Podcasts about HBO

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.

This week we get to what the world has been waiting for, Stranger Things Season 5 release. A lot of fan theories have been circulating the internet, Shawn and Tommy answer some of those theories. Was part 1 a letdown or did it meet expectations? Episode 6 of IT: Welcome to Derry gets a review and Tommy can't help but compare to Stranger Things on what HBO got right with its series and where Netflix falls short on Stranger Things.

Netflix and Warner Bros. Discovery, Inc. (WBD) announced they have entered into a definitive agreement under which Netflix will acquire Warner Bros., including its film and television studios, HBO Max and HBO. Let's talk about it. Watch and listen to The Movie Podcast now on all podcast platforms, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheMoviePodcast.ca⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Contact: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠hello@themoviepodcast.ca⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FOLLOW US⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Daniel on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Shahbaz on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Anthony on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The Movie Podcast on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Rotten Tomatoes Learn more about your ad choices. Visit megaphone.fm/adchoices

Hoje você vai saber sobre como a venda dos estúdios da Warner Bros podem afetar você, aqui no Brasil, e tem um novo dilema do Café Pelando! Tudo no Café Antagonista #122 apresentado por José Inácio Pilar!Café Antagonista 2025 é o seu ponto de encontro semanal para ficar bem informado.     Apresentado por José Inácio Pilar, o programa vai ao ar todos os sábados, às 10h e 16h, trazendo uma análise inteligente dos principais acontecimentos do Brasil e do mundo.     Com um jornalismo independente e sem amarras, debate política, economia, notícias e bastidores exclusivos com um olhar crítico e direto. Inscreva-se no canal para não perder nenhuma edição do Café Antagonista 2025!                                                                                                                                                          #caféantagonista   Apoie o jornalismo Vigilante: 10% de desconto para audiência do Café Antagonista⁠ ⁠  https://bit.ly/oa-cafe10    Siga O Antagonista no X:  https://x.com/o_antagonista   Acompanhe O Antagonista no canal do WhatsApp. Boletins diários, conteúdos exclusivos em vídeo e muito mais.  https://whatsapp.com/channel/0029Va2SurQHLHQbI5yJN344 

Bienvenidos al séptimo episodio de Fieras en Juego, el podcast de Fuera de Series donde cada partida es una aventura, cada conversación un duelo de ideas, y cada joystick… una declaración de amor a los videojuegos. Hoy venimos cargados: hablaremos del nuevo hardware de Valve, de las últimas locuras que nos trae LEGO, del inesperado retraso de GTA VI, de los nominados a Juego del Año… y, por supuesto, de mucho más, porque cuando se juntan las fieras, siempre saltan chispas. Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

On a rainy day a boy in a yellow slicker sailed a paper boat down a stream along a flooded street. Little Georgie was dismayed when he saw the paper boat sail into a sewer. When he had all but given up on retrieving the boat Georgie heard the voice of a curious character in the sewer, it was Pennywise the Dancing Clown. While Georgie was first caught off guard by seeing a figure in the sewer, he couldn't help himself from taking a closer look...And thus, Stephen King gifted coulrophobia to generations of kids.Sister G, Kristina with a K and John dig into one of the seminal horror stories of the '80's. It was meant to be Stephen King's final statement on the horror genre. What's a better way to bid farewell to spooky stuff than bringing all of the monsters into the fold? You have The Mummy, Frankenstein's Monster, The Werewolf, but the best part is it is all It - a creature from outside our dimension which feeds on our fear and feasts on our flesh. We know you've been watching the new show on HBO, so why not dig more into the novel with the Cold Ones gang? So, crack that cold one, and take a trip with us to Derry, if you dare.

Halle Berry accused Gov. Newsom of not being pro woman, and the governor has responded. At LAX, he told a reporter he’d "connected with [Berry’s] manager” and the two of them would “reconcile.” The bill he vetoed was California Assembly Bill 432, the Menopause Care Equity Act, aimed to expand insurance coverage for menopause-related treatments. Netflix is purchasing Warner Bros Discovery and HBO, in a deal worth $82.7 billion. Is this media consolidation a good or bad thing? Will it mean less choice, lower quality and higher cost for us consumers? Will it impact Hollywood’s workforce? LA rent prices are now going down! Is it an issue of supply and demand? Or is it because 2 million illegal immigrants have been deported or left voluntarily in the past 300 days?See 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.

