newly announced 2025 Golden Globe nominations across TV and film. Esmeralda Leon joins Nick afterward for a gleefully odd detour into the history of radiators and how these clunky metal giants actually heat a home. That leads to stories about terrible landlords, the misery of board meetings, and even a memorable Tom Skilling moment that sneaks in before the laughter dies down. [Ep 410]

Last week, it was announced that Netflix will acquire Warner Bros. in a $82.7 billion dollar deal with massive implications for the entertainment industry. The deal would leave the streaming service in charge of one of the biggest Hollywood film studios, HBO, and many famous pieces of intellectual property, including Harry Potter and DC Comics. But competitor Paramount is also vying for a deal. Georg Szalai, global business editor at The Hollywood Reporter, discusses what this deal would mean for Hollywood, responses from the industry, and the potential consequences for movie theaters and streaming services.

MIKEY said working 12-hour shifts will make people crash out at homeAlways be proud of yourself for your hustle and how far you have come! The Grind don't stopMikey said favorite thing to do is unfollow people on their birthday if they don't follow me backI get Diddy took everybody girl, but can we talk about how EVERY GIRL was a goer for a lame dude because he got some money?Netflix has confirmed it has entered into a definitive agreement to buy Warner Bros. including its film and television studios, HBO Max and HBO, in a deal worth $82.7 billion.Netflix didn't kill the movie theatre industry $25 small popcorn, $12 water bottles and people with no etiquette did.Mikey give his fight review of Pitbull vs Roach JrThe Cheesecake Factory on Wisconsin Ave NW.... closing the doors at the end of January after over 3 decades!!My lorddd they said 30,000 people applied for the housing voucher program in PG county!!Health department data shows there are more than 8,600 people living with HIV in Prince George's County — a disproportionately high number — and those between 20 and 39 years old have the highest rate of new cases.Southwest Airlines * Just Announced That Its Mandatory Policy to Require Plus-Size Passengers to Buy 2 Seats Will Go into Effect on January 27th, 2026！YouTuber Trap Lore Ross responds to backlash over his documentary on NBA YoungBoy's 19 alleged bodies, and fans calling him a fedSouth Carolina rapper Blacc Zacc could reportedly face the death penalty after being charged in a murder-for-hire plot and a RICO conspiracySummer Walker reveals she wanted to remove a rib after getting 4 breast surgeries and lipo.50 Cent's new documentary Sean Combs: The Reckoning debuted on Netflix on Tuesday (Dec. 2). The four-part series features several jaw-dropping claims about the disgraced media mogul.Lil Baby's "THE LEAKS" took over Times Square billboards last nightMelo was WEAK watching Kiyan on the mic after Syracuse's win over Tennessee Angel Reese and Paige Bueckers are teaming up for a Reese's x Oreo collaboration.Ray J had a few things to get off his chest about Jay-Z & Beyoncé. He hopped on IG to call out the couple for never showing love to Brandy when they visit “The Boy Is Mine Tour.”Cinnabon employee (Crystal Wilsey) who was reportedly fired for harassing a Somali couple and calling them the N-word & more has garnered significant online support, raising almost $20,000 alreadyRapper Toosii Commits to Syracuse as Part Of 2026 Football Signing ClassProsecutors want Kay Flock sentenced to 50 years. Sentencing set for Dec. 16FBG Casino, Future's brother, out on $100K bond amid fentanyl case. Russell Westbrook SURPASSES Allen Iverson for 14th ALL-TIME in stealsJAMES HARDEN HAS MOVED INTO THE TOP 10 SCORERS OF ALL-TIME20 years ago today, Lil Wayne dropped ‘Tha Carter II'Maino says he stopped going to strip clubs after realizing how dancers 'manipulate' men for money and then don't leave with them!!Man Goes Viral After Reacting to BM's Request to Let Her New Boyfriend Around Their Child — “Yes Please… Tell Him to Help”

This week, Blaine offers an overview of the podcast as a whole (0:02) before welcoming Donovan and Adam. Where has Adam been all this time (1:32)? From there in the non-spoiler section, they all discuss the worries of the Netflix purchase of Warner Bros and HBO (3:01) before discussing 'Stranger Things 5' and its return to Netflix (7:49). Also on Netflix is the movie 'Train Dreams,' which they question who would enjoy it (14:29) before a quick non-spoiler look at 'Plur1bus' on Apple TV and how it is holding (19:08). They give a similar check-in with the HBO series 'Welcome to Derry' (21:04) before Blaine explains in the non-spoiler section how 'The Beast In Me' on Netflix goes wrong (22:09). He offers 'The Chair Company' as a potential great one before moving on (23:18). In spoilers, the hosts discuss the excellence of 'Train Dreams' (25:59), what needs changed in 'Plur1bus' (51:10), and how 'Welcome to Derry' pales to another current series (1:05:23). For more, visit The Alabama Take website with this link.To sign up for the site's newsletter, visit the link here.To help both the podcast and The Alabama Take site itself, consider making a donation of any size with the link here.

Your favorite Blerds are back brining you all of their thoughts on everything happening in nerd culture! In this episode, Shannon, Jaja and James discuss the evolving landscape of streaming services, including the potential impact of major acquisitions in the entertainment industry. They delve into the excitement surrounding the upcoming Dune season two and HBO Max releases, while also reflecting on the trend of classic films returning to theaters. The conversation shifts to the controversial use of AI in anime dubbing, highlighting the backlash against poor-quality AI-generated voices. The hosts then explore innovative gadgets and the rise of foldable and trifold phones, debating their practicality and future in the tech market.   Time Stamps  00:00-Welcome Back to Nerd Culture 02:34-Gaming Adventures and Updates 05:22-TV Shows and Anime Catch-Up  07:56-Video Game News and Announcements 10:30-Xbox Full Screen Experience and Updates 13:08-Black Friday Recap and Console Discounts 15:57-CCXP Showcase Highlights 23:06-Streaming Preferences and Show Updates 25:02-Excitement for Upcoming Shows 26:17-Anime and Animation News 29:39-Netflix's Major Acquisition Plans 37:09-HBO and Dune Updates 39:09-Upcoming Movie Releases and Theatrical Trends 47:50-The Anticipation of Doomsday's Trailer 51:21-The Controversy of AI Dubbing in Anime 54:05-Innovative Gadgets and Tech Trends 01:03:38-The Future of Foldable Phones 01:10:34-Wrap-Up and Community Engagement   Make sure to subscribe on Youtube, Apple Podcasts, Spotify or your podcast app of choice!

Andrew Lopez is on FX's The Bear and Apple TV's Platonic with some of the biggest stars in Hollywood. He also has his own show in development with HBO. But it wasn't long ago that he was a kid growing up in Pella. Then, Donna Reed is beloved for roles like Mary Bailey in It's a Wonderful Life and Donna Stone in The Donna Reed Show. She was born in Denison, where the Donna Reed Foundation keeps her legacy alive.These segments were produced in September and October 2025.

Mom Curious is a weekly podcast produced by Hoff Studios in New York City, hosted by cultural voice Daniella Rabbani. Each episode dives into candid, thought-provoking conversations about motherhood, womanhood, and the messy, magical spaces in between. With humor, honesty, and curiosity, Daniella sits down with women of all stripes to talk about what it really means to raise children—and ourselves—in today's world. About the Host: Daniella Rabbani (@DaniellaRabbani on Instagram) is a Brooklyn-based storyteller, actress, singer, and podcast host. On screen, she's appeared in HBO's Scenes from a Marriage, Amazon's The Better Sister, FX's The Americans, and films like Ocean's 8. On stage, she's headlined concerts worldwide, from Jazz at Lincoln Center to the State Jewish Theater in Warsaw. Through her podcast Mom Curious, Daniella blends her creative spirit and lived experience as a mother of two to spark conversations that are raw, hilarious, and deeply relatable. Her mission: to create a community where mothers (and those curious about motherhood) feel seen, supported, and inspired. This Week's Guest: Becca McCarthy is the Co-Founder, President, and COO of Evolv, a biotechnology company pioneering the next generation of biomimetic oral peptides designed to transform human health from the inside out. At Evolv, Becca leads business strategy, operations, and commercialization, bridging cutting-edge science with real-world impact as the company brings its first-in-class oral peptide innovations to market. A serial entrepreneur and operator, Becca has founded and co-founded eleven ventures across wellness, sports, technology, and biotech, with five successful exits. She's known for scaling ideas into industry-shifting brands and for her ability to bring direction, clarity, and momentum to high-growth environments. Before Evolv, she held executive roles at leading performance and wellness companies including House of Athlete, FORME, and SLT, and today also serves as a Venture Partner at Anthropy Partners, supporting early-stage companies advancing human potential and performance. Becca's career is defined by building what's next, transforming breakthrough science into movement, brand, and business. More at evolvlife.com and @evolvvlife on Instagram.  Learn more about your ad choices. Visit megaphone.fm/adchoices

El viernes pasado Netflix anunció un acuerdo para adquirir las divisiones de estudios de cine y televisión y el servicio de streaming HBO Max de Warner Bros por 72.000 millones de dólares, un importe que asciende a los 82.700 millones si incluimos la deuda. La transacción, en efectivo y acciones, valora cada acción de Warner Bros en 27,75 dólares, es decir, por encima de lo que se están pagando en el mercado. Esta operación, aprobada ya por los consejos de ambas compañías, se concretará tras la separación de los activos de redes de cable de Warner (CNN, TNT y Discovery Channel) que conformarán una nueva sociedad llamada Discovery Global. El acuerdo se materializará en unos meses cuando haya pasado el filtro regulatorio. El anuncio es un capítulo más una intensa batalla de ofertas iniciada en septiembre de este año, cuando Paramount Global, presidida por David Ellison, el hijo del dueño de Oracle, Larry Ellison, se ofreció a comprar la compañía en su totalidad. Respaldado por fondos soberanos de Oriente Medio y con lazos con la administración Trump, Paramount ofrecía 30 dólares por acción. Su objetivo era fortalecer Paramount+ sumándole el amplio catálogo de Warner para competir con gigantes como Disney y Netflix. Ellison no se ha dado por vencido. Ayer mismo lanzó una OPA hostil para tentar de nuevo a los accionistas. Si el acuerdo sigue su curso Netflix, pionera del streaming, se fortalecerá apuntalando su liderazgo. Se queda con Warner Bros. Studios, DC Comics, y franquicias legendarias como Harry Potter, Batman, Superman, Juego de Tronos, Friends, The Big Bang Theory, Los Soprano, y clásicos como Casablanca y El Mago de Oz. HBO, fundada en 1972 como un canal premium de cable especializado en series y películas, aporta un archivo inmenso de más de 50 años de producción televisiva. Con presencia en todo el mundo, la fusión crearía una inmensa plataforma de video a la demanda ya que suma los 300 millones de suscriptores de Netflix a los 128 millones de HBO Max y Discovery+. Esto potenciará la retención de usuarios, permitirá reajustes de precios y afectará de lleno a la producción cinematográfica. El acuerdo plantea una serie de interrogantes regulatorios que podrían frustrar la operación. A eso mismo se agarra Paramount, que ha presionado intensamente en Washington acercándose al equipo de Trump. Para Netflix no está todo perdido. El regulador es independiente y ya en el pasado falló a favor de fusiones similares. El hecho es que en un mercado hipercompetitivo en el que Netflix se mantiene a la cabeza pero pierde terreno ante YouTube y Twitch (gratuitos y financiados con publicidad), esta fusión redefine el sector. En principio HBO Max se mantendrá, pero no sabemos durante cuanto tiempo y si seguirá explotando en exclusiva su catálogo. Para los consumidores se reduce el abanico de elección de plataforma y quizá suban los precios. En Hollywood, entretanto, asumen que la industria del entretenimiento es cosa ya de las grandes tecnológicas que poco a poco han terminado haciéndose dueñas de todo. En La ContraRéplica: 0:00 Introducción 3:40 Batalla por la Warner 37:06 “Contra el pesimismo”… https://amzn.to/4m1RX2R 39:05 Cambio de Gobierno en Venezuela 44:39 Campaña sincronizada contra la UE 50:31 Acoso en las redes sociales · Canal de Telegram: https://t.me/lacontracronica · “Contra el pesimismo”… https://amzn.to/4m1RX2R · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #warner #netflix Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

The entertainment world is buzzing — can Netflix really buy Warner Bros? In this episode of Eat Sleep Nerd, we dive into the shocking news, rumors, and industry chatter surrounding one of the biggest potential acquisitions in Hollywood history.From what this could mean for DC movies, HBO, Warner Bros Games, and the entire Warner Bros catalog, to how Netflix might reshape the streaming landscape, we break down every angle with our usual mix of nerdy analysis and chaotic fun.