In this episode, Kyle S delivers an emergency news update on Netflix's acquisition of Warner Brothers Studios, HBO, and HBO Max for $82.7 billion. This monumental deal reshapes the entertainment landscape, merging Netflix's streaming dominance with Warner Brothers' iconic IPs like DC Comics and Harry Potter. Takeaways Netflix acquires Warner Brothers Studios, HBO, and HBO Max. The deal is valued at $82.7 billion. This acquisition reshapes the entertainment landscape. Netflix merges streaming dominance with iconic IPs. Warner Brothers' iconic IPs include DC Comics and Harry Potter. The merger faces regulatory scrutiny and shareholder approval. Netflix pledges to maintain Warner Brothers' operations until 2029. The deal accelerates Hollywood's shift to digital-first distribution. Potential impacts on creativity and content diversity are discussed. The merger could lead to significant industry changes. Sound bites Netflix acquires Warner Bros for $82.7B. Warner Bros and HBO join Netflix. Streaming landscape reshaped by Netflix's acquisition. Netflix merges with Warner Bros' iconic IPs. Regulatory scrutiny for Netflix's acquisition. Netflix pledges to maintain Warner Bros' operations. Hollywood's shift to digital-first distribution. Impact on creativity and content diversity. Significant industry changes expected. Netflix's strategic acquisition of Warner Bros. Chapters 00:00:00 - Introduction and Emergency News Update 00:01:00 - Details of Netflix's Acquisition   00:02:00 - Impact on the Entertainment Industry  

If a turkey wore jeans, would it wear them like this or like this? Jodi and Nora start out with the worst (best) non-TV videos of the week, including Kate Beckinsale telling Jimmy Kimmel that her daughter's boyfriend has laid eggs (13:57), Dua Lipa's commercial for the 2026 Winter Olympics (20:30), a haunted “What's Behind Me?” segment from Fallon (26:17), Martha Stewart's denim turkey (30:22), and Kim Kardashian's low brain activity (35:30). Then they dive into some D-list (F-list, even) celebrity news: The Wall Street Journal's feature on Club Chalamet (40:00), Whitney Leavitt getting cast as Roxie Hart (52:18), and Olivia Nuzzi updates (58:20). Finally, they blush about the gay hockey show on HBO, ‘Heated Rivalry' (1:19:00), before each sharing their personal obsession for the week (1:30:30). DM us on Instagram at instagram.com/wereobsessedpod! Hosts: Jodi Walker and Nora Princiotti Producers: Sasha Ashall and Belle Roman Learn more about your ad choices. Visit podcastchoices.com/adchoices

Turns out the Albanian army was triumphant as Netflix is buying HBO (and WBD's studios). The NYT is suing Perplexity. Man, everybody is heading for the exits at Apple at the same time. And get ready for a slew of insider trading controversies in our prediction market world. Netflix agrees $83bn takeover of Warner Bros Discovery (FT) New York Times Sues A.I. Start-Up Perplexity Over Use of Copyrighted Work (NYTimes) X hit with $140 million EU fine for breaching content rules, TikTok settles (Reuters) Apple Departures Point to Challenges for iPhone's Dominance (WSJ) Chatbots are now rivaling social networks as a core layer of internet infrastructure (The Decoder) Alleged Insider Nets $1 Million On Polymarket In 24 Hours (Forbes) Weekend Longreads Suggestions: 18,000 Reasons It's So Hard to Build a Chip Factory in America (NYTimes) In Arizona Desert, Taiwanese Families Create Community and Build a Factor (NYTimes) A Growing U.S. Tech Hub Needs Workers. Colleges Try to Keep Up. (NYTimes) Learn more about your ad choices. Visit megaphone.fm/adchoices

T Lo talk about HBO's "Heated Rivalry" and why such stories tend not to appeal to them as gay men before launching into a deep recap of "With Love, Meghan: Holiday Celebration" and how it reveals both her strengths and her limitations as a TV show hostess, with some suggestions as to how she can improve her brand.