In an age of jet travel, universal "birthright citizenship" is insanity. But will the Supreme Court actually be willing to say so? The show discusses the most important court case of Trump's second term. Then, Jack Posobiec dissects Netflix's bid to buy Warner Bros. and HBO, which could give woke gangsters (including Obama) a dominant position over America's most popular cultural products. Watch every episode ad-free on members.charliekirk.com! Get new merch at charliekirkstore.com!Support the show: http://www.charliekirk.com/supportSee omnystudio.com/listener for privacy information.

There's a growing fight in Hollywood over some of the biggest characters on screen, like Tony Soprano, Daenerys Targaryen and Harry Potter. All feature in shows and films owned by Warner Brothers Discovery, and now two companies are fighting to get a piece of the action. First, on Friday, Netflix struck an $83 billion deal to acquire Warner Brothers Studios and HBO. Then, just days later, Paramount upped the ante with a higher bid of $108 billion for Warner Brothers Discovery – which includes not just the movie studios and HBO, but also WBD's cable channels, like CNN.As corporate giants vie to take over Warner Brothers, we ask: What are the stakes for Hollywood and the news business? Editor's note: Warner Bros. Discovery is a financial supporter of NPR.For sponsor-free episodes of Consider This, sign up for Consider This+ via Apple Podcasts or at plus.npr.org.  Email us at considerthis@npr.org.This episode was produced by Jordan-Marie Smith, Mia Venkat and Karen Zamora. It was edited by Pallavi Gogoi and Christopher Intagliata. Our executive producer is Sami Yenigun.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

It's an amazing business story and one that has Hollywood and everyone who streams movies and shows watching with great interest. Could Netflix be about to purchase Warner Brothers and HBO? If so, what does it mean for how you see most of your favorite shows and movies? Christian Toto from HollywoodInToto.com breaks it down. President Trump has appointed Scott Bessent to be his "affordability" point man. The National Taxpayers Union has tracked the fast states to grow and lose population and Brandon Arnold who's the Executive VP shares the data. Erin Maguire is back for Monday's with Maguire to discuss how the GOP can or cannot weather this affordability discontent among the electorate and what it will mean for midterms. While two states have helped the GOP net 7 seats in total so far. Plus, too many young people think "words are violence" and Stigall is convinced the latest viral story of a fired Cinnabon employee in Wisconsin is a grand hoax. -For more info visit the official website: https://chrisstigall.comInstagram: https://www.instagram.com/chrisstigallshow/Twitter: https://twitter.com/ChrisStigallFacebook: https://www.facebook.com/chris.stigall/Listen on Spotify: https://tinyurl.com/StigallPodListen on Apple Podcasts: https://bit.ly/StigallShowSee omnystudio.com/listener for privacy information.

Ana Kasparian joins Bill Maher for a wild Club Random ride that swerves from Armenian moms with rolling pins and post-coital crossword puzzles to explosive debates on Israel-Gaza, trans rights, and California chaos. They spar thoughtfully on the AI job apocalypse and crime reforms gone wrong, Ana gets personal about her pandemic marriage, leaving the progressive bubble, and why she chose empathy over endless political rage. They clash hard on Israel-Gaza but never shut each other down– proving you can disagree fiercely and still respect the hell out of each other. Smart, funny, unfiltered, and surprisingly vulnerable. Subscribe to the Club Random YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/c/clubrandompodcast?sub_confirmation=1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Watch episodes ad-free – subscribe to Bill Maher's Substack: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://billmaher.substack.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Subscribe to the podcast for free wherever you listen: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/ClubRandom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Support our Advertisers: Make hiring a little merrier! Try ZipRecruiter for free at https://www.ziprecruiter.com/random  Head to https://www.squarespace.com/CLUBRANDOM to save 10% off your first purchase of a website or domain using code CLUBRANDOM.  Try Claude for free at https://www.claude.ai/clubrandom Smoke-free satisfaction at https://www.zyn.com  Buy Club Random Merch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://clubrandom.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit https://podcastchoices.com/adchoices ABOUT CLUB RANDOM Bill Maher rewrites the rules of podcasting the way he did in television in this series of one on one, hour long conversations with a wide variety of unexpected guests in the undisclosed location called Club Random. There's a whole big world out there that isn't about politics and Bill and his guests—from Bill Burr and Jerry Seinfeld to Jordan Peterson, Quentin Tarantino and Neil DeGrasse Tyson—talk about all of it.  For advertising opportunities please email: PodcastPartnerships@Studio71us.com ABOUT BILL MAHER Bill Maher was the host of “Politically Incorrect” (Comedy Central, ABC) from 1993-2002, and for the last fourteen years on HBO's “Real Time,” Maher's combination of unflinching honesty and big laughs have garnered him 40 Emmy nominations. Maher won his first Emmy in 2014 as executive producer for the HBO series, “VICE.” In October of 2008, this same combination was on display in Maher's uproarious and unprecedented swipe at organized religion, “Religulous.” Maher has written five bestsellers: “True Story,” “Does Anybody Have a Problem with That? Politically Incorrect's Greatest Hits,” “When You Ride Alone, You Ride with Bin Laden,” “New Rules: Polite Musings from a Timid Observer,” and most recently, “The New New Rules: A Funny Look at How Everybody But Me Has Their Head Up Their Ass.” FOLLOW CLUB RANDOM https://www.clubrandom.com https://www.facebook.com/Club-Random-101776489118185 https://twitter.com/clubrandom_ https://www.instagram.com/clubrandompodcast https://www.tiktok.com/@clubrandompodcast FOLLOW BILL MAHER https://www.billmaher.com https://twitter.com/billmaher https://www.instagram.com/billmaher Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ah Beth, you deserved so much better than this. To help mark this moment, we have special guest Becky Anderson from the What's On Tonight podcast, who's favorite TWD character is Beth.  Mentioned: Check out Becky's What's On Tonight Podcast: Spotify: https://open.spotify.com/show/6CYZjrcBK1U7qsQyLwhALf?si=43c79b0e908e4b01 Facebook: https://www.facebook.com/people/Whats-On-Tonight/61566882612402/  Next up: Back to the rewatch! It's The Walking Dead S5E6 “Consumed. Let us know your thoughts! You can email or send a voice message to talk@podcastica.com.  Or check out our Walking Dead Facebook group, where we put up comment posts for each episode, at facebook.com/groups/deadcast. Check out Jason's other podcast, Wax Episodic: Did I mention Karen is back? Yep, for our coverage of the new Apple TV show Pluribus, by Vince Gilligan, the creator of Breaking Bad. And Jason and Shawn (from Strange Indeed) are also covering HBO's It: Welcome to Derry, the horrific prequel series to the recent It movies based on the Stephen King book… Available wherever you get podcasts, or at waxepisodic.com   Come join our Discord and chat with me, Lucy, and other listeners:  Don't know what Discord is? It's kind of like a chat forum, our own little private Podcastica space to talk about The Walking Dead, other shows, and whatever else we want. It's free, and it's fun. And Lucy is in there. Invitation link: https://discord.gg/6WUMt3m3qe  Show support and get ad-free episodes and a bunch of other cool stuff: patreon.com/jasoncabassi  Or go to buymeacoffee.com/cabassi for a one-time donation. Thank you! Learn more about your ad choices. Visit megaphone.fm/adchoices

F. Murray Abraham has appeared in more than 80 films including Amadeus (Academy Award, Golden Globe, and L.A. Film Critics Awards), The Phoenician Scheme, The Name of the Rose, Finding Forrester, Scarface, The Ritz, The Grand Budapest Hotel, and Inside Llewyn Davis. A veteran of the stage, he has appeared in more than 90 plays, among them Uncle Vanya (Obie Award), Krapp's Last Tape, Trumbo, A Christmas Carol, the musical Triumph of Love, Cyrano de Bergerac, King Lear, Macbeth, The Merchant of Venice, Angels in America (Broadway), Waiting for Godot, and It's Only a Play. Mr. Abraham's work in experimental theater includes collaborations with Joe Chaiken, Pina Bausch, Time and Space Ltd, and Richard Foreman. He made his NY debut as a Macy's Santa Claus. He starred in the second season of HBO's “The White Lotus,” for which he received Emmy and Golden Globe nominations for Outstanding Supporting Actor in a Drama Series. Previously, he was a series regular on “Homeland” (2 Emmy nominations). He's appeared with Luciano Pavarotti, Maestros Levine, Tilson Thomas, Mazur, and Bell, and he made his solo singing debut at Carnegie Hall's Weill Recital Hall. Mr. Abraham's book, A Midsummer Night's Dream: Actors on Shakespeare, is published by Faber & Faber. He is proud to be the spokesman for the MultiFaith Alliance for refugees worldwide. Learn more about your ad choices. Visit podcastchoices.com/adchoices

We start with the hilarious viral photo of Pete Hoffman's Christmas sweatpants that sparked the unforgettable "thick guy with a tiny choad" joke. Lamar Jackson's fiery response to being called "overrated," the Jets extending their playoff drought to 15 years, the Chiefs' loss fueled by a disastrous Andy Reid 4th-down call, and the Bills' comeback win over the Bengals thanks to two key Joe Burrow interceptions. The hour wraps up with the controversial exclusion of Notre Dame from the College Football Playoff and a surprising caller story about an HBO show featuring gay hockey players!

Reposted from The ‘Cast of Us, which you can find at: https://podcastica.com/podcast/the-cast-of-us — Ah Beth, you deserved so much better than this. To help mark this moment, we have special guest Becky Anderson from the What's On Tonight podcast, who's favorite TWD character is Beth.  Mentioned: Check out Becky's What's On Tonight Podcast: Spotify: https://open.spotify.com/show/6CYZjrcBK1U7qsQyLwhALf?si=43c79b0e908e4b01 Facebook: https://www.facebook.com/people/Whats-On-Tonight/61566882612402/  Next up: Back to the rewatch! It's The Walking Dead S5E6 “Consumed. Let us know your thoughts! You can email or send a voice message to talk@podcastica.com.  Or check out our Walking Dead Facebook group, where we put up comment posts for each episode, at facebook.com/groups/deadcast. Check out Jason's other podcast, Wax Episodic: Did I mention Karen is back? Yep, for our coverage of the new Apple TV show Pluribus, by Vince Gilligan, the creator of Breaking Bad. And Jason and Shawn (from Strange Indeed) are also covering HBO's It: Welcome to Derry, the horrific prequel series to the recent It movies based on the Stephen King book… Available wherever you get podcasts, or at waxepisodic.com   Come join our Discord and chat with me, Lucy, and other listeners:  Don't know what Discord is? It's kind of like a chat forum, our own little private Podcastica space to talk about The Walking Dead, other shows, and whatever else we want. It's free, and it's fun. And Lucy is in there. Invitation link: https://discord.gg/6WUMt3m3qe  Show support and get ad-free episodes and a bunch of other cool stuff: patreon.com/jasoncabassi  Or go to buymeacoffee.com/cabassi for a one-time donation. Thank you! Learn more about your ad choices. Visit megaphone.fm/adchoices