This week on The Nerdpocalypse Podcast, the guys return to talk in-depth about the breaking news of Netflix moving forward with its acquisition of Warner Bros Studio, the hosts also talk the film Sovereign, The Long Walk, Last Samurai Standing, Tron Ares, The Beast in Me, first look at posters for Spider-Noir, God of War series gets some updates, Assassin's Creed series gets an update, Justin Lin will direct an adaptation of the video game Helldivers, Zootopia 2 is doing big numbers in theaters, Scarlett Johasson has been cast in The Batman 2, trailers for "How to Make a Killing," and "Ready or Not 2: Here I Come" and much more!CHECKED OUTSovereignThe Long WalkLast Samurai StandingTron AresThe Beast in MeTOPICS - Section 1Spider-Noir posters and character revealedGod of War series enlists Shogun and The Boys directorAssassin's Creed Netflix series update on setting and storyJustin Lin to Direct ‘Helldivers' Video Game MovieTOPICS - Section 2Zootopia 2 puts up some serious numbers opening weekendHBO Max's Big Plan: Be HBO AgainScarlet Johansson has joined The Batman 2 for role opposite of Robert PattinsonTRAILERSHow to Make a KillingReady or Not 2TNP STUDIOS PREMIUM (www.TheNerdpocalypse.com/premium) $5 a month Access to premium slate of podcasts incl. The Airing of Grievances, No Time to Bleed, The Men with the Golden Tongues, Upstage Conversation, and full episodes of the Look Forward political podcast

Send us a textThis week Kristen and Jen break down the blockbuster Netflix–Warner Bros. deal. Netflix has agreed to acquire Warner Bros. Discovery's studio and streaming assets — HBO, Max, Warner Bros. Studios, and its iconic content library — for $27.75 per share in a cash and stock deal. But before the deal closes, Warner Bros. will spin off its cable networks (CNN, TBS, Discovery Channel, and more) into a separate company. That means Netflix is only buying the good stuff — no legacy cable attached.This episode dives into the complex mechanics behind the transaction: how the spin-off works, what a "collar" means in M&A land, and why this $72 billion equity offer came with a surprisingly low premium. Also: there was a whole bidding war behind the scenes. Paramount / Skydance wanted to buy the entire company. Comcast and Netflix were just after the streaming assets and studio business. Why did Netflix win? What happens next? And will this deal reshape the future of streaming as we know it? This episode is a full M&A teach-in wrapped in an entertainment headline — and yes, we also talk about Industry coming back soon.Learn more about 9fin HEREShop our Self Paced Courses: Investment Banking & Private Equity Fundamentals HEREFixed Income Sales & Trading HERE Wealthfront.com/wss. This is a paid endorsement for Wealthfront. May not reflect others' experiences. Similar outcomes not guaranteed. Wealthfront Brokerage is not a bank. Rate subject to change. Promo terms apply. If eligible for the boosted rate of 4.15% offered in connection with this promo, the boosted rate is also subject to change if base rate decreases during the 3 month promo period.The Cash Account, which is not a deposit account, is offered by Wealthfront Brokerage LLC ("Wealthfront Brokerage"), Member FINRA/SIPC. Wealthfront Brokerage is not a bank. The Annual Percentage Yield ("APY") on cash deposits as of 11/7/25, is representative, requires no minimum, and may change at any time. The APY reflects the weighted average of deposit balances at participating Program Banks, which are not allocated equally. Wealthfront Brokerage sweeps cash balances to Program Banks, where they earn the variable APY. Sources HERE.

Jeff Pearlman is a New York Times bestselling author and one of America's most compelling sports writers, known for his meticulous reporting and ability to bring readers inside the locker rooms and lives of sports' most fascinating figures. He spent years as a writer for Sports Illustrated, where he famously broke the John Rocker story and honed his craft of finding extraordinary stories in unexpected places. Pearlman has authored numerous bestsellers including "The Bad Guys Won" about the 1986 Mets, "Showtime" about the Lakers dynasty which became an HBO series, "Boys Will Be Boys" about the Dallas Cowboys, and books on Bo Jackson, Walter Payton, Brett Favre, and Tupac Shakur—the latter requiring interviews with 650 sources. His YouTube show "Press Box Chronicles" has become a viral sensation, with millions tuning in to hear him share nostalgic deep dives into sports history's most memorable moments, characters, and forgotten stories. Today, Jeff continues to prove that great storytelling is built on one simple principle: getting the details right and treating people with kindness along the way. In this episode we discuss:    -Why getting the facts trumps fancy writing -Why we should build relationships through kindness -Why other people's success doesn't diminish yours -His extraordinary story he published on 9/11 and more..   - email questions to omaid@omaid.me      