The destruction of classic Hollywood is here! Lionel explains how Netflix's colossal $72 billion deal to acquire Warner Brothers Discovery (including HBO and DC Studios) signals the rise of a media colossus that could remake culture and politics. This isn't just a merger; it's the reboot of the game with one dominant gatekeeper. Plus, Lionel dives into the terrifying reality of AI in showbiz, from the controversial AI actress Tilly Norwood to the digital mapping of production assets, asking: Is our cultural repository being destroyed for maximal global efficiency? Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textNetflix just shocked Hollywood with a $72B bid for Warner Bros, the biggest media deal of the decade. But behind the headlines is a fight over market share, regulation, and the future of streaming.In this episode, we break down:Why Netflix is suddenly willing to buy instead of buildHow HBO, Warner Bros, and gaming change Netflix's strategyThe regulatory risk (and why Trump and Paramount matter)Whether this deal can ever pay for itselfWhat this means for the future of streaming bundles and pricingPartner Links:Learn more about NordStellar's Threat Exposure Management Program; unlock 20% off with code BLACKFRIDAY20 until Dec. 10, 2025Episode Links:Netflix press releaseNetflix set to buy Warner Bros. in deal valued at $83 billion (ABC News)Netflix Co-Founder LinkedIn PostChapters: 01:20 Christmas tree banter and setting the stakes 03:05 What Netflix is actually buying from Warner Bros 07:00 Why Netflix wants Warner Bros and HBO 11:45 Can this $72B deal ever pay off? 16:30 Ads, bundles and the future Netflix business model 20:50 Antitrust risk, Trump factor and hostile bids 24:30 Disney, YouTube and the real competitive set 28:10 When M&A stops being rationalListen to the Market Outsiders podcast, the new daily show with the Management Consulted teamConnect With Management Consulted Schedule free 15min consultation with the MC Team. Watch the video version of the podcast on YouTube! Follow us on LinkedIn, Instagram, and TikTok for the latest updates and industry insights! Join an upcoming live event - case interviews demos, expert panels, and more. Email us (team@managementconsulted.com) with questions or feedback.

The Governor General's Award-winning playwright Michael Healey (The Master Plan, The Drawer Boy) is putting a Canadian corporate drama front and centre in his new play, “Rogers v. Rogers.” The story, which feels like a Canadian version of the hit HBO show “Succession,” is about the real-life family battle for control of Rogers Communications — one of the big three telecommunications and media giants in Canada. Michael joins Tom Power to tell us why he wanted to bring this story of corporate chaos to the stage, and why he opted to make it a one-actor play, starring Tom Rooney.

This week the HBO show does some world building based on a throwaway concept from the original comic book as we see Angela's childhood in the 51st state, Vietnam. In the present day there's an elephant in the room and Laurie learns the bad guy plan and then someone gets a hammer to the forehead. Multiple times. Before that we discuss the Netflix show Dark Tourist, when a phone call is better than texting, who Scarlett Johansson might play in The Batman Part II and whether Weird Al is racist against Italians. If you don't care about any of that skip to 1:05:52.Want your questions answered on the show? Send an email to ask.cinema.sangha@gmail.com and ask away, and ask about pretty much anything at all. Make sure your subect line contains the name of the show on which you want your question answered. One question per email, please, but feel free to send in multiple emails!Listen to our four hour extravaganza about The Last Jedi, available only to those at the $7 and above levels. It's a real discussion, no culture war BS and no acrimony towards those who don't like it!Want to show the world you support this weird podcast? Check out our supply of merch that is mostly made up of in-jokes for Derek. Click here!Spread the word! Tell your friends about us! And go to our YouTube channel and subscribe to our video feed!

In this episode of JJ Meets World, JJ and Tucker break down the massive news shaking the entertainment industry: Netflix has announced a planned $72 billion acquisition of Warner Bros. — bringing HBO, DC, Harry Potter, Game of Thrones, and decades of iconic film and television history under one company.   The conversation takes listeners on a nostalgic but deeply analytical journey through the evolution of streaming, starting with Netflix's early days as a DVD-by-mail service, through the death of video stores, the rise of binge-watching, and the explosion of subscription media. JJ and Tucker unpack how Netflix used viewer data and analytics to rewrite Hollywood business models, the dangers of corporate consolidation, and what happens when creators, audiences, and entire libraries become disposable for tax write-offs.   They dive deep into: The cancellation and tax write-off of films like Batgirl and Coyote vs. Acme What this merger means for HBO Max, DC films, and Warner franchises Why Netflix owning the Warner Bros studio lot itself is a huge power shift How subscription pricing, data ownership, and media monopolies affect consumers Whether Netflix will enter theme parks, merch, and in-platform commerce next Why Disney, Apple, and Netflix may be on an eventual collision course   This episode isn't just about the merger — it's about the future of entertainment, the death of ownership, and the new digital empires replacing Hollywood studios as we once knew them.   00:00 – Netflix Buys Warner Bros: The $72 Billion Shockwave 01:10 – Netflix's DVD-by-Mail Origins & the Death of Video Stores 05:45 – The Birth of Streaming & the Rise of Binge-Watching 09:20 – Netflix's Data Empire & Original Content Strategy 13:30 – The Subscription Economy & Media as a Service 17:00 – HBO, Paramount+, and the Streaming Land Grab 19:00 – Netflix Enters Full-Scale Content Production 22:00 – Theatrical Releases vs Streaming Wars 26:30 – Warner Bros Tax Write-Off Controversies (Batgirl & Coyote vs. Acme) 30:10 – The True Power of Netflix's Subscriber Base 32:30 – Disney, Fox & the MCU Power Expansion 33:00 – Netflix's Official Statement on the Warner Bros Deal 35:00 – Why the Warner Bros Studio Lot Is a Huge Power Move 37:30 – What Happens to HBO Max & Warner Streaming? 39:20 – Netflix Inheriting HBO Television Networks 42:10 – Theme Parks, Licensing & Netflix's Next Frontier 45:15 – In-Platform Shopping, Ads & Media Monetization 46:45 – Could Netflix Merge With Disney or Apple Next? 48:00 – Final Thoughts & The Pillsbury Cinematic Universe   For more episodes of JJ Meets World, or to find out how you can support this podcast, visit http://www.jjmeetsworld.com/ Patreon - https://www.patreon.com/jjmeetsworld Merch Shop - https://shop.spreadshirt.com/jj-meets-world Apple Podcasts - https://podcasts.apple.com/us/podcast/jj-meets-world/id1367045742 Spotify - https://open.spotify.com/show/0L9IGvJuUjFK0UOR9AIF5u YouTube - https://www.youtube.com/channel/UCh1WZrpC-XE57mRzi1bzPow Google Play - https://play.google.com/music/listen?u=0#/ps/Iwnpufw6f5qromxbbw6pq32rsya Facebook - https://www.facebook.com/jjmeetsworldpodcast/

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

A TRULY STAND-OUT HOUR OF TELEVISION!! Gift Someone (Or Yourself) A Stranger Things RR Tee! https://shorturl.at/hekk2 IT: Welcome to Derry Full Episode Reaction Watch Along:   / thereelrejects   Vecna: The Mind Slayer tee by @G9DESIGN & Dr. Stranger Things tee by @SASAMIIKU — perfect for hardcore fans & collectors alike! IT (2017) Movie Reaction:    • IT (2017) SCARED THE CRAP OUT OF US!! MOVI...   IT: Chapter Two (2019) Movie Reaction:    • IT CHAPTER 2 (2019) IS STILL FREAKIN' SCAR...   With The Running Man & The Long Walk out + Stephen King's "IT" more popular than ever, the Scream Queens (Tara & Roxy) + Andrew Gordon (Cinepals) RETURN for their penultimate IT: Welcome to Derry Reaction, Recap, Commentary, Breakdown, & Spoiler Review! Roxy Striar, Tara Erickson, & Andrew Gordon react to IT: Welcome to Derry Episode 7 — “The Black Spot,” the penultimate chapter of HBO's Stephen King prequel series. Set in 1962 Derry, Maine and developed by Andy Muschietti, Barbara Muschietti, and Jason Fuchs, the show has been steadily peeling back the town's poisoned history and Pennywise's 30-year cycle of fear. Episode 7 airs Sunday, December 7, 2025 on HBO and Max, and multiple official previews say it's extra-long (feature-length) and pivotal, treating the Black Spot tragedy as a major turning point for the season's mythology. As teased at the end of Episode 6, “The Black Spot” centers on the looming attack against the Black-owned club — an event long referenced in Stephen King's IT lore — and shows how human hatred and Pennywise's influence feed into one another. Previews suggest the night erupts into chaos, pulling the Hanlons, Hallorann, and the kids into a desperate attempt to survive and uncover what's really driving Derry toward violence, while the town's buried history threatens to ignite into something supernatural and catastrophic. Follow Roxy Striar YouTube:https://www.youtube.com/@TheWhirlGirls Instagram: https://www.instagram.com/roxystriar/?hl=en Twitter:  https://twitter.com/roxystriar Follow Tara Erickson: Youtube: https://www.youtube.com/@TaraErickson Instagram:  https://www.instagram.com/taraerickson/ Twitter:  https://twitter.com/thetaraerickson Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Rough & Tumble JUST opened a new location in Columbia City so we brought back the Founder & Owner to fill us in on the behind-the-scenes of what it's like opening a second location of her iconic sports bar in Seattle. Jen Barnes shares what challenges she had to overcome to be able to stream women's sports in her restaurants and the legal battle she got into with HBO. We talk about how the minimum wage increase has impacted her business, why many restaurants are combining themes/entertainment with their brick and mortar, and how Seattle is preparing for FIFA! You'll also hear the exclusive story of how she put a basketball court floor in her bar...All of this along with your top news stories.Top Stories1. Rough & Tumble opens second location in Columbia CityFormidable article about Jen2. Picklewood opens in SODOPSBJ article3. The Ink Drinker opens in Ballard (no article)4. Pike Brewing closes locations in Pike Place & affordability issues for small businessesEater article & Seattle Times articleAbout guest Jen Barnes - Founder & Owner, Rough & Tumble:Three years ago, Jen Barnes launched one of the world's first sports bars dedicated to elevating both women's and men's sports. Since then, she has partnered with more than a dozen teams and leagues, become a part-owner of Seattle's Salmon Bay FC women's soccer team, and is now preparing to open Rough & Tumble's second location. Before founding the bar, Jen built her career in the corporate startup and legal industry.About host Rachel Horgan:Rachel is an independent event producer, emcee and entrepreneur. She worked for the Business Journal for 5 years as their Director of Events interviewing business leaders on stage before launching the weekly podcast. She earned her communication degree from the University of San Diego. Contact:Email: info@theweeklyseattle.comInstagram: @theweeklyseattleWebsite: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.theweeklyseattle.com

"האינטרסנטים", הפודקאסט הכלכלי היומי של TheMarker. יום ראשון, בעזה יש חטוף חלל אחד, באולפן סמי פרץ ואיתן אבריאל. (02:54) הממשלה אישרה בשבוע שעבר את תקציב המדינה לשנת 2026 שכולל הורדת מיסים, הגדלת הגירעון, תקציב ביטחון שגבוה ב-60% ממה שהכרנו לפני המלחמה וגם קיצוץ רוחבי שיגיע בהמשך. בדבר הכי חשוב לכלכלה – שילוב החרדים בצבא ובמשק – התקציב לא עוסק, והוא גם לא מספק שום בשורה בתחום האזרחי. האם אנחנו עומדים בפני עוד שנה ביטחונית עם מעט מאוד אוויר למערכות האזרחיות? גל הרשקוביץ, לשעבר ראש אגף התקציבים במשרד האוצר, יהיה איתנו. (12:07) כימיקלים לישראל שואבת הרבה מאוד מים מים המלח כדי לזקק מהם את המלח, אך משום מה, היא לא שילמה על המים האלה עד שהגיע לובי 99, שניהל מאבק בנושא והצליח לשכנע את בג"צ שהחברה צריכה לשלם כחצי מיליארד שקל. ד"ר ועו"ד עינת סולניק, היועצת המשפטית של לובי 99, תספר על המאבק המעניין הזה. (31:09) עסקת ענק בתעשיית הבידור האמריקאית: נטפליקס רוכשת את וורנר ברדרס-דיסקברי ב-83 מיליארד דולר, בעסקה שמבטיחה לשנות את פני התעשייה. הרכישה מעניקה לנטפליקס נכסים יקרי ערך כמו סופרמן ובאטמן, את רשת HBO עם הסדרות המצליחות שלה, וגם זכויות על הארי פוטר. אפי ליפשיץ, שהוא יועץ תוכן ובעבר היה מנהל מוצר בכיר בוורנר ברדרס, יספר כאן על המהלך. See omnystudio.com/listener for privacy information.