In this episode of "Locks of Laughs," Ashley Arpel Steinback welcomes the hilariously named Mac Lawson, who sounds like a McDonald's order with extra cheese. The duo dives into a whirlwind of comedy, from Mac's addiction to La Croix and Wheat Thins to her journey from a brain injury to stand-up comedy. They share laughs over truffle cheese, the comedy police in LA, and the art of offensive jokes. Mac reveals her secret to success on OnlyFans without nudity, while Ashley contemplates auditioning topless for HBO. It's a rollercoaster of humor, heart, and a touch of chaos, proving that comedy truly is the best medicine.Follow Big Mac Lawson here:https://www.instagram.com/bigmaclawson/https://www.instagram.com/macafterdark/Follow the show here:https://www.instagram.com/loxoflaughspodcast/https://www.instagram.com/thatsashleyskitchen/

Join Logan Janis on Mostly Superheroes for an exciting episode of Friday Live! We discuss the latest news, including Netflix's acquisition of HBO, the Stranger Things Season 5 finale, and a review of Five Nights at Freddy's 2. Plus, fan mail, contests, and more! Don't miss out on the fun and stay updated with our indie podcast. Learn more and subscribe at mostlysuperheroes.com.  Timestamps and Segment Titles: 00:00 - 00:53 | Introduction and Welcome 00:53 - 01:57 | Weekly Recap and Show Overview 01:57 - 02:07 | Indie Show Fun 02:07 - 02:41 | Fan Mail and Saint Louis Pizza Competition 02:41 - 03:26 | Pizza Babble and Local Sponsors 03:26 - 04:14 | Contest Announcements and Prizes 04:14 - 05:12 | Stranger Things Season 5 Finale Details 05:12 - 06:29 | Stranger Things Screening Contest 06:29 - 07:00 | News and Rumors: Netflix Acquires HBO 07:00 - 08:38 | Impact of the Acquisition 08:38 - 10:13 | Industry Implications and Speculations 10:13 - 10:37 | Newsletter Announcement 10:37 - 11:12 | What You Watching Segment Introduction 11:12 - 14:39 | Five Nights at Freddy's 2 Review by Scotty Scoop and Crew 14:39 - 15:04 | Scotty Scoop's Page and Substack 15:04 - 16:23 | Holiday Movie Recommendation: Oh, What Fun 16:23 - 17:22 | Upcoming Events and Year-End Wrap-Up 17:22 - 18:08 | Shoutouts and Community Highlights 18:08 - 19:33 | 2Rivers Comic-Con 2026 Announcement 19:33 - 21:07 | Future Podcast Interviews and Events 21:07 - 21:56 | Closing Remarks and Gratitude 21:56 - 22:38 | Sponsor Acknowledgements and Credits Thanks for listening and supporting our indie podcast. Learn more and subscribe at mostlysuperheroes.com. ©2025 Carrogan Studios

This week on the Live to Walk Again Podcast we had the chance to catch up with two members of the E sports gaming team The Quad Gods; Richard Jacobs and Prentice Cox. We talked to the guys about starting the team and the ramifications it had on their lives from rehabilitation to competition and everything in between. We talked about the HBO documentary about their team, their friend Chris Scott who was the originator of the Quad Gods, and the impact they are having on the SCI community by showing what's possible, even after suffering this catastrophic injury. Check out the movie and connect with Richard, Prentice, and the rest of the Quad Gods at the links below!! Please listen, like, rate, review, and share the podcast!! We're just trying to find a cure for paralysis!! Quad Gods: Richard Jacobs IG: @breadwinner1007 Prenrice Cox IG: @the_quadgods https://quadgods.com/ https://play.hbomax.com/movie/b39f4ad4-06b4-4fa8-9d5e-aa3af9c68439  