Desde que ya esta aquí la gripe y sus derivados, en Diciembre… C.J. Navas, Jorge y Don Carlos repasan la actualidad seriéfila de los diferentes canales, cadenas y plataformas, los estrenos de los próximos días, las ficciones más vistas por su audiencia, contestan a las preguntas de los oyentes y dan sus recomendaciones habituales de cada semana. Recomendaciones de la Semana: Don Carlos: Reykjavik Fusion / Puñales por la espalda Jorge: Landman C.J.: Pluribus / IT: Bienvenidos a Derry ¡Esperamos tus audiocomentarios!: Mándanos tus mensajes por WhatsApp al +34 604 41 64 49 o a ⁠⁠https://fueradeseries.com/mensajes⁠⁠ Vota en los Power Rankings: Participa en la elaboración de nuestros Power Rankings votando a tus series favoritas de la semana en: ⁠⁠https://fdseri.es/33u15eb Learn more about your ad choices. Visit megaphone.fm/adchoices

תרבות יום א' עם גילי איזיקוביץ וניב הדס: התחלנו בעסקת המיליארדים של נטפליקס שהודיעה כי היא רוכשת את וורנר בראדרס ב-83 מיליארד דולר. זה כולל את האולפנים, ההפקה, את HBO, את שירותי הסטרימינג ועוד ועוד, וזה הופך אותה לענקית תוכן גדולה יותר ממה שהיתה עד כה. מה זה אומר על חיינו והאם באטמן בדרך לטלוויזיה? האורחת המרכזית שלנו היא אתי ציקו הבמאית של "נאנדאורי" – שהוא אחד הסרטים הישראלים הכי יפים שיצאו בשנים האחרונות. התחלנו עם ההשוואה המתבקשת ל"חתונה מאוחרת", המשכנו באתגרים של עשיית סרט בגאורגיה שכולל עבודה בארבע שפות, ותהינו למה דווקא במאים גיאורגים מצלמים סצנות מין כל כך טוב. דיברנו גם על "המופקרים" (נטפליקס), על "ג'יי קלי" (נטפליקס) ועל האלבום החדש של HTRK.See omnystudio.com/listener for privacy information.

Netflix just made the biggest bet in its history: an $83 billion deal to acquire Warner Bros and HBO. In today's deep dive, Zaid breaks down how this deal came together, why Netflix is taking on $75 billion in debt, and what the bull and bear cases look like for investors. We also cover the regulatory battle ahead and how rivals like Paramount could reshape the outcome.

Nagyon úgy néz ki, hogy a Netflix bekebelezi a Warner Bros. Discoveryt, és vele az HBO-t is. Hírmagyarázó podcastunkban körbejárjuk röviden a témát, majd elemezzük a Herendi Gábor új filmje, a Szenvedélyes nők kapcsán lezajlott szájkaratét. Plusz: hozzuk a kedvenc filmes hírünket, és eláruljuk, melyik heti bemutatóra (nem) érdemes beülni.Menetrend:00:01:05 - Tényleg megeszi a Netflix az HBO-t00:10:50 - A hét híre00:12:05 - A hét (magyar) témája: a filmesek vs. kritikusok csörte00:31:50 - Hírek, amiknek örültünk a héten00:39:20 - Dénes elmesél egy trailert00:42:25 - Fogyasztóvédelmi rovat!00:44:35 - Ajánló: ezeket nézd, ha jót akarsz

We brought in some help in this episode in the shape of our special HBO correspondent Kyle to break down the announced merger between Netflix and Warner Brothers and then we broke down, emotionally, because Marvel Zombies is some hard work, you guys. 

This week on PREVIOUSLY ON…, Jason and Rosie discuss the stunning announcement that Netflix has agreed to buy Warner Bros. in an $82.7 billion deal and what this means for the future of the movie industry, Zootopia 2's impressive first week box office haul and the latest trailers for 28 Years Later: The Bone Temple, HBO's latest GoT-universe series A Knight of the Seven Kingdoms and Ready or Not 2: Here I Come. Follow Jason: IG & Bluesky Follow Rosie: IG & Letterboxd Follow X-Ray Vision on Instagram Join the X-Ray Vision DiscordSee omnystudio.com/listener for privacy information.

Subscribe to Throwing Fits on Patreon. Some of you mad men stay smoking meat. This week, Jimmy and Larry are not wrapping the year up just yet on getting fat so clothes fit better, the worst time to try quitting nicotine, walking into the Stoffa store is the most dangerous game, leather jacket math, Lawrence experiences his parents experiencing a drag show for the first time, every function has that one guy who doesn't match the vibe, dolphins are so majestic they might actually be fake, hitting the schvitz with the fellas, our Chrome Hearts king 4G was robbed, Chanel takes NYC but in a touristy way that was kinda beneath them, what kind of cultural impact could HBO's Mad Men 4K remaster have, Vanderpump Rules' reboot vs. Southern Charm's routine but either way straight men are running this Bravo shit, the reckoning of the Diddy doc, James reveals his Spotify Wrapped live on pod as is now customary and much more.

Netflix has officially won the bidding war for Warner Bros, and this could become the biggest entertainment shake-up in modern Hollywood history. Today on The Kristian Harloff Show, we break down what Netflix buying Warner Bros means for DC Studios, HBO, Warner Bros Discovery, theatrical releases, streaming competition, and the future of iconic franchises like Batman, Superman, Harry Potter, Lord of the Rings, DCU, and more. This episode covers the full fallout of Netflix winning the Warner Bros acquisition, including how this could affect the DC Universe reboot, upcoming slate decisions, leadership changes, and what this merger means for the future of streaming dominance. SPONSORS: AURA FRAMES: Exclusive $35 off Carver Mat at https://on.auraframes.com/KRISTIAN. Promo Code KRISTIAN NUTRAFOL: Nutrafol is offering our listeners $10 off your first month's subscription plus free shipping when you go to https://www.Nutrafol.com and use promo code KRISTIAN.  BUTCHER BOX: As an exclusive offer, our listeners can get free steak in every box for a year PLUS $20 off your first box when you go to https://www.ButcherBox.com/KRISTIAN RIDGE: Take advantage of Ridge's Biggest Sale of the Year and GET UP TO 47% Off  by going to https://www.Ridge.com/KRISTIAN #Ridgepod

An L.A. based podcast brought to you by two forensic psychologists who dissect the intersections where true crime, forensic psychology, and entertainment meet. Episode Description: Crazy In Love: Erotomania Dr. Scott & Dr. Shiloh get into the subcategory of Delusional Disorder, Erotomania; to have the delusional or false belief of a secret or known admirer. This disorder is often the trigger for obsessive celebrity stalkers and has been the cause for numerous violent acts. The docs explore the origin, criteria, and research of this rare phenomenon and cover the cases of John Hinkley Jr., Margaret Mary Ray, and the shooter who killed rising star Christina Grimmie. Related episode: Stalking: The Crime of the 90's https://anchor.fm/lansc/episodes/25--Stalking-The-Crime-of-the-90s-e537ff Donate to the Christina Grimmie Foundation here: https://christinagrimmiefoundation.org/ Mentions: Lenora Consulting LLC https://www.lenoraclairellc.com/ 10ish Podcast https://www.10ishpod.com/ Resources Braun, Claude, and Sabrina Suffren. "A General Neuropsychological Model of Delusion." ResearchGate, Taylor & Francis (Routledge), Mar. 2010, www.researchgate.net/publication/41670340_A_general_neuropsychological_model_of_delusion. Accessed 26 Nov. 2021. Brüne, Martin. "Erotomanic Stalking in Evolutionary Perspective." Behavioral Sciences & the Law, vol. 21, no. 1, 16 Dec. 2002, pp. 83–88, pubmed.ncbi.nlm.nih.gov/12579619/#:~:text=Erotomania%2C%20the%20delusion%20of%20being,concerning%20prevalence%20rates%20and%20behavior.&text=The%20evolutionary%20perspective%20may%20provide,understanding%20of%20forensically%20relevant%20behaviors., 10.1002/bsl.518. Accessed 26 Nov. 2021. Christina Grimmie: The Murder of a Rising Star. Orlando Sentinel, 4 June 2018, disc 1-2. Podcast. "De Clerambault Syndrome (Erotomania) in the Criminal Justice System: Another Look at This Recurring Problem | Office of Justice Programs." Ojp.gov, 2021, www.ojp.gov/ncjrs/virtual-library/abstracts/de-clerambault-syndrome-erotomania-criminal-justice-system-another. Accessed 26 Nov. 2021. Ghosh, Tulika, and Minkesh Chowdhary. De Clerambault Syndrome: Current Perspective. Www.intechopen.com, IntechOpen, 12 May 2021, www.intechopen.com/chapters/72361. Accessed 27 Nov. 2021. Hayes, Crystal. "Forgotten Story of Singer's Legacy, Man Who Killed Her." Courier-Post, 18 Dec. 2016, www.courierpostonline.com/story/news/local/south-jersey/2016/12/18/forgotten-story-christina-grimmie-and-man-who-killed-her/95585040/. He Loves Me, He Loves Me Not. Directed by Laetitia Colombani, Samuel Goldwyn Films, 2003. Harmon RB;Rosner R;Owens H. "Obsessional Harassment and Erotomania in a Criminal Court Population." Journal of Forensic Sciences, vol. 40, no. 2, 2011, pubmed.ncbi.nlm.nih.gov/7602275/. Accessed 26 Nov. 2021. "How History Changed Anita Hill (Published 2019)." The New York Times, 2021, www.nytimes.com/2019/06/17/us/anita-hill-women-power.html. Accessed 27 Nov. 2021. Jamaluddin, Ruzita. "Same Gender Erotomania: When the Psychiatrist Became the Delusional Theme—a Case Report and Literature Review." Case Reports in Psychiatry, vol. 2021, 1 Sept. 2021, p. e7463272, www.hindawi.com/journals/crips/2021/7463272/, 10.1155/2021/7463272. Kelly, B. D., et al. "Delusion and Desire: Erotomania Revisited." Acta Psychiatrica Scandinavica, vol. 102, no. 1, July 2000, pp. 74–76, pubmed.ncbi.nlm.nih.gov/10892614/, 10.1034/j.1600-0447.2000.102001074.x. Accessed 26 Nov. 2021. Meloy, J. CASE REPORT Erotomania, Triangulation, and Homicide. "Risk Factors for Stalking Violence, Persistence, and Recurrence." The Journal of Forensic Psychiatry & Psychology, 2017, www.tandfonline.com/doi/abs/10.1080/14789949.2016.1247188?journalCode=rjfp20&. Accessed 26 Nov. 2021. Safeekh, AT, and Denzil Pinto. "Venlafaxine-Induced Psychotic Symptoms." Indian Journal of Psychiatry, vol. 51, no. 4, 2009, p. 308, www.ncbi.nlm.nih.gov/pmc/articles/PMC2802382/, 10.4103/0019-5545.58301. Accessed 26 Nov. 2021. Sederholm, Jillian. "Gunman Who Killed 'the Voice' Singer Had Extra Ammo, Knife: Police." NBC News, 11 June 2016, www.nbcnews.com/news/us-news/voice-singer-christina-grimmie-shot-after-florida-concert-n590161. Accessed 27 Nov. 2021. Shanee Edwards. "I Just Discovered the Crazy World of Erotomania Thanks to HBO's Confirmation." SheKnows, SheKnows, 17 Apr. 2016, www.sheknows.com/entertainment/articles/1119045/erotomania-and-confirmation-hbo/. Accessed 26 Nov. 2021.

Rob was so excited to finally speak with Martha Plimpton! The actress joins Rob to discuss her life-changing experiences on Broadway, her HBO show, "Task," moving to London, and her experience studying animal tracking in Africa! Plus, Rob pays tribute to the brilliant writer Tom Stoppard, who passed on November 29th, soon after the recording of this interview. Make sure to subscribe to the show on YouTube at YouTube.com/@LiterallyWithRobLowe! Got a question for Rob? Call our voicemail at 323-570-4551. Your question could get featured on the show! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.