Episode 1,112 of The Clay Edwards Show (Friday, December 5, 2025) – Episode Summary Clay opens the show reacting to the breaking news that Netflix has won the bidding war to acquire Warner Brothers Discovery's studio assets (including HBO and the Max streaming service) in a roughly $72 billion deal. He calls it one of the worst possible outcomes for fans of quality entertainment, predicting that Netflix's track record of low-effort originals, abrupt endings, and heavy ideological slant will now infect iconic Warner franchises. He laments the loss of Taylor Sheridan (creator of Yellowstone, Tulsa King, Landman, etc.) from Paramount and worries that further media consolidation will kill competition in both film and professional wrestling (pointing to WWE's existing Netflix deal and the risk that AEW loses its TV home).The bulk of the first hour is spent on hard-hitting cultural and local-crime commentary:Strong criticism of rap/hip-hop culture and its decades-long negative impact on segments of the black community, arguing that stereotypes are earned, not given, and that “race reality is not racism.” Detailed breakdown of a recent car theft and shootout in an upscale, predominantly black Gluckstadt subdivision allegedly committed by four young men from Jackson. Clay compares their mugshots to “Somali pirates” and argues this is the exact reason today's real-estate market in the Jackson metro is driven almost entirely by one factor: how far you can move away from high-crime areas while keeping a reasonable commute. He insists good black families can never fully escape the criminal element in their extended families or social circles, especially around holidays. Second hour shifts to national stories: Celebration of the Trump administration's aggressive military action against fentanyl-laden narco terrorist speedboats, calling it “the war on drugs done right” and mocking Democrats who are defending the traffickers. Breaking coverage of the arrest of January 6 pipe-bomber suspect Brian Cole Jr., a black Democrat with apparent ties to activist circles. Clay hammers CNN for repeatedly calling the suspect “a 30-year-old white man” while his photo was on screen, and calls out local media (specifically WLBT) for completely ignoring the story because it undermines the “white supremacist insurrection” narrative. Other quick hits: David L. Archie caught on video throwing punches at a St. Andrews private-school basketball game (the same security guard who went viral getting punched at last year's Mistletoe Marketplace brawl took the hits again). Strong condemnation of Candace Owens for what Clay calls unhinged, attention-seeking accusations that Turning Point USA staff and leadership were complicit in Charlie Kirk's murder. He reiterates his long-standing opinion that Owens is a grifter who monetized being “the acceptable black conservative” and has now gone off the deep end. Throughout the episode Clay maintains his signature unfiltered, no-sugar-coating style: blunt on crime, culture, media consolidation, the drug war, and political grifters, while repeatedly telling listeners he speaks this way “because I love you and have to live around you.” The show closes with Clay promising to “land the plane” strong and return Monday.

On today's episode, we're hitting every corner of the culture — from prediction markets to pop culture meltdowns and everything in between. We start with Polymarket and Kalshi, breaking down why prediction markets are exploding right now, how they work, and why everyone from crypto traders to Wall Street analysts is suddenly betting on real-world events.Then we dive into the Akaash Singh drama, the clips going viral, and the internet debate over whether his wife is making him look bad or whether the whole situation is being blown out of proportion.Next up: Max Kellerman stops by The Bill Simmons Podcast, and the sports media world reacts. We get into what he said, the state of sports talk, and why his return to long-form conversation hits different.We also talk about HBO Max streaming Mad Men — and the hilarious little errors fans keep spotting in the newly uploaded episodes.In Hollywood news, Quentin Tarantino has some unexpectedly harsh words for Paul Dano, and we unpack what that rant says about Tarantino's standards, Hollywood culture, and ego.Plus: a raccoon breaks into a liquor store, gets drunk, and is found passed out like a furry rockstar — one of the wildest headlines of the week.And as always, we wrap with our Question of the Day and a bold Nuclear Opinion that might just start a fight in your group chat.Tap into Episode 656 of the Productive Conversations Podcast—available now on all podcast platforms and YouTube.PolyMarket & Kalshi talking about the rise of  predictions markets (7:30)Akaash Singh Drama (28:45)Max Kellerman on Bill simmons (56:45)HBO max botch while streaming Mad Men (1:04:30)Tarantino's harsh words to Paul Dano (1:07:12)Raccoon gets drunk (1:11:12)Question of the day (1:14:00)Nuclear Opinion (1:16:50)Best way to contact our host is by emailing him at productiveconversationspodcast@gmail.com or mbrown3212@gmail.comThis show has been brought to you by Magic Mind!Right now you can get your Magic Mind at WWW.MAGICMIND.COM/ PCLT20 to get 20% off a one-time purchase or up to 48% off a subscription using that code PCJUNE. Apple Podcast: https://podcasts.apple.com/us/podcast/productive-conversations-with-matt-brown/id1535871441 Spotify: https://open.spotify.com/show/7qCsxuzYYoeqALrWu4x4Kb YouTube: @Productive_Conversations  Linktree:https://linktr.ee/productiveconversations

Chuck Zodda and Mike Armstrong have major bones to pick with the release of the delayed CPE report and those that claimed today would be make of break for markets. Is 2% inflation still the right level to have? What will Netflix do with Warner Bros. movie studio and how do they handle HBO? Studios are already pushing back on Netflix's purchase of Warner Brothers. What you need to know when doing your portfolio year-end review.

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.

Good morning! Start your day with Go Birds! Daily, a daily Eagles podcast giving you everything you need to know for December 4th. In today's episode Eliot Shorr-Parks dives into an emotionally charged Kevin Patullo press conference where he talked about the intense criticism and his house getting egged. Plus, some thoughts on the possibility of the Eagles signing Darius Slay and a breakdown of the first episode of HBO's Hard Knocks featuring the Eagles. Help us raise money for TreeHouse Books and win a Zack Baun signed football by clicking ⁠HERE⁠! To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Adam Pally talks about the evolving comedy industry, telling the truth and his new HBO special 'An Intimate Evening with Adam Pally'. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hulu, Netflix, and HBO are announcing some of our favorite shows…. Plus, did we have “Neil Patrick Harris beef with Abby Lee Miller” on our bingo board? Learn more about your ad choices. Visit megaphone.fm/adchoices

50 Cent's “Sean Combs: The Reckoning” dropped, WATP Karl joins us with Howard Stern's Ladyboy obsession, Kim Kardashian's Masterclass, Drew Crime, and Corey Feldman v. The World. Don't forget to grab your Drew Lane Show merch right here just in time for the holiday! Congratulations to Jim Bentley for winning the coveted David Hall Bobblehead for the 2nd month in a row. Diddy's documentary “Sean Combs: The Reckoning” is out now on Netflix. The Shuffle is on HBO now and it follows making of the epic Super Bowl Shuffle. Luigi Mangione has so many female fans, but where are all the gay guys? The National Guard were attacked in Washington D.C. There is more information on fugitive Virginia High School football coach Travis Turner. Karl from WATP joins us to chat some Thanksgiving Day football, rip apart a flirty Stuttering John Melendez, dive into the latest with The Howard Stern Show, and much more. Miley Cyrus is engaged again. Katy Perry and Justin Trudeau are hanging in Tokyo. There are rumors that Hoda Kotb may be replacing Gayle King at CBS. Jada Pinkett Smith is accused of threatening Bilaal Salaam. Faith Kates has decided to retire from her high profile gig after ties with Jeffrey Epstein. Meghan Markle's website is a joke just like her. Akaash Singh is YouTube gold. Kim Kardashian has a MasterClass in business. We roll through her ‘Ten Kimmandments'. Drew Crime: Teen sexual exploitation is out of control. The US is leading the world in crypto-kidnapping. Former Google CEO, Eric Schmidt, brags about snooping around. Spin instructor murder in California. La Toya Jackson is sparking concern with her super thin frame. Waymo gives zero f**ks about police standoffs. New York Giants Younghoe Koo had the worst kick in NFL history. Matt Riley dropped by ML Soul of Detroit today. Sports: ML Elrick isn't as high on Pat Fitzgerald being hired as the next MSU football coach as everybody else. Adam Thielen (white receiver) moves to the Pittsburgh Steelers. Terrion Arnold lands on the IR. College degrees have lost their luster. There is a new documentary coming out on Apple TV+ on Corey Feldman and we're all for it. If you'd like to help support the show… consider subscribing to our YouTube Channel, Facebook, Instagram and Twitter (Drew Lane, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).

Terrell Riley, producer of HBO/Max's latest installment of Hard Knocks: In Season with the NFC East, embedded with the Dallas Cowboys. This groundbreaking version of the iconic sports docuseries takes viewers inside one of the most competitive divisions in football — the Philadelphia Eagles, Dallas Cowboys, New York Giants, and Washington Commanders — as they chase the postseason in the final stretch of the 2025 NFL season. Reality Life with Kate Casey What to Watch List: https://katecasey.substack.com Patreon: http://www.patreon.com/katecasey Twitter: https://twitter.com/katecasey Instagram: http://www.instagram.com/katecaseyca Tik Tok: https://www.tiktok.com/@itskatecasey?lang=en Facebook Group: https://www.facebook.com/groups/113157919338245 Amazon List: https://www.amazon.com/shop/katecasey Like it to Know It: https://www.shopltk.com/explore/katecaseySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.